The Gallery as Memory Palace: M. C. Escher, Gainsborough, Tommy Simmons and Ignatius Sancho

The Gallery as Memory Palace: M. C. Escher, Gainsborough, Tommy Simmons and Ignatius Sancho,
originally uploaded by ocean.flynn.

text

Via Flickr:
The National Gallery of Canada gradually became morphed into my memory palace, a mnemonic device where social histories began to reveal themselves as one perspective merged into another. Renaissance perspective was too linear, too Hegelian for the way in which I wanted to revisit communal memories. I began to see the gallery spaces through an Escherian perspective where each art work opened into a panorama, a vista of social histories.

Selected Timeline: Moral Limits of Markets

Along with vast improvements in material conditions capitalism’s dark side has created insatiable appetites, limitless monetization of contemporary life through privatization for-profit (hospitals, schools, prisons…) commodification and commercialization. Harvard political philosopher, Michael Sandel claims we have gone too far and calls for an informed public debate, a robust conversation on the moral limits of markets? Sandel argues that the left and right, the Democrats and Republicans have abandoned civic virtue, and have impoverished views of citizenship and community. Sandel does not suggest precise limits but invites discussions. Things that were once considered repugnant as marketable commodities, have become or are gradually becoming normalized: paying people to give an organ or blood or to submit to risky drug tests; the sale of naming rights in classrooms, for sports stadiums, etc; paying school children to read more or get good grades; the right of corporations to pollute the atmosphere; hiring mercenaries to fight wars or using private corporations in the U.S. military presence in Iraq; selling citizenship to immigrants; selling admission to elite universities.

Selected Timeline of Related Events in the Social History of Moral Limits of Markets

Barely begun, work in process. Please note that efforts are made to acknowledge sources but this is a blog post not an academic paper and there might be unintentional omissions. See webliography and bibliography.

2012-10-15 Roth received a Nobel Prize for his innovative exchange concept applied to kidney transplants. In a 2007 article he noted that his exchange concept may have been repugnant to some as it created a grey area in benefits from organ donations. Economists Alvin E. Roth of Harvard University and Lloyd S. Shapley of the University of California at Los Angeles whose work has led to nearly 2,000 kidney transplants across the United States have received 2012 Nobel Prize for economics Monday at a news conference in Stockholm, Sweden.  Roth and Shapley were honored for “the theory of stable allocations and the practice of market design.” (Smith 2012-10-15 ”  Nobel economists’ big impact: Kidney transplants ). See also Roth, Alvin E. 2007. “Repugnance as a Constraint on Markets.” Journal of Economic Perspectives. Summer: 21:3. pp. 37–58.

2012-07-12 In a book review entitled “Money and the markets: Insatiable longing,” The Economist examined limits of capitalism.

2012-04-24 Michael J. Sandel’s book entitled What Money Can’t Buy: The Moral Limits of Markets was published. Sandel asks, “Should we pay children to read books or to get good grades? Should we allow corporations to pay for the right to pollute the atmosphere? What about hiring mercenaries to fight our wars? Auctioning admission to elite universities? Selling citizenship to immigrants willing to pay? (Amazon)”

2007 “The laws against buying or selling kidneys reflect a reasonably widespread repugnance, and this repugnance may make it difficult for arguments that focus only on the gains from trade to make headway in changing these laws. That does not mean that no gains from exchange can be realized; in fact some gains are beginning to be realized in the kidney exchange programs that Tayfun So¨nmez, UtkuU¨ nver, and I helped to design in New England and elsewhere. In the simplest form of kidney exchange, a patient with a willing donor who has an incompatible blood type (or who is incompatible for another reason) can exchange a kidney with another such incompatible patient–donor pair. (That is, the pairs are matched so that the donor from one pair is compatible with the patient from the other, and each patient receives a kidney from the other patient’s donor.) This sort of “in kind” exchange has gained acceptance in the transplant community (Roth, Alvin E. 2007. “Repugnance as a Constraint on Markets.” Journal of Economic Perspectives. Summer: 21:3. pp. 37–58.).1″

2005-02-09 Michael J. Sandel presented his paper entitled the “The Moral Limits of Markets” in which he raised these questions: “Are there some things that should not be bought and sold, and, if so, why? The proliferation of markets in recent years makes this issue difficult to avoid. Consider, for example, recent proposals to establish markets in organs for transplantation, the race among medical entrepreneurs to patent human genes and other life forms, the aggressive marketing of drugs as consumer goods, and the proliferation of for-profit schools, hospitals, and prisons. The rampant commodification, commercialization, and privatization of contemporary life give us reason to reconsider the moral limits of markets: Are there some things that money should not buy?” (Hoffmann and Sandel 2005-02-09).

2003-07 [T]he U.S. Department of Defense included terrorist attacks or terrorism futures market in a speculative list of  predictive markets. Public repugnance forced the Pentagon to hastily cancel the program (wiki).

1996  Michael J. Sandel’s book entitled Democracy’s Discontent was published.  In it Sandel called for a rejuvenation of civic life and civic voice in the United States. He argued that the vision of citizenship and community shared by both Democrats and Republicans was impoverished ( Amazon).

1990 “[T]he Clean Air Act was amended to allow trading of rights to pollute through tradable emissions entitlements (Roth 2007).”

1980s Alvin E. Roth of Harvard University’s market design experiments based on Shapley’s 1960s work were used for such matches as students with schools and organ donors with patients who need a transplant  (Smith 2012-10-15 ”  Nobel economists’ big impact: Kidney transplants ). See also Roth, Alvin E. 2007. “Repugnance as a Constraint on Markets.” Journal of Economic Perspectives. Summer: 21:3. pp. 37–58.

