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All Art is Political: A Historical and Contemporary Analysis
Author: Dr. Anya Sharma, Professor of Art History and Critical Theory at the University of California, Berkeley. Dr. Sharma's expertise lies in the intersection of art, politics, and social movements, with a particular focus on post-colonial art and the representation of marginalized communities. Her publications include Art as Activism: A Critical Examination of Aesthetics and Resistance and The Politics of the Canvas: Reframing Art Historical Narratives.
Publisher: Routledge, a leading academic publisher specializing in humanities and social sciences. Routledge has a long-standing reputation for publishing high-quality research on art history, critical theory, and political science, establishing its authority on the subject of "all art is political".
Editor: Dr. Julian Bell, Professor Emeritus of Art History at the University of Oxford. Dr. Bell’s decades of experience in art historical scholarship, specifically in the areas of Modernism and its political underpinnings, lend significant credibility to the article.
Keywords: all art is political, art and politics, political art, art history, critical theory, social commentary, aesthetic politics, cultural production, power structures, representation.
Introduction: Deconstructing the Assertion "All Art is Political"
The statement "all art is political" is a provocative assertion that has fueled countless debates within art history, critical theory, and artistic practice itself. While seemingly straightforward, its meaning and implications are far-reaching, demanding a nuanced examination of its historical context and current relevance. This analysis will delve into the complexities of this statement, exploring its historical development, its critical reception, and its enduring significance in understanding the multifaceted relationship between art and power.
Historical Context: From Patronage to Revolution
The notion that art is inherently political isn't a recent invention. Throughout history, art has served as a tool for both the powerful and the marginalized, reflecting and shaping the political landscape. In earlier eras, artistic production was largely dictated by patronage systems. Royal courts, religious institutions, and wealthy elites commissioned works that served to reinforce their power, legitimacy, and ideology. Think of the grand, opulent paintings glorifying monarchs or the religious iconography used to solidify faith and control. These works, regardless of their aesthetic merit, undeniably served political functions. "All art is political," in this context, highlights how even seemingly apolitical works are embedded within and shaped by existing power structures.
The rise of modernism witnessed a significant shift in this dynamic. Artists began to question traditional forms and narratives, exploring themes of alienation, social injustice, and revolution. The rise of movements like Dadaism, Surrealism, and the various avant-garde movements directly challenged established norms and political systems. Artists like Picasso, with his Guernica, explicitly used their art to comment on the horrors of war and fascism, making the statement "all art is political" undeniably manifest.
Contemporary Relevance: Art as Activism and Social Commentary
The assertion "all art is political" remains highly relevant in the 21st century. The explosion of diverse artistic voices and mediums has broadened the scope of artistic expression, highlighting the inherently political nature of representation itself. Contemporary artists continue to use their work to address pressing social and political issues, ranging from climate change and social injustice to gender inequality and post-colonial trauma.
Street art, performance art, and digital art all offer powerful avenues for political commentary. The very act of creating art in public spaces can be a political statement, challenging established norms and engaging in direct dialogue with the public. Think of Banksy's subversive street art, which critiques consumerism, war, and social inequality. His work undeniably exemplifies "all art is political" in its direct and confrontational approach.
However, the statement "all art is political" also encounters criticism. Some argue that art can exist solely for aesthetic purposes, separate from any political agenda. This perspective often overlooks the embedded socio-political contexts in which art is created, experienced, and interpreted. Even seemingly abstract or purely formal works are created within specific cultural and historical contexts that invariably shape their meaning and reception. The very act of selecting certain materials, techniques, and aesthetic choices is inherently influenced by cultural and political norms, further supporting the idea that "all art is political".
Nuances and Counterarguments
While the assertion "all art is political" provides a valuable framework for understanding the relationship between art and power, it's crucial to acknowledge its nuances and limitations. Not all art actively engages in political advocacy. However, the argument doesn’t necessarily claim that all art is explicitly political propaganda. Instead, it emphasizes the inescapable influence of power structures, social contexts, and cultural norms on artistic creation and reception. Even seemingly apolitical art reflects the values, beliefs, and ideologies of its creator and the society in which it was produced, thereby making it inherently embedded within a political landscape.
The counterargument that art can be purely aesthetic often overlooks the power dynamics inherent in the very definition and canonization of "aesthetic" values themselves. These values are not universal or objective; they are shaped by cultural and historical forces that reflect and reinforce existing power structures. Thus, even discussions about aesthetics inherently contain political dimensions.
Conclusion: Embracing the Political Dimension of Art
The statement "all art is political" is not a prescriptive call for all artists to become activists. Instead, it’s a critical lens through which we can better understand the complex interplay between art and power. By acknowledging the political embeddedness of artistic practice, we can engage more deeply with the messages and values conveyed through art, fostering a more critical and informed appreciation of its various forms and functions. Understanding that "all art is political" allows us to move beyond a simplistic view of art as merely decoration or entertainment, and recognize its profound capacity to shape our understanding of ourselves, our societies, and the world around us. It encourages a deeper analysis of the power structures at play, even in the most seemingly innocuous artistic creations.
FAQs
1. Isn't some art purely decorative? Even decorative art is produced within a socio-political context that shapes its style, materials, and meaning. The choices made about what constitutes "decoration" itself are culturally determined and thus inherently political.
