By Pierre Bourdieu (London: Routledge, 2010), xxx + 607 pp. £15.99 paper. A combination of social theory, statistical data, illustrations, and interviews, Distinction: A Social Critique of the Judg...

Distinction: A Social Critique of the Judgement of Taste

Keywords: a Vocabulary of Culture and Society

On the Modern Cult of the Factish Gods

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The Gift Imagination And The Erotic Life Of Property

While retaining the same structure and the same expository options, we have extensively expanded the contents of this book for its third edition. This meets a three-fold goal: to take recent advances into account, to flesh out the methodological aspect of the exposition, and to provide basic knowledge or useful supplements for university graduate students, in particular for those preparing for higher teaching diplomas.

Preface to Third Edition

Since the early 2000s the business sector has, as a matter of both professional and academic concern, repeatedly advocated the transfer of artistic practices, especially those deemed exemplary form...

Lost in translation? Transferring creativity insights from arts into management:

Making meaning beyond display

When the artist Julian Rosefeldt exhibits video projections of cast Graeco-Roman sculptures, exhibition-goers experience a crisis in resemblance and equivalence between a gallery installation and museum artefacts. On the face of it media magic seems to supersede, even eliminate, the experiential force of collection-holding. This article compares media and artefactual exhibiting practices by combining semiotic analysis, art theory and Georg Simmel's sociology of money. In the late 18th century, as European museums began to display plaster reproductions of classical sculpture and historic architectural details, economists worried that paper money would sever the representational force of monetary signifiers from the intrinsic value of the bullion they signify. Perhaps Rosefeldt defers promises like a banknote? Perhaps museums postpone the 'pleasure of the holder' like a bank reserve? In both cases, this article argues, the technologies of reproduction and repetition (old and new) tell us a great deal about the semantics of objects.

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The pleasure of the holder: media art, museum collections and paper money

Things and theories: the unstable presence of exhibited objects

With creative practices things go wrong, work is ruined, and projects remain unfinished. Paradoxically, since failure is a matter of enhanced appreciation in the arts (e.g. Samuel Beckett’s ‘fail better’), neither ‘wrongness’, ‘ruination’ nor ‘unfinishedness’ means what it says. Building on the topographical encounters of fine art studio teaching, this article explores the intersection of ruined work, incomplete creativity and disarticulating sensations. While Jason Rhoades’ messy installation art in a public gallery can evoke (like a 2005 account of abandoned factories by Tim Edensor) a problematic romanticization of unfinished and ruined work, I argue that other less recognized forces are in play. In the privacy of art school studios, monitoring ‘health and safety’ procedures challenges all evocations of aesthetic spectacle and poetic vision. This amounts to an alternative topology of ruination that relates to Caitlin DeSilvey’s 2006 descriptions of agricultural decay. Because a creative struggle is more like daSilvey’s material confusion than Edensor’s romanticized disorder, my article considers four further theoretical ideas in order to place studio ruins at the service of practice-based research in art schools—the muddle of ‘mingled senses’; the complicit character of ‘criticality’; the ‘stupefying’ consequences of study, and the tactical defeat of ‘decreation’.

Chris Dorsett

Papers

Lost in translation? Transferring creativity insights from arts into management:

Making meaning beyond display

The pleasure of the holder: media art, museum collections and paper money

Things and theories: the unstable presence of exhibited objects

Studio Ruins: describing 'unfinishedness'