.. Its organic unity is its value." (McCain 151) while interesting in theory the concept in practical use is a little vague. McCain goes on to state that, "On this view, then, objects of art may have intrinsic value (as they successfully realize a novel diversity-in-unity), cultural value (as symbols of some cultural unity), and economic value (in that some individual is willing to pay for them)." (153) It seems to be a recurring motif that it comes down to the concept of value as related to the popular expression in the culture. Similar to the real estate market in different areas, the exact same hoe can go for various prices dependent on the location. And then there is provenance. The origin or source of artistic material does changes the value of the material itself. The author uses the example of creating an exact replica, molecule by molecule, of a Rembrandt. Obviously the original would be worth more than the copy. Painting tht had once been thought to be by one, less popular artist, were determined to be by a more famous one increase in value tremendously. The painting stays the same, but the provenance changes. Then in the current age there is also the concept of intellectual property. Art, in many ways, seems to have the aura of intellectual property around it. After all, there is certainly an artistic, creative intellect behind it and it is unique to its creator, much as intellectual property rights follow the same reasoning. However, the author disagrees with this, "Even...
McCain continues the debate between what is cultural and what is artistic, in one breath saying they are separate and in another saying they may contain elements of each other. He never seems to come to a conclusion either way in this reader's opinion. He then speak of creativity and it various forms. Concluding that most artists are not creative across domains, save perhaps for Da Vinci who was creative across many domains and then creates a formula of value based on all of the foregoing. He derives the following from Caves, Thc Creative Industries:
In the book, Project management: strategic design and implementation, David I. Cleland and Lewis R. Ireland report "a review of the results of projects in antiquity reveals evidence about how several historical projects originated and developed" (p. 4). 1. The first of this type of evidence, known as artifacts, typically came from human workmanship. These could have been structures, tools, weapons, or items of substance of archeological or historical interest.
Management Theories Historical records show that people always organized themselves in order to work together towards a common objective and they coordinated their efforts to achieve this objective (Accel-Team 2004). It was not until the latter part of the 19th century that the concept of scientific management entered history during the Industrial Revolution, but management skills existed long before the 19th century. Ancient Egyptians built the pyramids, ancient Chinese erected the
To avoid all these hassles, corporates should take the lead. They should ensure that the environment is not harmed in any way and people are treated with respect and dignity without exploiting the people or the environment in any unfair way. Such initiatives get publicity too and this has a positive impact on the company's business interests. Therefore, technology has been another driving factor that induces companies to take the
Eventually, when the rest of Europe became a solid, cultural entity at the end of the Middle Ages, it was no surprise that the Byzantine Empire did not survive since it had failed to hold true to its core values and, eventually, the Empire officially ended upon conquest by the Ottomans. Islamic Golden Age The Islamic Golden Age is also called the Islamic Renaissance and its generally thought of as ranging
76). As automation increasingly assumes the more mundane and routine aspects of work of all types, Drucker was visionary in his assessment of how decisions would be made in the years to come. "In the future," said Drucker, "it was possible that all employment would be managerial in nature, and we would then have progressed from a society of labor to a society of management" (Witzel, p. 76). The
visited the Institution of a Now Culture (ThINC), which is, as the mission of the institute states, an institution that "concentrates on the health of our community by acting as a catalyst for artistic and cultural evolution that result in positive social change" The choice for such an art facility is reasonably simple: this is an institution that intends to promote contemporary art and resuscitate the cultural life in the
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