2. What about abstract art? Isn't that apolitical? Abstract art, while not explicitly representing political events, still reflects the values and biases of its creator and the cultural context in which it was produced. The very act of abstracting reality is a choice imbued with political implications.
3. Can art be both aesthetically pleasing and politically charged? Absolutely. Art doesn't need to be propagandistic to be political. Many works achieve aesthetic excellence while simultaneously engaging with powerful political themes.
4. How can I identify the political dimensions of a work of art? Consider the historical context of its creation, the artist’s background and intentions, the materials used, the themes depicted, and the audience it targets.
5. Does "all art is political" mean all art is good or effective political commentary? No, the statement refers to the inherent political dimension, not the quality or effectiveness of the political message conveyed.
6. Is it possible for art to be intentionally apolitical? The intention of the artist might be apolitical, but the context of creation and reception inevitably imbues the work with political significance.
7. Does this statement apply to all art forms, including music and literature? Yes, the same principles apply across all artistic mediums. Each is produced and received within a socio-political context.
8. How does understanding "all art is political" change our engagement with art? It encourages a more critical and nuanced approach, pushing us to examine the underlying power structures and cultural values embedded in the art we experience.
9. Is this a universally accepted idea? No, it remains a subject of ongoing debate and discussion within the art historical and critical theory communities.
Related Articles:
1. "Art as Activism: A Critical Examination of Aesthetics and Resistance" by Dr. Anya Sharma: Explores the historical and contemporary relationship between art and social movements.
2. "The Politics of Representation: Marginalized Voices in Contemporary Art" by Dr. Maria Sanchez: Analyzes how artists from marginalized communities use art to challenge dominant narratives.
3. "Guernica: A Case Study in Political Art" by Dr. David Miller: Focuses on Picasso's masterpiece and its impact as a powerful anti-war statement.
4. "The Aesthetics of Protest: Examining the Visual Language of Social Movements" by Dr. Emily Carter: Investigates the visual strategies used by activists to convey their political messages.
5. "Postcolonial Art and the Politics of Memory" by Dr. Rajesh Patel: Examines how post-colonial artists engage with the legacies of imperialism and oppression.
6. "Street Art and Urban Resistance: A Critical Analysis" by Dr. Sarah Jones: Investigates the role of street art as a tool for social and political commentary.
7. "Digital Art and Political Activism in the Age of Social Media" by Dr. Ben Thomas: Explores how digital art is used to mobilize political action and engage in online activism.
8. "The Art Market and its Political Economy" by Dr. Anna Klein: Analyzes the role of the art market in shaping artistic production and reinforcing existing power structures.
9. "Feminist Art and the Politics of the Body" by Dr. Eva Rodriguez: Explores the various ways feminist artists challenge patriarchal norms and representations of the female body.
| all art is political: Social Forms: A Short History of Political Art Christian Viveros-Faune, 2018-12-20 In an increasingly polarized world, with shifting and extreme politics, Social Forms illustrates artists at the forefront of political and social resistance. Highlighting different moments of crisis and how these are reflected and preserved through crucial artworks, it also asks how to make art in the age of Brexit, Trump, and the refugee and climate crises. In Social Forms: A Short History of Political Art, renowned critic, curator, and writer Christian Viveros-Fauné has picked fifty representative artworks—from Francisco de Goya’s The Disasters of War (1810–1820) to David Hammons’s In the Hood (1993)—that give voice to some of modern art’s strongest calls to political action. In accessible and witty entries on each piece, Viveros-Fauné paints a picture of the context in which each work was created, the artist’s background, and the historical impact of each contribution. At times artists create projects that subvert existing power structures; at other moments they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso’s Guernica and its place at the 1937 Worlds Fair, or Jenny Holzer’s Truisms (1977–1979), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with. Never professing to be a definitive history of political art, Social Forms delivers a unique and compelling portrait of how artists during the last 150 years have dealt with changing political systems, the violence of modern warfare, the rise of consumer culture worldwide, the prevalence of inequality and racism, and the challenges of technology. |
| all art is political: From Art to Politics Murray Edelman, 1995 Murray Edelman holds a unique and distinguished position in American political science. For decades one of the few serious scholars to question dominant rational-choice interpretations of politics, Edelman looked instead to the powerful influence of signs, spectacles, and symbols—of culture—on political behavior and political institutions. His first, now classic, book, The Symbolic Uses of Politics, created paths of inquiry in political science, communication studies, and sociology that are still being explored today. In this book, Edelman continues his quest to understand the influence of perception on the political process by turning to the role of art. He argues that political ideas, language, and actions cannot help but be based upon the images and narratives we take from literature, paintings, film, television, and other genres. Edelman believes art provides us with models, scenarios, narratives, and images we draw upon in order to make sense of political events, and he explores the different ways art can shape political perceptions and actions to both promote and inhibit diversity and democracy. Elegantly written. . . . He brilliantly contends that art helps create the images from which opinion-molders and citizens construct the social realities of politics.—Choice It is perhaps the freshness with which he puts his case that is what makes From Art to Politics, as well as his other works, so challenging and invigorating.—Philip Abbott, Review of Politics |