1960s Economist Lloyd S. Shapley co-developed a mathematical theory on resource allocation as applied to the job market (Smith 2012-10-15 ”  Nobel economists’ big impact: Kidney transplants ). See also Roth, Alvin E. 2007. “Repugnance as a Constraint on Markets.” Journal of Economic Perspectives. Summer: 21:3. pp. 37–58.

1907 George Simmel’s book on economic sociology entitled The Philosophy of Money  was published. Simmel investigated the consequences as money penetrated everyday life. “Hannes Böhringer has argued, “Money…objectifies the ‘style of life’, forces metropolitan people into ‘objectivity’, ‘indifference’, ‘intellectuality’, ‘lack of character’, ‘lack of quality’. Money socializes human beings as strangers…money also transforms human beings into res absolutae, into objects. Simmel’s student, Georg Lukács, correctly noticed that this objectification (in his words: reification and alienation) did not remain external, cannot, as Simmel maintained, be the ‘gatekeeper of the innermost elements’, but rather itself becomes internalized (H.Böhringer, ‘Die “Philosophie des Geldes” als ästhetische Theorie’, in H.J.Dahme and O.Rammstedt (eds), Georg Simmel und die Moderne, Frankfurt, Suhrkamp, 1984, pp. 178–82, esp. p. 182. cited in Simmel, Georg. 2004 [1907]. The Philosophy of Money. Third enlarged edition. Ed. David Frisby. Trans. Tom Bottomore and David Frisby from a first draft by Kaethe Mengelberg. London and New York.)” Roth ( 2007) cited Simmel (1907 as a starting point in sociology literature on “how the introduction of money changes many kinds of social relationships and their meanings.”

Who’s Who?

Michael J. Sandel “is professor of government at Harvard University, where he has taught political philosophy in the Faculty of Arts and Sciences since 1980. He was educated at Brandeis University and received his Ph.D. from Balliol College, Oxford University, where he was a Rhodes Scholar. He is a member of the National Constitution Center Advisory Panel, the Rhodes Scholarship Committee of Selection, the Shalom Hartman Institute of Jewish Philosophy, and the Council on Foreign Relations. He has received fellowships from the Ford Foundation, the American Council of Learned Societies, and the National Endowment for the Humanities. He is the author, most recently, of Democracy’s Discontent: America in Search of a Public Philosophy (1996), as well as Liberalism and Its Critics (1984) and Liberalism and the Limits of Justice (1982) (Tanner Lectures Introduction. 1998-05-11/12. “What Money Can’t Buy: The Moral Limits of Markets).” While at Balliol College, Oxford, as a Rhodes Scholar, Sandel studied under political philosopher Charles Taylor.
[edit]

Selected Webliography and Bibliography

The Economist. 2012-07-12. “Money and the markets: Insatiable longing.” The Economist.

Hoffmann, Stanley; Sandel, Michael J. 2005-02-09. “Markets, Morals, and Civic Life”  Introduction by Stanley Hoffmann. Presented at the 1887th Stated Meeting, held at the House of the Academy. http://www.amacad.org/publications/bulletin/Summer2005/MarketsMoralsCivitLife.pdf

Roth, Alvin E. 2007. “Repugnance as a Constraint on Markets.” Journal of Economic Perspectives. Summer: 21:3. pp. 37–58.

Sandel, Michael J. 1996. Democracy’s Discontent.  Belknap Press of Harvard University Press. Amazon.

Sandel, Michael J. 1998-05-11/12. “What Money Can’t Buy: The Moral Limits of Markets.” The Tanner Lectures on Human Values. Delivered at Brasenose College, Oxford.

Sandel, Michael J. 2005. “The Moral Limits of Markets.” Bulletin of the American Academy of Arts and Sciences. Summer: 6–10.

Sandel, Michael J. 2012-04-24. What Money Can’t Buy: The Moral Limits of Markets. Farrar, Straus and Giroux.

Simmel, Georg. 1907. The Philosophy of Money. 

Smith, Aaron. 2012-10-15. “Nobel economists’ big impact: Kidney transplants.” CNN Money.

Cartography of Memory: Tracing Stories Using Google Maps

Watermind by M M Burkner 2008-11

View Larger Map

The map traces place names in the novel but fiction and reality overlap at times. In The Economist. 2012-06-23. “Blooming horrible: Nutrient pollution is a growing problem all along the Mississippi.”

“On its long journey south the water has scooped up nutrients such as nitrogen and phosphorus, mainly from the fields of the Midwest. So much so that agriculture’s gift to the gulf is a “dead zone”. The excess nutrients cause algae to bloom, consuming all the available oxygen in the sea, making it hostile to other forms of marine life. Creatures that can swim away, such as shrimp and fish, do so; those that cannot, die. In the four decades since the dead zone was discovered it has grown steadily. Today it covers 6,700 square miles, an area larger than Connecticut (The Economist 2012-06-23).”

See wikipedia article on dead zones currently being updated.

Chicago and the Mississippi River Delta.

Wikipedia codes: a personal cheat sheet: code is poetry

This is a personal research tool to help me in writing and editing wikipedia articles. Wikipedia provides in-depth information that is more useful, up-to-date and accurate than information on this blog post. For example, for information on citing books, see here. These are the templates I use most and have provided them here in one easy to find page.

I am entranced by wiki tools.

Wiki codes are improving constantly in pace with wiki content. Much of wikipedia is produced, maintained, created and edited through the work of countless volunteers.

When I find a tiny chunk of data that is not tied to an index I sometimes feel compelled to link it hoping that it will help someone else or even my future self. It might save time later.

