The artist-enterprise in the digital age:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
[Tokyo ; Berlin]
Springer, published by Springer Nature
[2016]
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| Schriftenreihe: | Creativity, heritage and the city
1 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | viii, 204 Seiten Diagramme 25 cm |
| ISBN: | 9784431567400 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents 1 Introduction........................................................................................... References............................................................................................... 1 7 2 New Challenges for the Artist-Enterprise.......................................... 2.1 The Figure of the Artist............................................................... 2.1.1 Bohemianism................................................................. 2.1.2 Art for Art’s Sake.......................................................... 2.1.3 The ‘Modern’ Artist as Defined by Mirbeau................. 2.1.4 The Artist as a Trendsetter............................................. 2.2 Reorganization of Artistic Activities........................................... 2.2.1 Examples from the Renaissance.................................... 2.2.2 Painting by Proxy.......................................................... 2.2.3 The Idea Takes Precedence........................................... 2.3 Breaking Up Space...................................................................... 2.3.1 Producing in Display Areas........................................... 2.3.2 Consumption in Private Space....................................... 2.3.3 Overlapping of Roles and Spaces.................................. 2.4 Distancing Contents from Containers.......................................... 2.4.1 Digital Art: Has Hollywood Become Holly web?........... 2.4.2 Pricing in the Digital Age.............................................. 2.5 Changing
Values.......................................................................... References............................................................................................... 9 10 10 11 12 14 14 15 17 19 20 20 22 23 24 24 26 28 30 3 Cultural Products................................................................................. 3.1 Economic, Artistic and Cultural Goods....................................... 3.2 Mediatization of Things and Thingificationof Media................. 3.3 Are Brands Associated with Products or Identities?................... 3.4 Dual Aesthetics? From Kant to Nietzche.................................... 3.5 Is Luxury Creative?..................................................................... References............................................................................................... 33 33 34 39 42 44 48 V
vi 4 Contents! The Economic Footprint of Artist-Enterprise................................... 4.1 From Masterpieces to Cultural Products..................................... 4.1.1 An Initial Analysis of the European Union................... 4.1.2 A Contemporary Analysis of Culturally Creative Sectors: The WIPO Model............................................ 4.1.3 Comparison of Perspectives: France............................. 4.2 Are Artist-Enterprise a Driver for Development?....................... 4.2.1 A Partially Common History.......................................... 4.2.2 What Are the Causal Links?.......................................... 4.2.3 Can the Emergence of Artist-EnterprisesBe Explained?..................................................................... References............................................................................................... 5] 53 53 5 A Permanent and Polymorphous Figure............................................ 5.1 Hokusai........................................................................................ 5.2 Louis-Comfort Tiffany................................................................ 5.3 Emile Gallée................................................................................ 5.4 Sergueï Diaghilev........................................................................ 5.5 Coco Chanel................................................................................. 5.6 Walt Disney................................................................................. 5.7 Andy
Warhol............................................................................... 5.7.1 Entry into Pop Art......................................................... 5.7.2 Industrialization of Production...................................... References............................................................................................... 65 66 68 70 73 76 79 83 84 86 87 6 Fitting Artistic and Economic Dynamics........................................... 6.1 The Two Perspectives.................................................................. 6.1.1 Artistic Densification..................................................... 6.1.2 Economic Sustainability................................................ 6.2 Two Dynamics to be Maintained Side by Side........................... 6.2.1 Preventing Time-Lags.................................................... 6.2.2 Is It Possible to Bring the Two Components of Economic Viability Closer? The Double Risk Principle......................................................................... 6.2.3 Should Aesthetic Value and Functional Utility be Linked More Closely to Overcome the ViabilityRisk?............. 6.3 Between Artistic Improvement and Economic Viability: The Example of Decorative Crafts..................................................... 6.3.1 Separating the Artist from the Craftsman...................... 6.3.2 Is the Craftsman an Artist-Enterprise?.......................... 6.3.3 Do Artists and Craftsmen Share a Common Aesthetic? The Japanese Example................................................... 6.4 Between Artistic
Improvement and Economic Viability: Design Studios............................................................................. 6.4.1 Ideation.......................................................................... 6.4.2 Visualization.................................................................. 89 89 89 95 96 96 54 58 60 60 61 62 63 99 101 103 103 105 107 108 109 110
