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Culture (/ ˈ k ʌ l tʃ ər /) is the social behavior and norms found in human societies

The Cultural Concept of Virginity | As Free as a Bird

CULTURAL CONCEPT THAT SPREADS - Crossword Solver

Society and culture are similar concepts, but their scopes are different
Any definition of art has to square with the following uncontroversialfacts: (i) entities (artifacts or performances) intentionally endowedby their makers with a significant degree of aesthetic interest, oftensurpassing that of most everyday objects, exist in virtually everyknown human culture; (ii) such entities, and traditions devoted tothem, might be produced by non-human species, and might exist in otherpossible worlds; (iii) such entities sometimes have non-aesthetic—ceremonial or religious or propagandistic—functions,and sometimes do not; (iv) traditionally, artworks are intentionallyendowed by their makers with properties, usually perceptual, having asignificant degree of aesthetic interest, often surpassing that ofmost everyday objects; (v) art, so understood, has a complicatedhistory: new genres and art-forms develop, standards of taste evolve,understandings of aesthetic properties and aesthetic experiencechange; (vi) there are institutions in some but not all cultures whichinvolve a focus on artifacts and performances having a high degree ofaesthetic interest and lacking any practical, ceremonial, or religioususe; (vii) such institutions sometimes classify entities apparentlylacking aesthetic interest with entities having a high degree ofaesthetic interest; (viii) many things other than artworks—forexample, natural entities (sunsets, landscapes, flowers, shadows),human beings, and abstract entities (theories, proofs) are routinelydescribed as having aesthetic properties.

The Concept and History of Cultural Heritage | …

The concept of Cultural Heritage
On the other hand, the power distance in the United States scores a 40 on the cultural scale. The United States exhibits a more unequal distribution of wealth compared to German society. As the years go by it seems that the distance between the ‘have’ and ‘have-nots’ grows larger and larger.

 

Time — A Cultural Concept - Orville Jenkins

Cultural concept-Shenzhen Qiange Plates Co., Ltd.
The most prominent and influential institutionalism is that of GeorgeDickie. Dickie’s institutionalism has evolved over time. According toan early version, a work of art is an artifact upon which someperson(s) acting on behalf of the artworld has conferred the status ofcandidate for appreciation (Dickie 1974). The most recent versionconsists of an interlocking set of five definitions: (1) An artist isa person who participates with understanding in the making of a workof art. (2) A work of art is an artifact of a kind created to bepresented to an artworld public. (3) A public is a set of persons themembers of which are prepared in some degree to understand an objectwhich is presented to them. (4) The artworld is the totality of allartworld systems. (5) An artworld system is a framework for thepresentation of a work of art by an artist to an artworld public(Dickie 1984). Both versions have been widelycriticized. Philosophers have objected that art created outside anyinstitution seems possible, although the definition rules it out, andthat the artworld, like any institution, seems capable of error. Ithas also been urged that the definition’s obvious circularity isvicious, and that, given the inter-definition of the key concepts(artwork, artworld system, artist, artworld public) it lacks anyinformative way of distinguishing art institutions systemsfrom other, structurally similar, social institutions (D. Davies2004, pp. 248–249, mentions the“commerceworld”). Early on, Dickie claimed that anyone whosees herself as a member of the artworld is a member of theartworld: if this is true, then unless there are constraints on thekinds of things the artworld can put forward as artworks or candidateartworks, any entity can be an artwork (though not all are). Finally,Matravers has helpfully distinguished strongand weak institutionalism. Strong institutionalism holds thatthere is some reason that is always the reason the art institution hasfor saying that something is a work of art. Weak institutionalismholds that, for every work of art, there is some reason or other thatthe institution has for saying that it is a work of art (Matravers2000). Weak institutionalism, in particular, raises questions aboutart’s unity: if nothing unifies the reasons that the artworld givesfor designating entities as artworks, the unity of the class ofartworks is vanishingly small.

Concept | Cultura21 | Cultural Fieldworks for Sustainability
Historical definitions hold that what characterizes artworks isstanding in some specified art-historical relation to some specifiedearlier artworks, and disavow any commitment to a trans-historicalconcept of art, or the “artish.” Historical definitionscome in several varieties. All of them are, or resemble, inductivedefinitions: they claim that certain entities belong unconditionallyto the class of artworks, while others do so because they stand in theappropriate relations thereto. According to the best known version,Levinson’s intentional-historical definition, an artwork is a thingthat has been seriously intended for regard in any way preexisting orprior artworks are or were correctly regarded (Levinson 1990). Asecond version, historical functionalism says that an item is anartwork at time t, where t is not earlier than thetime at which the item is made, if and only if it is in one of thecentral art forms at t and is made with the intention offulfilling a function art has at t or it is an artifact thatachieves excellence in achieving such a function (Stecker 2005). Athird version, historical narrativism, comes in several varieties. Onone, a sufficient but not necessary condition for the identificationof a candidate as a work of art is the construction of a truehistorical narrative according to which the candidate was created byan artist in an artistic context with a recognized and live artisticmotivation, and as a result of being so created, it resembles at leastone acknowledged artwork (Carroll 1993). On another, more ambitiousand overtly nominalistic version of historical narrativism, somethingis an artwork if and only if (1) there are internal historicalrelations between it and already established artworks; (2) theserelations are correctly identified in a narrative; and (3) thatnarrative is accepted by the relevant experts. The experts donot detect that certain entities are artworks; rather, thefact that the experts assert that certain properties are significantin particular cases is constitutive of art (Stock 2003).


Power Distance Index | Clearly Cultural

Finally support becomes a shared responsibility and as teams become exposed and integrated to all areas, identifying and fixing problems is able to be spread across teams, reducing one of the core drivers of the frustration and anger from ‘Ops to Devs’ in the siloed model. The cultural shift, or openness to change has been enabled through the benefits and flexibility that the Cloud provides and there have been many examples how company culture and delivery have benefited as a result.

Culture - New World Encyclopedia

A common family of arguments, inspired by Wittgenstein’sfamous remarks about games (Wittgenstein 1953), has it that thephenomena of art are, by their nature, too diverse to admit of theunification that a satisfactory definition strives for, or that adefinition of art, were there to be such a thing, would exert astifling influence on artistic creativity. One expression of thisimpulse is Weitz’s Open Concept Argument: any concept isopen if a case can be imagined which would call for some sort ofdecision on our part to extend the use of the concept to cover it, orto close the concept and invent a new one to deal with the new case;all open concepts are indefinable; and there are cases calling for adecision about whether to extend or close the concept of art. Hence artis indefinable (Weitz 1956). Against this it is claimed thatchange does not, in general, rule out the preservation of identity overtime, that decisions about concept-expansion may be principled ratherthan capricious, and that nothing bars a definition of art fromincorporating a novelty requirement.