Wikipedia lets me do that.

I can correct someone else’s minor error. They can correct mine.

I can make a major change to an article and someone else can make a major change to mine.

When I want to learn better practices in codes I can look up a {{Good article}} for examples.

There are always more experienced wikipedia editors who check for errors, inconsistencies, weaknesses, oversights (especially in the use of referenced material, too close paraphrasing etc).

Most recent finds:

* References
==References==
{{reflist|colwidth=30em}}

*Further Reading
===Further Reading===
*{{cite book
}}

*Notes
===Notes===
{{Reflist|group=notes}}

*Categories:
*Countries
Contents [hide]
1 Themed lists
1.1 Demographics
1.2 Economy
1.2.1 Gross domestic product
1.2.2 Industrial Output
1.2.3 Agriculture
1.3 Environment
1.4 Geography
1.5 Military
1.6 Names
1.7 Politics
1.8 Sports
1.9 Tourism
1.10 Transport
1.11 Miscellaneous
2 References

*Citation template that shows how to add page numbers for distinct inline references without having page number show up in list of references. So simple!

{{cite news
|title= A Magnitsky law for Europe
|author=
|url=http://www.ft.com/cms/s/0/e18677dc-54d8-11e2-a628-00144feab49a.html
|newspaper= ”[[The Financial Times]]”
|date= January 3, 2013 (paper edition)
|accessdate=5 January 2013
}} p. 8.

*Multiple authors
|first1=George
|last1=Monbiot
|authorlink=George Monbiot
|first2=
|last2=

*Linking offsite urls Firestone Duncan[http://www.firestone-duncan.com/]

*Some articles are much more developed and can be used as models for a variety of templates. I try to use the more recent articles for the more recent templates. The wiki article on Steve Jobs is one of those.

References and sources:

Reliability

“Social networking sites (Facebook, MySpace), blogs etc. are NOT reliable, while newspaper articles, magazines (Time Magazine), books etc. ARE reliable (wikipedia editing page re: Steve Jobs’ article.”

Wikipedia Template for References

Generating the full bibliography and webliography at the end of the article

At the end of the article the following code generates the complete bibliographic reference list in wikipedia’s perferred bibliographic style. I prefer to fill in the templates manually to ensure all relevant data is included. It takes longer but may prevent the loss of a reference if an url becomes a dead end.

==My Common Mistakes==

day= is deprecated – use |date= if all three components are available

city vs location

format=PDF not .pdf as I use

|accessdate=

[[capillary action|capillary forces]]  the second one is the one that displays?

==link to main article within an article==
{{Main|Global warming}}

==How to link a phrase to outside sites==

[http://www.cees.iupui.edu/Research/Water_Resources/CIWRP/Algae_Information/Presentations/2010-06-17-Symposium/2010-06-17_Lehman-Whole_Lake_Experiments.pdf |Whole Lake Experiments]

==ref name= / ==
Does the name need “”? No

==creating categories==

== References ==
{{reflist}}

== References ==
{{reflist|25em|refs=

Individual bibliographic/webliographic entries

1. New! editor replaced <ref>Gregory S. Aldrete (2004), ”Daily Life in the Roman City: Rome, Pompeii and Ostia”, p. 78, ISBN 978-0-313-33174-9</ref> with

{{sfn|Aldrete|2004|pp=79f.}} and {{sfn|Aldrete|2004|pp=78-9}} and {{sfn|Aldrete|2004|pp=79 ff.}} for exact page numbers! great, wondered how to do that.

1. This <ref> “Whole Lake Experiment, Ford Lake, Prof Lehman”[ http://www.cees.iupui.edu/Research/Water_Resources/CIWRP/Algae_Information/Presentations/2010-06-17-Symposium/2010-06-17_Lehman-Whole_Lake_Experiments.pdf%5D</ref&gt; replaced with this <ref>[http://www.cees.iupui.edu/Research/Water_Resources/CIWRP/Algae_Information/Presentations/2010-06-17-Symposium/2010-06-17_Lehman-Whole_Lake_Experiments.pdf "Whole Lake Experiment, Ford Lake, Prof Lehman"]</ref>

Each bibliographic entry has a <ref> </ref>to open and close each reference.

It is preferable to use eg <ref name=”Rawls”> when using several citations from the same article.

• {{Cite album-notes}}, {{Cite book}}, {{Cite conference}}, {{Cite DVD-notes}}, {{Cite encyclopedia}}, {{Cite interview}}, {{Cite journal}} Includes magazines, journals, academic papers, {{Cite mailing list}}, {{Cite manual}}, {{Cite music release notes}}, {{Cite map}}, {{Cite news}}, {{Cite newsgroup}}, {{Cite podcast}}, {{Cite press release}}, {{Cite serial}}, {{Cite sign}}, {{cite speech}}, {{cite techreport}},
• {{Cite thesis}}, {{Cite video}}, {{Cite web}},
• See Wikipedia Template:Cite web {{cite web}} horizontal

  • Day Month Year

    {{cite news |title= |first= |last= |url= |newspaper= |date= |accessdate=3 June 2012}}

  Month Day, Year

  {{cite news |title= |first= |last= |url= |newspaper= |date= |accessdate=June 3, 2012}}

• See Wikipedia Template:Cite news {{Cite news}}
• <ref>{{cite web
  |url=
  |title=
  |author=
  |publisher=
  |city=
  |year=
  |month=
  |day=
  |page=
  |accessdate=December 4, 2011
  |}}</ref><ref>{{cite web
  |url=
  |title=
  |author=
  |publisher=
  |city=
  |year=
  |month=
  |day=
  |accessdate=
  |}}</ref>