Contents 7 8 9 vii 6.4.3 Narration........................................................................ 6.4.4 Making Prototypes......................................................... 6 5 Is It Possible to Go beyond Arts Management?.......................... References............................................................................................... Ill 112 112 114 Trust as a Market Driver..................................................................... 7i Environment Required for Creating Value................................. 7.1.1 The Logic Underlying the Production of Value............ 7.1.2 Trust as the Logic for Validating Value........................ 7.2 Building Trust.............................................................................. 7.2.1 Sharing a Common View: From Criticism to Marketing 3.0................................................................. 7.2.2 Changing the Consumer into a Co-producer: Hello Kitty and Pokemon.................................................................. 7.2.3 Cultural Hybridization................................................... 7.3 Significance and Limitations of Traditional Management Tools............................................................................................ 7.3.1 The SWOT Method....................................................... 7.3.2 The Product Cycle Method: The Example of Contemporary Theatre................................................... References............................................................................................... 117 117 117
118 121 Challenge of Attention, Curse of Liquidity........................................ 8.1 Realizing Value in the Age of Digitization: New Business Models......................................................................................... 8.1.1 From the Risk Posed by Copying to the Possibility of Getting Recognition.................................................. 8.1.2 Free Distribution: From Free to Wikipedia................... 8.1.3 Recreating Divisibility................................................... 8.1.4 The Long Tail Model: Selling Less of More................ 8.1.5 Resorting to Indirect Appropriation?............................. 8.1.6 Open Source, or Redefining Problems.......................... 8.1.7 Virtualizing Resources: Cloud Computing.................... 8.2 The Inevitable Problem of Raising Funds: The Curse of Liquidity....................................................................................... 8.2.1 From Movie Industry to .. .Adam Smith....................... 8.2.2 The Pricing Pathway...................................................... 8.2.3 Raising Funds................................................................ References............................................................................................... Organizing the Artistic Process........................................................... 9.1 Institutional Life Cycles.............................................................. 9.1.1 Taking “Mild Constraints” into Consideration.............. 9.1.2 The Scope of Activity of an Artist-Enterprise: The First
Steps............................................................... 121 124 129 131 131 133 135 137 138 138 139 142 144 145 145 146 147 147 148 152 156 157 157 157 159
Conti·֊* viii 9.1.3 The Artist-Enterprise’s Position After the Diversification of His Activities............................................................. 9.1.4 Mutualization, Sharing Administrative Responsibilities and Regrouping.............................................................. 9.2 Is It Possible to Govern Talent and Genius?............................... 9.2.1 Skill, Talent, Genius and Myth...................................... 9.2.2 But Is It Possible to Define an Artist?........................... 9.2.3 Should Talent Be Managed In-House or Should It Be Controlled from a Distance?.......................................... 9.2.4 The Two Networks........................................................ 9.2.5 Managing by Incentives and Penalties? Building Reputation Capital?....................................................... References............................................................................................... 10 16 161. 167 Щ 17 V 17՛ 175 176։ Markets and Networks.............................................................................. 179 10.1 179 From the “Art World” to Artistic Markets.................................. 10.1.1 Are Analyses of the Art World Possible Without an Economic Analysis of the Art Market?......................... 10.1.2 The Basis for Analysing Cultural Markets.................... 10.2 Markets for Artistically Creative Products.................................. 10.2.1 The Determinant Variable: Novelty Not Price.............. 10.2.2 Three Art Markets: “Avant-Garde”, “Edgy” and
“Absorption”.................................................................. 10.3 Arts Districts................................................................................ 10.3.1 Creativity, Proximity, Contiguity.................................. 10.3.2 Are Networks a Source of Adaptation?......................... 10.3.3 Are Arts Districts a Source of Creativity?.................... References............................................................................................... 11 16 180? 183 184 184 187 191 191 192 192 197 Conclusion: The Artist-Enterprise in a Creative Economy.............. 199 Reference................................................................................................ 200 Bibliography........................................................................................................ 201
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| indexdate | 2024-07-10T07:34:16Z |
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| spelling | Greffe, Xavier 1944- Verfasser (DE-588)114963207 aut The artist-enterprise in the digital age Xavier Greffe [Tokyo ; Berlin] Springer, published by Springer Nature [2016] © 2016 viii, 204 Seiten Diagramme 25 cm txt rdacontent n rdamedia nc rdacarrier Creativity, heritage and the city 1 Includes bibliographical references Art / Economic aspects Kunst Kunstmarkt (DE-588)4120630-7 gnd rswk-swf Künstler (DE-588)4033423-5 gnd rswk-swf Entrepreneurship (DE-588)7588126-3 gnd rswk-swf Kulturwirtschaft (DE-588)4268059-1 gnd rswk-swf Künstler (DE-588)4033423-5 s Entrepreneurship (DE-588)7588126-3 s Kunstmarkt (DE-588)4120630-7 s Kulturwirtschaft (DE-588)4268059-1 s DE-604 Creativity, heritage and the city 1 (DE-604)BV045509232 1 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029167892&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Greffe, Xavier 1944- The artist-enterprise in the digital age Creativity, heritage and the city Includes bibliographical references Art / Economic aspects Kunst Kunstmarkt (DE-588)4120630-7 gnd Künstler (DE-588)4033423-5 gnd Entrepreneurship (DE-588)7588126-3 gnd Kulturwirtschaft (DE-588)4268059-1 gnd |
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| title | The artist-enterprise in the digital age |
| title_auth | The artist-enterprise in the digital age |
| title_exact_search | The artist-enterprise in the digital age |
| title_full | The artist-enterprise in the digital age Xavier Greffe |
| title_fullStr | The artist-enterprise in the digital age Xavier Greffe |
| title_full_unstemmed | The artist-enterprise in the digital age Xavier Greffe |
| title_short | The artist-enterprise in the digital age |
| title_sort | the artist enterprise in the digital age |
| topic | Art / Economic aspects Kunst Kunstmarkt (DE-588)4120630-7 gnd Künstler (DE-588)4033423-5 gnd Entrepreneurship (DE-588)7588126-3 gnd Kulturwirtschaft (DE-588)4268059-1 gnd |
| topic_facet | Art / Economic aspects Kunst Kunstmarkt Künstler Entrepreneurship Kulturwirtschaft |
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