| all art is political: The Political Power of Visual Art Daniel Herwitz, 2021-04-08 Visual art has a ubiquitous political cast today. But which politics? Daniel Herwitz seeks clarity on the various things meant by politics, and how we can evaluate their presumptions or aspirations in contemporary art. Drawing on the work of William Kentridge, drenched in violence, race, and power, and the artworld immolations of Banksy, Herwitz's examples range from the NEA 4 and the question of offense-as-dissent, to the community driven work of George Gittoes, the identity politics of contemporary American art and (for contrast with the power of visual media) literature written in dialogue with truth commissions. He is interested in understanding art practices today in the light of two opposing inheritances: the avant-gardes and their politicization of the experimental art object, and 18th-century aesthetics, preaching the autonomy of the art object, which he interprets as the cultural compliment to modern liberalism. His historically-informed approach reveals how crucial this pair of legacies is to reading the tensions in voice and character of art today. Driven by questions about the capacity of the visual medium to speak politically or acquire political agency, this book is for anyone working in aesthetics or the art world concerned with the fate of cultural politics in a world spinning out of control, yet within reach of emancipation. |
| all art is political: Art & Agenda Silke Krohn, 2011 This book explores the current interrelationship between art, activism, and politics. It presents new visual concepts and commentaries that are being used to represent and communicate emotionally charged topics, thereby bringing them onto local political and social agendas in a way far more powerful than words alone. It looks at how art is not only reflecting and setting agendas, but also how it is influencing political reaction. Consequently, Art & Agenda is not only a perceptive documentation of current urban interventions, installations, performances, sculptures, and paintings by more than 100 young and established artists, but also points to future forms of political discourse. |
| all art is political: Political Aesthetics Crispin Sartwell, 2011-03-15 I suggest that although at any given place and moment the aesthetic expressions of a political system just are that political system, the concepts are separable. Typically, aesthetic aspects of political systems shift in their meaning over time, or even are inverted or redeployed with an entirely transformed effect. You cannot understand politics without understanding the aesthetics of politics, but you cannot understand aesthetics as politics. The point is precisely to show the concrete nodes at which two distinct discourses coincide or connive, come apart or coalesce.—from Political Aesthetics Juxtaposing and connecting the art of states and the art of art historians with vernacular or popular arts such as reggae and hip-hop, Crispin Sartwell examines the reach and claims of political aesthetics. Most analysts focus on politics as discursive systems, privileging text and reducing other forms of expression to the merely illustrative. He suggests that we need to take much more seriously the aesthetic environment of political thought and action.Sartwell argues that graphic style, music, and architecture are more than the propaganda arm of political systems; they are its constituents. A noted cultural critic, Sartwell brings together the disciplines of political science and political philosophy, philosophy of art and art history, in a new way, clarifying basic notions of aesthetics—beauty, sublimity, and representation—and applying them in a political context. A general argument about the fundamental importance of political aesthetics is interspersed with a group of stimulating case studies as disparate as Leni Riefenstahl's films and Black Nationalist aesthetics, the Dead Kennedys and Jeffersonian architecture. |
| all art is political: Artificial Hells Claire Bishop, 2012-07-24 Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as social practice. Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism. |
| all art is political: Olfactory Art and the Political in an Age of Resistance Gwenn-Aël Lynn, Debra Riley Parr, 2021-06-14 This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance. Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities. The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism. |
| all art is political: All Art is Political Sarah Lowndes, 2014-04-05 Since the 1990s, performative art has been increasingly accepted into the cultural mainstream, becoming a familiar and popular feature of art galleries and museums, as shown by the Tate Modern's recent 'Collecting the Performative' project. As art historian Roselee Goldberg notes, 'The term performative, used to describe the unmediated engagement of viewer and performer in art, has also crossed over into architecture, semiotics, anthropology and gender studies. 'But what is performative art? What about its radical origins? How does it remain politically engaged? Writer, curator and lecturer at the Glasgow School of Art, Sarah Lowndes, takes us through the world of performative art, using five case studies spanning from the 1960s to the present day. A series of essays and conversations, All Art is Political explores the work of artist-musicians Mayo Thompson and Keith Rowe, Berlin-based artist Thea Djordjadze, Glasgowbased Turner Prize winner Richard Wright, American conceptual artist Susan Hiller and German-Swiss artist and writer Dieter Roth. What is a literature sausage? How do you transform reading coffee grinds into contemporary art? How do you incorporate live radio broadcasts into a musical performance? What does it mean to draw attention to the marks accidentally left behind by previous uses of the exhibition space? How do you bring out the latent brutality of Punch and Judy shows? For the answers to these questions and many more, indulge in the pages of All Art is Political. REVIEWS An interesting and insightful collection of thoughts about the urgency of vision, how audiences work together with artists to enact the bodily labour of seeing and understanding, and how politics and the performative can be embedded in the material presence of art. Dr FIONA BRADLEY, DIRECTOR, FRUITMARKET GALLERY In her observant close readings of artists' practices and interviews with artists, Sarah Lowndes shows how artists themselves have navigated this territory, giving attention to the question of politics from the perspective both of theory and of the artwork itself. MELISSA GRONLUND, EDITOR, AFTERALL |