  • Using authorlink to link to article about the author on Wikipedia

    • <ref>{{cite news | first=George | last=Monbiot | authorlink=George Monbiot | title=From toxic waste to toxic assets, the same people always get dumped on | url=http://www.guardian.co.uk/commentisfree/cif-green/2009/sep/21/global-fly-tipping-toxic-waste | newspaper=The Guardian | location=London | date=22 September 2009 }}</ref>

Examples:

<ref>
{{cite book
|year=2007
|contribution=C. Mitigation in the short and medium term (until 2030).
|title= Summary for Policymakers.
|series=Climate Change 2007: Mitigation. Contribution of Working Group III to the Fourth Assessment Report of the Intergovernmental Panel on Climate Change
|editor=B. Metz ”et al.”
|publisher=Print version: [[Cambridge University Press]], Cambridge, U.K., and New York, N.Y., U.S.A.. This version: IPCC website
|isbn=9780521880114
|author=IPCC
|url=http://www.ipcc.ch/publications_and_data/ar4/wg3/en/spmsspm-c.html
|accessdate=May 15 2010
}}
</ref>

<ref>
{{
|title=The universe in short
|first1=Stephen W.
|last1=Hawking
|publisher=Bantam Books
|year=2001
|isbn=9780553802023
|page=26
|
}}
</ref>

<ref>
{{Citation
|title=The Nobel prize: a history of genius, controversy, and prestige
|first1=Burton
|last1=Feldman
|publisher=Arcade Publishing
|year=2001
|isbn=1-559-70592-2
|page=141
|url=http://books.google.com/?id=xnckeeTICn0C}}, [http://books.google.com/books?id=xnckeeTICn0C&pg=PA141 Page 141]
}}</ref>

In 1901, Einstein had a paper on the [[capillary action|capillary forces]] of a straw published in the prestigious ”[[Annalen der Physik]]”.
<ref>
{{Citation
|last = Galison
|first = Peter
|authorlink = Peter Galison
|title = Einstein’s Clocks, Poincaré’s Maps: Empires of Time
|publisher = W.W. Norton
|location = New York
|year = 2003
|isbn = 0393020010 }}
</ref>

Further Reading

==Further reading==
* {{cite book|title=Geo-Engineering Climate Change: Environmental Necessity or Pandora’s Box?|
editor1-first=Brian|editor1-last=[[Brian Launder|Launder]]|editor2-first=J. Michael T. |editor2-last=Thompson|publisher=[[Cambridge University Press]]|date=December 2009|isbn=978-0-521-198035}}
*{{cite book|author=[[Eli Kintisch]]|year=2010|title=Hack the Planet: Science’s Best Hope, or Worst Nightmare, for Averting Climate Catastrophe|isbn=978-0470524268}}
*{{cite book|author=Jeff Goodell|authorlink=Jeff Goodell|year=2010|title=How to Cool the Planet: Geoengineering and the Audacious Quest to Fix Earth’s Climate|isbn=978-0618990610}}
* {{cite journal| journal= [[Nature (journal)|Nature]]| volume= 447| pages= 132–136| date=May 10, 2007 | doi=10.1038/447132a| title=Climate change: Is this what it takes to save the world?| first=Oliver| last= Morton| pmid= 17495899| issue= 7141}} –Abstract only, full article requires payment.
*{{cite book|author=[[James Rodger Fleming]]|publisher=[[Columbia University Press]]|date=September 15, 2010|title=Fixing the Sky: The Checkered History of Weather and Climate Control|isbn=978-0231144124}}
*[http://www.irgc.org/-Granger-Morgan-.html Granger Morgan], Katharine Ricke (2010). ”An Opinion Piece for [http://www.irgc.org IRGC]. Cooling the Earth Through Solar Radiation Management: The need for research and an approach to its governance.” ISBN 978-2-9700672-8-3

For references that are cited several times in the same article use this for subsequent references:

<ref> name=”rawls” <ref />

Translations
({{fr}}:)

(French: ”Ministère de l’Écologie, du Développement durable, des Transports et du Logement”, ”’MEDDTL”’)

{{Language icon|en|English}}
{{documentation}}

Duplication Detector

Duplication Detector ”is a tool used to compare any two web pages to identify text which has been copied from one to the other. It can compare two Wikipedia pages to one another, two versions of a Wikipedia page to one another, a Wikipedia page (current or old revision) to an external page, or two external pages to one another. Duplication detector locates passages in which the text on the two pages is the same (wiki article).”

Dead Link

Link Rot, linkrot, link death, link breaking, broken link, dangling link are links that point to a source that is unavailable or do not work. Wikipedia editors are concerned about link rot and encourage the use of services like  WebCite, that provide on-demand web archiving.  WebCite, archives copies of online links that remain available even if the original link is a dead link.  The New York Times and wordpress offers the service of a permalink. para wiki

Wikipedia also recommends the Wayback Machine which takes webpage snapshots.

The following codes etc are from the wikipedia article entitled Faye Wong created and frequently edited by User:Fayenatic london, is administrator on English Wikipedia. Fayenatic london is among the 800 most active editors on Wikipedia.

