Dear Vincent,
When asked as an academic to give ones list of publications, there is
the question whether publications are "quality assured" or
"non-quality assured. When a paper/article is published by a
recognized 'publisher' that also reviews the text submitted, as far as
I understand one can speak of a 'quality assured' publication. An art
magazine can be non-academic for instance, but quasi-academic and with
an editorial board: that magazine can be considered 'quality assured'.
I need to write a list about which quality assured texts I have
published, and it is not clear for me for instance whether images can
also be quality assured following 'art as research' rules?
The international art world is a heterogeneous milieu consisting of
several actors, such as: artists, art critics, art organizations,
financing institutions and governmental bodies. There exist different
definitions of 'art world' but it goes a bit far to discuss all of
them here. The contemporary view on this as also that there is no 'one
art world' but that there exist 'art worlds' (many smaller 'art world'
milieus) even within the fields of diverse art forms, like theater,
fine art, contemporary art etc. The art worlds as social systems share
unwritten rules/'name of the game rules' that can not be used in the
'quality assured' sense, but in the art world certainly have 'ranking
effects'. Following this I think that the question: Who edicts and
enacts the "rules of art world"? is partly answered by Mikael
Scherdin, who has written a PhD on how his innovative art organization
was given 'the invisible foot' by the Swedish art world.
> For "those of us not directly practicing in the art world"
But many AACORN members write about art in one way or another.
Why would you want to use the word 'art' if just some general form of
creativity is intended?
I assume that AACORN members writing about art would also study the
social system in the art world they write about, or not?
As an artist that focuses on organization I read and try to get to the
details of organizational studies, even to the extend I am writing a
PhD about it, so why would AACORN academics not do the same with art?
Isn't it so that in order that, within the framework of 'art,
aesthetics and creativity in organizational research, the 'art' has
any significance; the rules/'name of the game' in the professional
cultural field also need to be addressed?
Regards,
Teike Asselbergs
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