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PL
Numer został przygotowany przy wsparciu Ministerstwa Nauki i Szkolnictwa Wyższego (1222/P-DUN/2015).
EN
The French term art brut (English - outsider art), meaning "raw art" or "rough art", is a label created by French artist Jean Dubuffet to describe art created outside the boundaries of mainstream culture. In the centre of our discussion is the category of the author (the creator) and the category of the fancier (the recipient loving art). These two categories were analysed by Alain Bouillet - a researcher of art brut of 30 years, who has accumulated an impressive collection of this kind of art. Pierre Bourdieu in Distinction (1979), argues that judgments of taste are related to social position. From time to time, the focus of the dominant class changes from education to experience. Especially today, the involvement in the creation process becomes more important. We have to introduce various issues in art in a different manner. What kind of experience the art opens us up to? It is largely contradictory to the educational experience.
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PL
Celem tekstu jest eksploracja zmieniającego się kontekstu pracy artystów w erze Internetu na przykładzie dwóch zagadnień: relacji między artystą a odbiorcą dzieła na przykładzie crowdsourcingu oraz zacierania się granicy między profesjonalistami a amatorami na rynku pracy artystów. Powyższe zmiany towarzyszą rozwojowi sieci internetowej. Są również swoistą forpocztą zmian na innych rynkach pracy w obecnej gospodarce.
EN
The paper’s aim is to explore the evolving context of the labor of artists in the digital age based on two aspects, that is, the relationships between artists and their audience on the example of crowdsourcing as well as blurring boundaries between professionals and amateurs on the artists’ labor market. These changes accompany the development of the Internet. In addition, they outpace the changes on the other labor markets in the economy of today.
Tematy i Konteksty
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2018
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vol. 13
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issue 8
265-276
EN
It’s a paradox that we trust more and more hundreds of anonymous people than people we know and who know our taste. In addition, the number of stars and the scoring of different products is more important than the opinion of a specialist. The author tries to investigate the relationship between “professional” literary criticism and “amateur” blogs on literature. With the advent of e-literature the question on the condition of literary criticism should be reformulated. The author examines the sources of change, takes into account the specificity of writing literary blogs, the relationship between bloggers and publishing market.
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