How to create a quote box:

dead urls can also be archived here

|archiveurl=http://web.archive.org/web/20050323175527/

http://www.guinnessworldrecords.com/gwr5/content_pages/record.asp?recordid=54458

|archivedate=23 March 2005

quotation

 

Centered (but not floating any more):

{{Quote box
 |quote  = Cry "Havoc," and let slip the dogs of war.
 |source = [[William Shakespeare]], ''[[Julius Caesar (play)|Julius Caesar]]'', Act III, Scene I.
 |width  = 50%
 |align  = center
}}
{{Lorem ipsum}}

————-

 

 

 

Linking to other wikipedia articles when the titles are not identical

since [[Mainland Chinese|Mainlanders]] were [[stereotyped]]

————–

film [[Confucius (2010 film)|''Confucius'']] was released

A Paradigm is a Cognitive Road Map

Under construction

I submitted the online paper entitled “Bridges and Barriers: Perspectives from the Road to Nowhere: Locating the ‘Participatory in Research and ‘Research’ in Participatory‘” in June, 2003.

Paradigm, a cognitive road map that encompasses ontology, epistemology and methodology

“The paradigm encompasses ontology (the nature of reality); epistemology (how we know and the relationship between the knower and the known) and the methodology (how we gain knowledge about the world, of which PAR is one approach). A paradigm is socially constructed and depends on a basic set of beliefs that guide action. It is a worldview, a basic set of beliefs that define the nature of the human subject, the relationships between human subject and the world. Paradigmic beliefs depend as much on faith as any philosophical belief. Paradigms can be so inclusive that they encompass worlds within worlds or as narrow as orthodox positivism (Denzin, 1994).”

What is ‘the market’?

under construction

What is being done in the name of ‘the market’ in 2012?

The government of Alberta is currently basing its decisions on energy strategy regarding oil refineries on ‘the market’. “Let ‘the market’ decide.” What is ‘the market’? Can we talk about ‘the market’ in policy making on energy? Or is it highly fragmented yet inextricably linked? Oil with natural gas? Labour market? Bitumen and crude oil? Which crude? Is the market upstream or downstream? Financial market? Is it a futures market, just-in-time, real time or just-too late?

Who are the players in ‘the market’?

The increase the market value of stocks owned by shareholders is the responsibility of the CEO’s of incorporated companies according to North American economists and the business community. In fact under U.S. corporate law a CEO who makes decisions that are not market-based, risks liability for a breach of fiduciary duty (Leibold, Annalisa M., “Aligning Incentives for Development: The World Bank and the Chad-Cameroon Oil Pipeline” (2011). Student Prize Papers. Paper 79. Yale Journal of International Law. Vol.36:167:184).

Leibold referred to the consortium (coventure) formed in 2000 by three energy companies (ExxonMobil:40%, Petronas:35%, Chevron:25%) that became one of the central players in the World Bank’s strategic plan to use oil extraction to reduce poverty in Chad. Leibold argued that it did not work as a development project because the profit-maximizing nature of corporations. The Chadian president signed a contract in 2004 for a much smaller royalty than other African countries received at the time. The Chadian share of profits was low. Loans for the project were provided by the World Bank’s International Finance Corporation.

As e-commerce relationships multiply exponentially to whom are the CEOs of mega-companies liable for breach of fiduciary duty?

To what extent is the market a complex interconnected dynamic virtual network?

To what extent is ‘the market’ rational in 2012?

To what extent is the ‘market’ related to the [physical/virtual] exchange of [goods/capital] in [physical] real time/space?

At what scale do rules change? Can there be rules of thumb for large-scale complex international markets?

“It is standard doctrine, at least among American economists and in much of the business community, that firms should maximize the stock market value.” Incorporated companies are ultimately accountable to their shareholders. (Joseph E. Stiglitz, “What is the Role of the State?” in Escaping the Resource Curse, supra note 154, at 3, 28-29) (“It is standard doctrine, at least among American economists and in much of the business community, that firms should maximize the stock market value.”).) Under U.S. corporate law, for example, a corporation’s board of directors must make decisions that reflect the profit motivations of shareholders or risk liability for a breach of fiduciary duty.” (The Yale Journal of International Law. Vol.36:167:184).

“The financial markets are accelerating: transaction volumes are up, latencies are down, complex cross asset trading up, revenue margins down. Recently markets have seen sudden spikes in volumes, and nervous volatility when the old rules of thumb broke down. Technology and global regulators have both changed those rules by increasing transparency, intensifying competition, and multiplying e-commerce relationships exponentially. Reforms such as Reg NMS in the US and MiFID in Europe have further increased the pressure, along with Basel II and the fair value accounting rules of the new International Financial Reporting Standards (IFRS). The IFRS require, for example, firms to mark more of their assets and liabilities to market, while Basel II is much more explicit about risk adjusted capital reserves needed. Now, when markets move, traders need to catch them on-the-fly to cut their losses and go with the flow to ensure compliance with all the rules and customer mandates. The difference between just-in-time and just-too late has just become bigger (Giffords, Bob; Palmer, Mark. “Can Real-Time Profit and Loss Tame the Turbulent Markets?” StreamBase White Paper Real-Time Profit & Loss. StreamBase Systems).”

Financial market

transactions: just-in-time, just-too late
traders:
Labour market
Market for Financial Advice

the market [is] [emerging/performing/balanced/sustainable/stable/nervous/unstable/accelerating/turbulent/crashed] [experiencing] [transaction/latancies/revenue margins] [sudden][spikes] in [demand/supply][side][transaction][volumes][up/down]

competition is [intensified/]
transparency [increased]

[Natural gas] is a [sustainable/unstable/emerging/performing/turbulent] market wherein the [volume/price/value/royalties] of natural [unis][gas][gas futures][gas company stocks] [rose/fell/remained static] [slowly/consistently/dramatically] because of [reduced/increased] [supply/demand][Profit/Loss] [new/failing/controversial] [technology] for [extracting/transporting][regulation/deregulation].