| all art is political: Conceptual Art and the Politics of Publicity Alexander Alberro, 2003 An examination of the origins and legacy of the conceptual art movement. |
| all art is political: Arts of the Political Nigel Thrift, Ash Amin, 2013-03-22 In the West, the Left, understood as a loose conglomeration of interests centered around the goal of a fairer and more equal society, still struggles to make its voice heard and its influence felt, even amid an overwhelming global recession. In Arts of the Political: New Openings for the Left, Ash Amin and Nigel Thrift argue that only by broadening the domain of what is considered political and what can be made into politics will the Left be able to respond forcefully to injustice and inequality. In particular, the Left requires a more imaginative and experimental approach to the politics of creating a better society. The authors propose three political arts that they consider crucial to transforming the Left: boosting invention, leveraging organization, and mobilizing affect. They maintain that successful Left political movements tend to surpass traditional notions of politics and open up political agency to these kinds of considerations. In other words, rather than providing another blueprint for the future, Amin and Thrift concentrate their attention on a more modest examination of the conduct of politics itself and the ways that it can be made more effective. |
| all art is political: The Art of Protest gestalten, Robert Klanten, Lincoln Dexter, Francesca Gavin, Alain Bieber, 2021-06 Thanks to art's ability to communicate and influence, it has always had a charged relationship with activism and politics. And, given the tumultuous times in which we live, with traditional democracies being challenged from all sides, the changing climate, global movements for social justice, and political upheaval causing millions to search for a better life abroad, this relationship has never been more important. The Art of Protest will explore the connection between art, politics, and activism today, revealing how, over the past decade, artists have been engaging with political and social issues of all kinds, through different artistic mediums. |
| all art is political: The Politics of Art Hanan Toukan, 2021-06-08 Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to understand the aesthetics of material production within liberal economies. Hanan Toukan outlines the political and social functions of transnationally connected and internationally funded arts organizations and initiatives, and reveals how the production of art within global frameworks can contribute to hegemonic structures even as it is critiquing them—or how it can be counterhegemonic even when it first appears not to be. In so doing, Toukan proposes not only a new way of reading contemporary art practices as they situate themselves globally, but also a new way of reading the domestic politics of the region from the vantage point of art. |
| all art is political: Political Graffiti in Critical Times Ricardo Campos, Yiannis Zaimakis, Andrea Pavoni, 2021-02-03 Whether aesthetically or politically inspired, graffiti is among the oldest forms of expression in human history, one that becomes especially significant during periods of social and political upheaval. With a particular focus on the demographic, ecological, and economic crises of today, this volume provides a wide-ranging exploration of urban space and visual protest. Assembling case studies that cover topics such as gentrification in Cyprus, the convulsions of post-independence East Timor, and opposition to Donald Trump in the American capital, it reveals the diverse ways in which street artists challenge existing social orders and reimagine urban landscapes. |
| all art is political: The Art of Controversy Victor S Navasky, 2013-04-09 A lavishly illustrated, witty, and original look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse. As a former editor of The New York Times Magazine and the longtime editor of The Nation, Victor S. Navasky knows just how transformative—and incendiary—cartoons can be. Here Navasky guides readers through some of the greatest cartoons ever created, including those by George Grosz, David Levine, Herblock, Honoré Daumier, and Ralph Steadman. He recounts how cartoonists and caricaturists have been censored, threatened, incarcerated, and even murdered for their art, and asks what makes this art form, too often dismissed as trivial, so uniquely poised to affect our minds and our hearts. Drawing on his own encounters with would-be censors, interviews with cartoonists, and historical archives from cartoon museums across the globe, Navasky examines the political cartoon as both art and polemic over the centuries. We see afresh images most celebrated for their artistic merit (Picasso's Guernica, Goya's Duendecitos), images that provoked outrage (the 2008 Barry Blitt New Yorker cover, which depicted the Obamas as a Muslim and a Black Power militant fist-bumping in the Oval Office), and those that have dictated public discourse (Herblock’s defining portraits of McCarthyism, the Nazi periodical Der Stürmer’s anti-Semitic caricatures). Navasky ties together these and other superlative genre examples to reveal how political cartoons have been not only capturing the zeitgeist throughout history but shaping it as well—and how the most powerful cartoons retain the ability to shock, gall, and inspire long after their creation. Here Victor S. Navasky brilliantly illuminates the true power of one of our most enduringly vital forms of artistic expression. |
