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Creative Infrastructures : Artists, Money and Entrepreneurial Action
Creative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money.Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends.Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities.The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money.Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship.Innovation is understood to be a novel idea that is implemented and has impact on a domain.For that is what the artist does: create something new and unique that has impact.Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art.This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?'Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change – through current and late-twentieth-century trends in 'social impact art' or 'art for change'. As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means.It isn’t necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make.All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'.But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive.When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig’s work as an artist, arts advocate and scholar of cultural policy.Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again.It is a 'future imaginary', in which she profiles three fictional artists in the year 2050. The field of arts entrepreneurship is growing – thanks in large part to the work of Linda Essig.The case studies in the book are US-based, but the issues addressed are universal. This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes.It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out.
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What do the artists do in action?
In action, artists use their creativity and skills to bring their ideas to life. They may paint, sculpt, draw, or use digital tools to create visual art. Musicians may play instruments, sing, or compose music. Dancers and performers use their bodies and movements to express themselves. Overall, artists in action are actively engaged in the process of creating and expressing their artistic vision.
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Search for action-packed classical music.
You can search for action-packed classical music by looking for pieces that are known for their fast tempo, dynamic rhythms, and powerful melodies. Some examples of action-packed classical music include "The Ride of the Valkyries" by Richard Wagner, "Mars, the Bringer of War" from Gustav Holst's "The Planets," and "Overture to William Tell" by Gioachino Rossini. These pieces are often used in movies, commercials, and other media to convey a sense of excitement, energy, and intensity.
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Is an instinctive action an action?
Yes, an instinctive action is still considered an action. Instinctive actions are automatic, involuntary responses to stimuli, and they are performed without conscious thought. However, they still involve a physical movement or response, which meets the definition of an action. Therefore, even though instinctive actions are not consciously chosen, they are still considered actions.
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What music is suitable for an action scene?
Music that is fast-paced, intense, and rhythmic is suitable for an action scene. It should have a driving beat and dynamic instrumentation to build tension and excitement. Orchestral scores, electronic music, or rock tracks with powerful guitar riffs are commonly used in action scenes to enhance the adrenaline-pumping moments on screen. The music should complement the visuals and help to engage the audience in the action unfolding on screen.
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Spark of Creation: The Action Journal for Artists
The action journal is a personal template for success created specifically with artists in mind.It starts broadly with identifying big visions and slowly narrows those dreams down into detailed action items.Through daily pages and weekly reviews, it helps you stay on track to reach your goals and reflect on your achievements along the way.
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Gotta Find My Purpose: The Action Journal For Artists
The action journal is a personal template for success created specifically with artists in mind.It starts broadly with identifying big visions and slowly narrows those dreams down into detailed action items.Through daily pages and weekly reviews, it helps you stay on track to reach your goals and reflect on your achievements along the way.
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Double action hand pump Spinera Performance
Spinera Performance Double Action PumpThis pump offers the highest pressure of the single canon/double action pumps in our Spinera pump range. capacity 2.0+2.0L, maximum pressure 29psi to DIN EN 16051 super-ergonomic, removable handle folding base rotary switch for double/single action anti-sand seals and filter for long pump and SUP board life high-flow piston for easier inflation shock-resistant pressure gauge
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London's Lost Music Venue 2
The second volume of the photographic guide to the iconic lost live music venues of London, as they are today.This volume focusses on the larger, theatre sized venues as well as a few smaller venues not included in the first volume, plus recent losses.This book takes a look at some of the iconic venues of the last 60 years with images, flyers and modern-day photos of what they are now.Venues include Hammersmith Palais, The Rainbow, The Astoria, The Borderline, The Lyceum and many more.
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How does educational action differ from social action?
Educational action focuses on the process of teaching and learning, with the goal of imparting knowledge and skills to individuals. It is often structured and guided by educational institutions and professionals. On the other hand, social action aims to bring about change in society by addressing social issues and advocating for social justice. It is often driven by grassroots movements and community organizing, and may involve a wider range of stakeholders. While educational action may contribute to social change, social action is more directly focused on addressing systemic issues and promoting social transformation.
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What is an internal action and a framing action?
An internal action is an action taken by an individual or group that is not visible to others, such as changing one's mindset or attitude. It is a personal decision or behavior that impacts the way one approaches a situation or problem. On the other hand, a framing action is a deliberate choice made by an individual or group to shape how a situation is perceived by others. It involves presenting information or events in a particular way to influence how they are interpreted. Both internal and framing actions play a role in shaping outcomes and interactions in various contexts.
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What is the difference between social action and political action?
Social action refers to actions taken by individuals or groups to address social issues or bring about social change through non-political means, such as volunteering, fundraising, or community organizing. On the other hand, political action involves actions taken to influence government policies, laws, or decisions through activities like voting, lobbying, or running for office. While social action focuses on grassroots efforts to create change at the community level, political action aims to create systemic change through engagement with the government and political processes.
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How do you write an internal action and an external action?
To write an internal action, you need to focus on the thoughts, feelings, and emotions of the character. Describe their internal struggles, desires, and motivations. Use sensory details and introspective language to convey the character's inner world. To write an external action, you need to focus on the physical movements and behaviors of the character. Describe their actions, gestures, and interactions with the environment and other characters. Use vivid and specific language to bring the external world to life.
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