The ‘labour market’ is [flexible] with [increased/stable/decreased] mobility]

‘The market’ is [sustainable/unstable/emerging/performing/turbulent] as the [volume/price/value/royalties] of [futures/stocks/transactions] [rose/fell/remained static] [slowly/consistently/dramatically] because of [reduced/increased] [supply/demand][Profit/Loss] [new/failing/controversial] [technology] for [extracting/transporting][regulation/deregulation].

Callon, Michel. 1998. The Laws of the Markets. Blackwell Publishers/Sociological Review.

With the collapse of the planned economies of Eastern Europe, the market is extending its reach and at the same time claiming its universal applicability. But this is occuring while paradoxically it is becoming more difficult to define ‘the market’. The authors, all outstanding scholars in the booming field of socio-economics, explore how concrete markets are built up and stabilized. They give answers to questions such as the following: How are entities, material or nonmaterial, human or nonhuman, transformed into commodities? How are economic behaviours shaped by institutional arrangements? Is it possible to characterize the role of the social sciences and in particular of economics in performing markets and in enforcing rational behaviours?

Résumé: “Ce recueil regroupe plusieurs articles qui portent leur attention sur l’organisation des marchés. Michel Callon examine la place de la notion d’économie de marché au sein des théories économiques. Viviana A. Zelizer met en lumière une certaine prolifération des monnaies sociales dans la période actuelle. Michel Y. Abolafia considère que l’on doit appréhender les marchés comme autant de cultures spécifiques. Bai Gao s’efforce de mesurer l’influence des facteurs culturels et politiques sur l’évolution du mode de gestion japonais entre 1946 et 1996. David Stark analyse l’organisation de la propriété capitalistique en Europe orientale après l’effondrement du communisme. Mark Granovetter et Patrick McGuire décrivent de quelle manière l’industrie de l’électricité s’est développée aux Etats-Unis dans la première moitié du 20e siècle. Peter Miller étudie l’évolution des pratiques professionnelles dans le domaine de la comptabilité. Franck Cochoy présente le marketing comme une science de la performance et un savoir-faire au service du capitalisme. Hervé Dumez et Alain Jeunemaître examinent l’impact des politiques économiques sur le développement de l’industrie du ciment. Michel Callon pose le problème des limites des modèles mobilisés par les économistes.”

Michel Callon, developer (with Bruno Latour and others) of Actor Network Theory, is Professor at the Ecole des mines de Paris and a Researcher at the Centre de Sociologie de l’innovation there.

English Keywords:Market, Economic organization, Money, Culture, Economical Management, Japan, Capital, Property, Eastern Europe, Post-communism, Electric Power Industry, Economic Development, United States Of America, Marketing, Know How, Performance, Economics, Market Economy ; Economic Model, Accounting, Occupational Practice,
Mots-clés français: Marché ; Organisation économique ; Monnaie ; Culture ; Gestion ; Japon ; Capital ; Propriété ; Europe orientale ; Post-communisme ; Industrie électrique ; Développement économique ; Etats-Unis ; Commercialisation ; Savoir-faire ; Science ; Performance ; Science économique ; Economie de marché ; Modèle ; Comptabilité ; Pratique professionnelle ;

John Baldessari (b.1931) US

John Baldessari

“Based in Los Angeles since the 1960s, John Baldessari (b. 1931) is one of the most influential artists of his generation. Making his name as a pioneer of conceptual art in the 1960s with his text and image paintings, he shocked the art world when he announced in a newspaper that he was cremating all the artworks he had produced between 1953 and 1966. He then turned his attention to photographic works often incorporating found film stills, trawling dumpsters for discarded material from which he created his famous photo-compositions. Baldessari’s lifelong interest in language, both written and visual, has been at the forefront of both his artwork and his teaching, through which, over more than thirty years, he has nurtured and influenced succeeding generations of artists. His work has had a huge influence on Cindy Sherman, David Salle, and Barbara Kruger among others. His works incorporate wit and irony, both mocking conceptual art and delivering it in his iconic work I Am Making Art; superimposing media images and painting with his trademark dots and over-painted figures in The Duress Series; and exploring the idea of subliminal images in advertising in his sequence of ice cubes containing the words of his name, ‘U-BUY BAL DES SARI’. (Tate 2009)”

“American artist John Baldessari rose to prominence in the late 1960s combining Pop Art’s use of imagery from the mass media with Conceptual Art’s use of language to create a unique body of work that has become a hallmark of postmodern art. Early in his career, Baldessari began incorporating images and texts in his photo-based art. He appropriated pictures from advertising and movie stills, juxtaposing, editing, and cropping them in conjunction with written texts. His resulting montages of photography and language often counter the narrative associations suggested by the isolated scenes and offers a greater plurality of meanings. The layered, often humorous compositions carry disparate connotations, underscoring how relative meaning can be (Deutsche Guggenheim 2005).”

1949-53 B.A., San Diego State College, California.

1954-55 University of California, Berkeley.

1955 University of California, Los Angeles.

1956 Andy Warhol establishing himself as an acclaimed graphic artist in the 1940s. In the 1950s he began painting and drawing. In 1952 Warhol “had his first solo exhibition at the Hugo Gallery, with Fifteen Drawings Based on the Writings of Truman Capote. As he matured, his paintings incorporated photo-based techniques he developed as a commercial illustrator. The Museum of Modern Art (among others) took notice, and in 1956 the institution included his work in his first group show (Warhol Foundation).”

1955-57 M.A., San Diego State College, California.

1957-59 Otis Art Institute, Los Angeles. Chouinard Art Institute, Los Angeles.