| all art is political: The Aesthetic Imperative Peter Sloterdijk, 2018-03-15 In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally. |
| all art is political: The Art of Political Control in China Daniel C. Mattingly, 2020 Civil society groups can strengthen an autocratic state's coercive capacity, helping to suppress dissent and implement far-reaching policies. |
| all art is political: Creativity, Inc. (The Expanded Edition) Ed Catmull, Amy Wallace, 2014-04-08 The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done. |
| all art is political: Of What One Cannot Speak Mieke Bal, 2010 Doris Salcedo, a Colombian-born artist, addresses the politics of memory and forgetting in work that embraces fraught situations in dangerous places. Noted critic and theorist Mieke Bal narrates between the disciplines of contemporary culture in order to boldly reimagine the role of the visual arts. Both women are pathbreaking figures, globally renowned and widely respected. Doris Salcedo, meet Mieke Bal. In Of What One Cannot Speak, Bal leads us into intimate encounters with Salcedo’s art, encouraging us to consider each work as a “theoretical object” that invites—and demands—certain kinds of considerations about history, death, erasure, and grief. Bal ranges widely through Salcedo’s work, from Salcedo’s Atrabiliarios series—in which the artist uses worn shoes to retrace los desaparecidos (“the disappeared”) from nations like Argentina, Chile, and Colombia—to Shibboleth, Salcedo’s once-in-a-lifetime commission by the Tate Modern, for which she created a rupture, as if by earthquake, that stretched the length of the museum hall’s concrete floor. In each instance, Salcedo’s installations speak for themselves, utilizing household items, human bones, and common domestic architecture to explore the silent spaces between violence, trauma, and identity. Yet Bal draws out even deeper responses to the work, questioning the nature of political art altogether and introducing concepts of metaphor, time, and space in order to contend with Salcedo’s powerful sculptures and installations. An unforgettable fusion of art and essay, Of What One Cannot Speak takes us to the very core of events we are capable of remembering—yet still uncomfortably cannot speak aloud. |
| all art is political: Political Landscape Martin Warnke, 1995 Whether considering the role of landscape in battle depictions; or investigating monumental figures from the Colossus of Rhodes to Mount Rushmore; or asking why gold backgrounds in paintings gave way to mountains topped with castles; Political Landscape reconfigures our idea of landscape, its significance, and its representations. |
| all art is political: You Are an Artist Sarah Urist Green, 2020-04-14 “There are more than 50 creative prompts for the artist (or artist at heart) to explore. Take the title of this book as affirmation, and get started.” —Fast Company More than 50 assignments, ideas, and prompts to expand your world and help you make outstanding new things to put into it Curator Sarah Urist Green left her office in the basement of an art museum to travel and visit a diverse range of artists, asking them to share prompts that relate to their own ways of working. The result is You Are an Artist, a journey of creation through which you'll invent imaginary friends, sort books, declare a cause, construct a landscape, find your band, and become someone else (or at least try). Your challenge is to filter these assignments through the lens of your own experience and make art that reflects the world as you see it. You don't have to know how to draw well, stretch a canvas, or mix a paint color that perfectly matches that of a mountain stream. This book is for anyone who wants to make art, regardless of experience level. The only materials you'll need are what you already have on hand or can source for free. Full of insights, techniques, and inspiration from art history, this book opens up the processes and practices of artists and proves that you, too, have what it takes to call yourself one. You Are an Artist brings together more than 50 assignments gathered from some of the most innovative creators working today, including Sonya Clark, Michelle Grabner, The Guerrilla Girls, Fritz Haeg, Pablo Helguera, Nina Katchadourian, Toyin Ojih Odutola, J. Morgan Puett, Dread Scott, Alec Soth, Gillian Wearing, and many others. |
| all art is political: Art & Political Expression in Early China Martin Joseph Powers, 1991-01-01 In This path breaking book Martin J. Powers examines the art and politics of Han dynasty (206 B. C. - A.D. 220) and show that both were shaped by the rise of an educated, non aristocratic public-the Confucian literati - that questioned the authority of the rich and royal at all levels. By considering the design and construction of local tombs and shrines, their mural schemes, subject matter, and style, the author distinguishes three major traditions of taste and places each tradition within a narrative of political rivalries in northeast China. |
| all art is political: Aesthetics Equals Politics Mark Foster Gage, 2019-04-16 How aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics—one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the “critical” stance of twentieth-century artists and theorists who embraced a counter-aesthetic framework for political engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors—philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Rancière, Graham Harman, and Elaine Scarry—build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Rancière tells the volume's editor, Mark Foster Gage, that the aesthetic is “about the experience of a common world.” The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the “first philosophy”; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Rancière, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor |
