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E-Book E-Book AUM Main Library Not for loan

Introduction. (Don’t) Put Your Money Where Your Mouth Is. R. Vanderbeeken.- Single Step Guide To Success - Day Planning, H. Bunting -- Part I. Science for sale.-  The Inseparability of Science and Values, J. Dupré,- The Humanities Under Fire? R. Pinxten -- What Is There Beyond Mertonian and Dollar Green Science? Exploring the Contours of Epistemic Democracy, J. Van Bouwel -- Enclosing the Academic Commons ─ Increasing Knowledge Transfer or Eroding Academic Values? S. Sterckx -- (E)valuating Words. Money and Gain in the Therapeutic Economy, D. Nobus, Copyright: a Curse or a Blessing? E. Werkers -- Part II. Buy Art -- The Fetish Character of the Work of Art and its Secret, F. vande Veire -- Salvador Dalí’s Dream of Venus at the 1939 World’s Fair: Capitalist Funhouse or Surrealist Landmark? C. Stalpaert -- How to sell a boring action hero? An analysis of the success of the Bourne films within the context of Corporate Hollywood, I. vanhee -- Saturn and His Children. The Crying of Potential Estate: A Case Study of the Art Market as Metaphor and Practice, K. Gregos -- The Work of Art in the Age of Meta-Capital, C. Bruno --  Play Money: How to Handcraft an Achingly Self-Referential Virtual Commodity Fetish Object (For Fun and Profit!), J. Dibbell  .

This interdisciplinary collection of essays probes the impact of the market economy on art and science in the post-Berlin Wall era. Part One: Science for Sale, A Dollar Green Science Scene, focuses on new alliances of contemporary science and education with commercial funding, and the commodification of knowledge. Among the questions addressed here are: Does proximity to economic power eclipse freedom of knowledge? When science and education become businesses, what are the risks for a sell-out of patented knowledge, an abuse of research for business purposes or a commercialization of symbolic power?    Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

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