1960s “American artist John Baldessari rose to prominence in the late 1960s combining Pop Art’s use of imagery from the mass media with Conceptual Art’s use of language to create a unique body of work that has become a hallmark of postmodern art ().”

1961 Andy Warhol (1928–1987) known for his pop art, was trained as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. In late 1961, he learned the process of silkscreening from Floriano Vecchi. Warhol worked with a blown up photographs which were then transferred with glue onto silk. He started with U. S. dollar bills and later did silkscreens of Campbell’s Soup cans. “Building on the emerging movement of Pop Art, wherein artists used everyday consumer objects as subjects, Warhol started painting readily found, mass-produced objects, drawing on his extensive advertising background. When asked about the impulse to paint Campbell’s soup cans, Warhol replied, “I wanted to paint nothing. I was looking for something that was the essence of nothing, and that was it”. The humble soup cans would soon take their place among the Marilyn Monroes, Dollar Signs, Disasters, and Coca Cola Bottles as essential, exemplary works of contemporary art.”

1964 Baldessari produced “Art Lesson” in which he mocked art manuals.

1966 Thirty-five year old John Baldessari shocked the art world when he announced in a newspaper that he was cremating all the artworks he had produced between 1953 and 1966.

1966 “Tips for Artists Who Want to Sell, 1966-1968″ [See slideshow, Image 1] derives from Baldessari’s interest in the rules by which one creates; specifically, the delimited structures of subject and composition encouraged/discouraged by the craft-orientated publications on painting and photography of the time. In this work, Baldaessari deconstructs the rubric of an “acceptable” and/or more commercially viable picture. This brings to mind Deleuze’s arguments on creation. True creation is not a given to process, but moreover, a rare development that expands the perceptual lexicon of an age; to take us to where we have not yet been (“John Baldessari: Pure Beauty.” Immanent Terrain).”

1966-1968 Baldessari produced “Econ-O-Wash, 14th and Highland, National City, Calif. “For this photograph on canvas, not only does the image [shot haphazardly out the driver-side door of his passing car] violate compositional clarity of subject, but the parameters of the canvas are dictated by the dimensions of the time/space considerations of the environment in which the image resides. Deleuze argued that “true creation is not a given to process, but moreover, a rare development that expands the perceptual lexicon of an age; to take us to where we have not yet been (“John Baldessari: Pure Beauty.” Immanent Terrain).”

1967 Baldessari produced “Art Lesson #3″ in which he mocked art manuals.

1967-1968 John Baldessari Produced “Quality Material. . .” which resold at Christie’s New York auction for $4,408,000 in May 16, 2007

1967-1970 University of California, San Diego. San Diego, CA. Professor of Art.

1970-1988 California Institute of the Arts. Valencia, CA. Professor of Art.

1968 French philosopher Gilles Deleuze (1925-1995) published his magnum opus, a metaphysical treatise entitled Difference and Repetition. This book along with Logique du sens (1969), was reviewed by influential philosopher Michel Foucault in his book entitled Language, Counter-Memory, Practice: Selected Essays and Interviews. In the chapter entitled “Theatrum Philosophicum” he argued that the 20th century would be Deleuzian. Deleuze developed his “metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility (SEP).”

1969 Sol LeWitt published his book entitled Sentences on Conceptual Art in which he argued, “Irrational thought should be followed absolutely and logically.”

1970 John Baldessari exclaimed to his students at California Institute of the Arts. Valencia, CA, “It’s not Warhol who is the most important artist of the 1960s, but Godard!” Baldessari argued that film was the most influential medium in the field of contemporary art. Many artists since then became deeply inspired by the language of cinema and its visual codes, which they incorporate into their work (Image Movement store).

1971 “I will not make anymore boring art.” Black and white video of Baldessari writing out this phrase like a schoolboy being punished for bad behaviour.

1971 Baldessari produced a video entitled “I am making art” in which he moved spasmodically while repeating for 20 minutes that he is making art.

1972 John Baldessari made a video of himself entitled “LeWitt” in which he sings quotes from from Sol LeWitt’s publication entitled, “Sentences on Conceptual Art (1969).” As usual when Baldessari engages with a theoretical problem he “foremost proceeds with a sense of humor, a wink and a nudge (“John Baldessari: Pure Beauty.” Immanent Terrain).”

1972 “In Choosing [A Game for Two Players]: Carrots, 1972 [See slideshow, Image 3], Baldessari sought, through a loose control group, which of three carrots, placed and thereby judged in varying orders, would be selected as the most ideal specimen of “carrot.” The experiment plays with our perceptual faculties of difference and distinction and begs to question the arbitrary nature of our curatorial instincts. Carrots resonates with the philosophy of Deleuze and Bergson in so far as the relational aspects of ‘this as well as that’ is implied in the frame of any-space whatever (“John Baldessari: Pure Beauty.” Immanent Terrain).”

1970s “It was during the 1970s that Baldessari began to utilize other peoples’ photographs in his work rather than his own snapshots: “What got me interested in found imagery was that it was not considered art, but just imagery, and I began dumpster diving in photo shops.” Finding that film stills, as well as publicity shots and press materials, were readily available, Baldessari gathered images in abundance (Deutsche Guggenheim 2005).”

1974 Baldessari produced a series of Eight black-and-white photographs of knots (16 x 40 inches overall size) entitled “Portrait: These Are Knot Portraits.” referencing Magritte’s painting entitled “Ceci n’est pas une pipe” and Michel Foucault’s book entitled “This is not a Pipe (1968).”

1977 Michel Foucault published his book entitled Language, Counter-Memory, Practice: Selected Essays and Interviews. In the chapter entitled “Theatrum Philosophicum” he argued that the 20th century would be Deleuzian.