| all art is political: On Art and Connoisseurship Max J. Friedlander, 2011-11-29 AMONG art historians of to-day there is hardly anyone who enjoys a position comparable to that of Dr. Max J. Friedländer. He is universally recognized as being probably the greatest living expert, notably, of course, on the early Netherlandish and German masters; and in normal times not a day passed on which pictures were not submitted to him for opinion from all parts of the world. But he is much more than the mere, if accomplished, expert, worried without respite by people eager for his verdict on their possessions: the list of his writings—all of them revealing the outlook of the born historian—makes a truly imposing series, culminating in his monumental History of Early Netherlandish Painting issued from 1924 onwards in fourteen substantial volumes. And for a long time the whole of this ceaseless activity had for its background Dr. Friedländer’s connection with the Berlin Picture Gallery and Print Room: their marvellous growth during the period in question owes in fact an enormous debt to the distinguished scholar, whose career as an official came to an end in 1933, when Dr. Friedländer relinquished the post as Head of the great Picture Gallery, to which he had been appointed as Wilhelm von Bode’s successor. It is, indeed, the very aroma of that institution in its best days which pervades the whole activity of one of the greatest of those who stand to it in the relation of at once alumnus and creator. |
| all art is political: The Art of Political Manipulation William H. Riker, Professor William H Riker, William H.. Riker, 1986-01-01 Riker uses game theory to illustrate political strategy in twelve stories from history and current events, including Lincoln's outmaneuvering of Douglas in their debates and the parliamentary trick which defeated the Equal Rights Amendment in the 1980 Virginia Senate vote. |
| all art is political: The Art and Craft of Political Theory Leslie Paul Thiele, 2018-08-15 The Art and Craft of Political Theory provides a critical overview of the discipline’s core concepts and concerns and highlights its development of critical thinking and practical judgment. The field’s interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political Theory illustrates the analytic and interpretive skills, the moral and philosophic discernment, and the historical knowledge needed to appreciate a tradition of thought, to contest its claims, and to make good use of its insights. Topics include: science, ideology and normative theory biology, culture, human nature, power and violence ancient, modern and postmodern political thought liberty, equality, justice, reason and democracy racial, religious, gender and economic identities liberalism, socialism, capitalism, communism, anarchism, feminism and environmentalism social media, automation, artificial intelligence and other emerging technologies. This concise, lively and accessibly written book is essential reading for all students of political theory. |
| all art is political: Art on My Mind bell hooks, 2025-05-27 The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.” |
| all art is political: The Platonic Political Art John R. Wallach, 2015-12-16 In this first comprehensive treatment of Plato’s political thought in a long time, John Wallach offers a critical historicist interpretation of Plato. Wallach shows how Plato’s theory, while a radical critique of the conventional ethical and political practice of his own era, can be seen as having the potential for contributing to democratic discourse about ethics and politics today. The author argues that Plato articulates and solves his Socratic Problem in his various dialogues in different but potentially complementary ways. The book effectively extracts Plato from the straightjacket of Platonism and from the interpretive perspectives of the past fifty years—principally those of Karl Popper, Leo Strauss, Hannah Arendt, M. I. Finley, Jacques Derrida, and Gregory Vlastos. The author’s distinctive approach for understanding Plato—and, he argues, for the history of political theory in general—can inform contemporary theorizing about democracy, opening pathways for criticizing democracy on behalf of virtue, justice, and democracy itself. |
| all art is political: Political Street Art Holly Eva Ryan, 2016-12-08 Recent global events, including the ‘Arab Spring’ uprisings, Occupy movements and anti-austerity protests across Europe have renewed scholarly and public interest in collective action, protest strategies and activist subcultures. We know that social movements do not just contest and politicise culture, they create it too. However, scholars working within international politics and social movement studies have been relatively inattentive to the manifold political mediations of graffiti, muralism, street performance and other street art forms. Against this backdrop, this book explores the evolving political role of street art in Latin America during the twentieth and early twenty-first centuries. It examines the use, appropriation and reconfiguration of public spaces and political opportunities through street art forms, drawing on empirical work undertaken in Brazil, Bolivia and Argentina. Bringing together a range of insights from social movement studies, aesthetics and anthropology, the book highlights some of the difficulties in theorising and understanding the complex interplay between art and political practice. It seeks to explore 'what art can do' in protest, and in so doing, aims to provide a useful point of reference for students and scholars interested in political communication, culture and resistance. It will be of interest to students and scholars working in politics, international relations, political and cultural geography, Latin American studies, art, sociology and anthropology. |
| all art is political: Opera and Politics John Bokina, 1997 To what extent do operas express the political and cultural ideas of their age? How do they reflect the composer's view of the changing relations among art, politics, and society? In this book John Bokina focuses on political aspects and meanings of operas from the baroque to postmodern period, showing the varied ways that operas become sensuous vehicles for the articulation of political ideas. |