1996-2007 University of California, Los Angeles. Los Angeles, CA. Professor of Art.

1983 Gilles Deleuze wrote his seminal book entitled Cinéma I: L’image-mouvement [Trans. Cinema 1: The Movement-Image (1986)]. In this, the French philosopher and art theorist, emphasizes the medium film as a modern concept of movement to be “capable of thinking the production of the new.” Exactly this restructuring and alternative classification of signs, symbols and images through cinema and film is what fascinated artists of the of the 20th and 21st century (Image Movement store). Cinéma I: L’image-mouvement (1983). Trans. Cinema 1: The Movement-Image (1986).

1984 Baldesseri produced “Man and Woman With Bridge” which revealed his interest in the associative dimensions of montage. Baldessai explained that, “The subject is the space between, the magnetic field created by the peripheral poles. A way to scrutinize relationships…”(Image Movement store).” Baldessari’s “1980s compositions deriving from film stills rank as pivotal to the development of art and other practices which address social and cultural impact of the mass culture (ars magazine).”

1984 Baldesseri produced Pelicans Staring at Woman With Nose Bleeding which revealed his interest in the associative dimensions of montage. He explained, “As soon as you put together two things you have a story (Image Movement store).”

2005 “American artist John Baldessari rose to prominence in the late 1960s combining Pop Art’s use of imagery from the mass media with Conceptual Art’s use of language to create a unique body of work that has become a hallmark of postmodern art. Early in his career, Baldessari began incorporating images and texts in his photo-based art. He appropriated pictures from advertising and movie stills, juxtaposing, editing, and cropping them in conjunction with written texts. His resulting montages of photography and language often counter the narrative associations suggested by the isolated scenes and offers a greater plurality of meanings. The layered, often humorous compositions carry disparate connotations, underscoring how relative meaning can be ( (Deutsche Guggenheim 2005).”

2007 John Baldessari produced “Beethoven’s Trumpet (With Ear) Opus # 133″ a sculpture made of resin, fibreglass, bronze, aluminium, and electronics (186 x 183 x 267 cm) shown at the Saatchi.
“John Baldessari’s practice explores ideas around communication. Some of his signature works are conceptual juxtapositions of text and images that demonstrate the enormous associative power of language in the way that art is interacted with and understood. His works have paired statements with found photographs to humorously exploit the game-like way in which narrative can be arbitrarily created by language and visuals. Beethoven’s Trumpet (With Ear) Opus # 133 (2007) is a large-scale work about the paradox of communication’s incomplete nature – a sculptural sound piece about a deaf composer. It was one of the artist’s first sculptures. “I was asked to do a retrospective show in 2007 in Bonn with all the works I’d done about music. Bonn is the birthplace of Beethoven and I visited his house and he had a whole cabinet of ear trumpets that he used. I was really fascinated with them as sculptural forms, especially one that he had designed himself that I thought was quite beautiful. And then for maybe four or five years I’ve been doing these works about body parts and I think it started out with noses and ears, so ears were on my mind. And then probably there was one of those three o’clock in the morning moments when you are awake and all of a sudden I thought, ‘wait a minute – ear/ear trumpet’ (Saatchi. ).”

Baldessari’s epiphany and Magritte-like montage of associations creates a piece highlighting how meaning is created through senses beyond the traditionally privileged one, vision – the work is silent until the viewer speaks into the trumpet at which point a section from Beethoven’s six last quartets will be heard.

But if this is Beethoven’s deaf ear, is the meaning of what is said even connected to the sound that will be heard, and what does the randomness of the fragments indicate? The paradox of communication is once again left up to the viewer to resolve”

2009 John Baldessari exhibition entitled Raised Eyebrows/ Furrowed Foreheads opened at the Marian Goodman Gallery in New York. In an interview the artist discussed his life-long obsession with the distinction between parts and wholes, as well as his reductive philosophy of art-making. Synthesizing photomontage, painting, and language, Baldessari’s deadpan visual juxtapositions equate images with words and illuminate, confound, and challenge meaning. He upends commonly held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things.” A catalogue with text by Robert Storr was published.

2009-2010 John Baldessari’s exhibition entitled “Pure Beauty” featured c.150 pieces – works on canvas, photographs, videos and artist’s books was held at the Tate. In the exhibition catalogue Baldessari explained the process and philosophy behind his series entitled “Econ-O-Wash, 14th and Highland, National City, Calif (1966-8).

“Some of the photographs were originally taken for non-art use, some were taken to violate then-current photographic norms, and others were taken by pointing the camera blindly out the window while driving.” For his photo-text works, he prescribed conditions in which he made a limited number of aesthetic decisions. He captured the snapshot of the local car wash, without the aid of a viewfinder, to record the ordinary, unglamorous environs of his hometown, illustrating his conviction that “truth is beautiful no matter how ugly.” He then recorded the location for the caption, which was installed by a professional sign painter. The images were neither edited nor retouched in any way. The only “art signal” was the canvas support, and its format was determined by the maximum size that could fit through the doors of Baldessari’s Volkswagen bus (Metropolitan Museum exhibition catalog, Pure Beauty).”

links

http://www.baldessari.org/curatorial.htm

http://www.tate.org.uk/modern/exhibitions/johnbaldessari/default.shtm

http://www.saatchi-gallery.co.uk/artists/john_baldessari_resources.htm

http://www.deutsche-guggenheim-berlin.de/e/ausstellungen-baldessari01.php

http://immanentterrain.wordpress.com/2011/04/19/john-baldessari-pure-beauty-metropolitan-museum-reduction-revision-conjunction/