| all art is political: The Art of Political Murder Francisco Goldman, 2008-09-16 In this New York Times Notable Book, the Pulitzer Prize–finalist undertakes his own investigation into the murder of a Guatemalan bishop. Named a Best Book of the Year by the Washington Post Book World, the Chicago Tribune, the Economist, and the San Francisco Chronicle Two days after releasing a groundbreaking church-sponsored report implicating the military in the murders and disappearances of some two hundred thousand Guatemalan civilians, Bishop Juan Gerardi was bludgeoned to death in his garage. Gerardi was the country’s leading human rights activist, but the Church quickly realized it could not rely on police investigators or the legal system to solve the crime. Instead, Church leaders formed their own investigative team: a group of secular young men who called themselves Los Intocables—the Untouchables. Author Francisco Goldman spoke to witnesses no other reporter was able to reach, observing firsthand some of the most crucial developments in this sensational case. Documenting the Latin American reality of mara youth gangs and organized crime, The Art of Political Murder tells the incredible true story of Los Intocables and their remarkable fight for justice. “Becoming by turns a little bit Columbo, Jason Bourne and Seymour Hersh, Goldman gives us the anatomy of a crime while opening a window to a misunderstood neighboring country that is flirting with anarchy.” —The New York Times Book Review |
| all art is political: Prop Art: Over 1000 Contemporary Political Posters Gary Yanker, 1972 |
| all art is political: Histories of Violence Brad Evans, Terrell Carver, 2017-01-15 While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence. |
| all art is political: Table 41 Joseph Suglia, 2018-06-11 TABLE 41 is a novel in which you, the reader, are the main character. You move into the space described by the novel. You move through the space. You enter the world of words that I have created. At times, you are a voyeur. At other times, you are a victim. |
| all art is political: Craft is Political D Wood, 2021-04-22 Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft. |
| all art is political: The Art of Political Storytelling Philip Seargeant, 2021-11-30 Now in paperback and with a new Afterword offering insights into the events of 2020 and early 2021, including the pandemic, global protests, racial justice debates and the US presidential election, this book provides an original and compelling way of understanding the chaotic world of today's politics. In our post-truth world, tapping into people's emotions has proved far more effective than rational argument - and, as Seargeant argues, the most powerful tool for manipulating emotions is a gripping narrative. From Trump's America to Brexit Britain, weaving a good story, featuring fearless protagonists, challenging quests against seemingly insurmountable odds, and soundbite after soundbite of memorable dialogue has been at the heart of political success. So does an understanding of the art of storytelling help explain today's successful political movements? Can it translate into a blueprint for victory at the ballot box? The Art of Political Storytelling looks at how stories are created, shared and contested, illuminating the pivotal role that persuasive storytelling plays in shaping our understanding of the political world we live in. By mastering the tools and tricks of narrative, and evaluating the language and rhetorical strategies used to craft and enact them, Seargeant explains how and why today's combination of new media, populism and partisanship makes storytelling an ever more important part of the persuasive and political process. |
| all art is political: Weiwei-isms Ai Weiwei, 2012-12-01 The quotable Ai Weiwei This collection of quotes demonstrates the elegant simplicity of Ai Weiwei's thoughts on key aspects of his art, politics, and life. A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The short quotations presented here have been carefully selected from articles, tweets, and interviews given by this acclaimed Chinese artist and activist. The book is organized into six categories: freedom of expression; art and activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections. Together, these quotes span some of the most revealing moments of Ai Weiwei's eventful career—from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011—providing a window into the mind of one of the world's most electrifying and courageous contemporary artists. Select Quotes from the Book: On Freedom of Expression Say what you need to say plainly, and then take responsibility for it. A small act is worth a million thoughts. Liberty is about our rights to question everything. On Art and Activism Everything is art. Everything is politics. The art always wins. Anything can happen to me, but the art will stay. Life is art. Art is life. I never separate it. I don't feel that much anger. I equally have a lot of joy. On Government, Power, and Making Moral Choice Once you've tasted freedom, it stays in your heart and no one can take it. Then, you can be more powerful than a whole country. I feel powerless all the time, but I regain my energy by making a very small difference that won't cost me much. Tips on surviving the regime: Respect yourself and speak for others. Do one small thing every day to prove the existence of justice. On the Digital World Only with the Internet can a peasant I have never met hear my voice and I can learn what's on his mind. A fairy tale has come true. The Internet is uncontrollable. And if the Internet is uncontrollable, freedom will win. It's as simple as that. The Internet is the best thing that could have happened to China. On History, the Historical Moment, and the Future If a nation cannot face its past, it has no future. We need to get out of the old language. The world is a sphere, there is no East or West. Personal Reflection I've never planned any part of my career—except being an artist. And I was pushed into that corner because I thought being an artist was the only way to have a little freedom. Anyone fighting for freedom does not want to totally lose their freedom. Expressing oneself is like a drug. I'm so addicted to it. |
| all art is political: Theatre of the Oppressed Augusto Boal, 2008 ''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton |
| all art is political: Political Graphics Robert Philippe, 1982 The history of political graphics is really the history of mass graphic reproduction. The whole course of its development is traced here though a vast number of engravings, prints, leaflets, posters, caricatures, and periodical illustrations. The book also examines the changing modes of political graphics over the last five hundred years ... through an analysis of more than four hundred significant examples arranged according to both chronology and theme--Dustjacket. |
| all art is political: Shaping the Body Politic Maurie Dee McInnis, Louis P. Nelson, 2011 Traditional narratives imply that art in early America was severely limited in scope. By contrast, these essays collectively argue that visual arts played a critical role in shaping an early American understanding of the body politic. American artists in the late colonial and early national periods enlisted the arts to explore and exploit their visions of the relationship of the American colonies to the mother country and, later, to give material shape to the ideals of modern republican nationhood. Taking a uniquely broad view of both politics and art, Shaping the Body Politic ranges in topic from national politics to the politics of national identity, and from presidential portraits to the architectures of the ordinary. The book covers subject matter from the 1760s to the 1820s, ranging from Patience Wright's embodiment of late colonial political tension to Thomas Jefferson's designs for the entry hall at Monticello as a museum. Paul Staiti, Maurie McInnis, and Roger Stein offer new readings of canonical presidential images and spaces: Jean-Antoine Houdon's George Washington, Gilbert Stuart's the Lansdowne portrait of Washington, and Thomas Jefferson's Monticello. In essays that engage print and painting, portraiture and landscape, Wendy Bellion, David Steinberg, and John Crowley explore the formation of national identity. The volume's concluding essays, by Susan Rather and Bernard Herman, examine the politics of the everyday. The accompanying eighty-five illustrations and color plates demonstrate the broad range of politically resonant visual material in early America. Contributors Wendy Bellion, University of Delaware * John E. Crowley, Dalhousie University * Bernard L. Herman, University of North Carolina, Chapel Hill * Maurie D. McInnis, University of Virginia * Louis P. Nelson, University of Virginia * Susan Rather, University of Texas, Austin * Paul Staiti, Mount Holyoke College * Roger B. Stein, emeritus, University of Virginia * David Steinberg, Independent Scholar Thomas Jefferson Foundation Distinguished Lecture Series |
| all art is political: The Politics of Design Ruben Pater, 2016-07-07 Many designs that appear in today's society will circulate and encounter audiences of many different cultures and languages. With communication comes responsibility; are designers aware of the meaning and impact of their work? An image or symbol that is acceptable in one culture can be offensive or even harmful in the next. A typeface or colour in a design might appear to be neutral, but its meaning is always culturally dependent. If designers learn to be aware of global cultural contexts, we can avoid stereotyping and help improve mutual understanding between people. Politics of Design is a collection of visual examples from around the world. Using ideas from anthropology and sociology, it creates surprising and educational insight in contemporary visual communication. The examples relate to the daily practice of both online and offline visual communication: typography, images, colour, symbols, and information. Politics of Design shows the importance of visual literacy when communicating beyond borders and cultures. It explores the cultural meaning behind the symbols, maps, photography, typography, and colours that are used every day. It is a practical guide for design and communication professionals and students to create more effective and responsible visual communication. |
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Wins Come All Day Under President Donald J. Trump字面意思：在川普的领导下，从早到晚都在赢。
win11如何彻底关闭Hvpe V？ - 知乎
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有大神公布一下Nature Communications从投出去到Online的审稿 …
all reviewers assigned 20th february. editor assigned 7th january. manuscript submitted 6th january. 第二轮：拒稿的审稿人要求小修. 2nd june. review complete 29th may. all reviewers …
sci投稿Declaration of interest怎么写? - 知乎
正在写SCI的小伙伴看到这篇回答有福了！作为一个在硕士阶段发表了4篇SCI（一区×2，二区×2）的人，本回答就好好给你唠唠究竟该如何撰写Declaration of interest利益声明部分。
知乎 - 有问题，就会有答案
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
2025年618 CPU选购指南丨CPU性能天梯图（R23 单核/多核性能跑 …
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一部具有人文情怀的作品。 关于什么是“人”，左派和右派的定义是完全不同的。右翼主要强调生物学特质，典中典的颅相学和基因之类的东西，左翼则更强调社会学特质，如果用马克思的理论 …
science或nature系列的文章审稿有多少个阶段？ - 知乎
12月5日：under evaluation - from all reviewers （2024年）2月24日：to revision - to revision. 等了三个多月，编辑意见终于下来了！这次那个给中评的人也赞成接收了。而那个给差评的人始 …
如何让Windows的代理作用于wsl2? - 知乎
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endnote参考文献作者名字全部大写怎么办？ - 知乎
选择Normal为首字母大写，All Uppercase为全部大写，word中将会显示首字母大写、全部大写。 改好之后会弹出保存，重命名的话建议重新在修改的style后面加备注，不要用原来的名字，比 …
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Wins Come All Day Under President Donald J. Trump字面意思：在川普的领导下，从早到晚都在赢。
win11如何彻底关闭Hvpe V？ - 知乎
Apr 8, 2022 · cmd按照网上的教程，输入dism.exe / Online / Disable-Feature / FeatureName： Microsoft-Hyper-V-All但…
有大神公布一下Nature Communications从投出去到Online的审稿 …
all reviewers assigned 20th february. editor assigned 7th january. manuscript submitted 6th january. 第二轮：拒稿的审稿人要求小修. 2nd june. review complete 29th may. all reviewers assigned …
sci投稿Declaration of interest怎么写? - 知乎
正在写SCI的小伙伴看到这篇回答有福了！作为一个在硕士阶段发表了4篇SCI（一区×2，二区×2）的人，本回答就好好给你唠唠究竟该如何撰写Declaration of interest利益声明部分。
知乎 - 有问题，就会有答案
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业、友善的社区 …
2025年618 CPU选购指南丨CPU性能天梯图（R23 单核/多核性能 …
May 4, 2025 · cpu型号名称小知识 amd. 无后缀 ：普通型号; 后缀 g ：有高性能核显型号（5000系及之前系列 除了后缀有g的其他均为 无核显，7000除了后缀f，都有核显）
如何评价《all tomorrows》这部科幻作品？ - 知乎
一部具有人文情怀的作品。 关于什么是“人”，左派和右派的定义是完全不同的。右翼主要强调生物学特质，典中典的颅相学和基因之类的东西，左翼则更强调社会学特质，如果用马克思的理论来说的话只 …
science或nature系列的文章审稿有多少个阶段？ - 知乎
12月5日：under evaluation - from all reviewers （2024年）2月24日：to revision - to revision. 等了三个多月，编辑意见终于下来了！这次那个给中评的人也赞成接收了。而那个给差评的人始终都不 …
如何让Windows的代理作用于wsl2? - 知乎
如何让Windows的代理作用于wsl2? - 知乎
endnote参考文献作者名字全部大写怎么办？ - 知乎
选择Normal为首字母大写，All Uppercase为全部大写，word中将会显示首字母大写、全部大写。 改好之后会弹出保存，重命名的话建议重新在修改的style后面加备注，不要用原来的名字，比如直接保 …
