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    Causes of social fragmentation and participatory art

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    Causes of societal atomization and participatory art

    Chapter one

    The Causes of Social Fragmentation

    Since the beginning of the 20th century, particularly under the government of late capitalist economy, some of the artistic groups expressed their concerns over the sprawling society prosecuting their pattern to react to it. Before I look at those artistic responses in the undermentioned chapters, in this chapter I will be reexamining the primary causes of the altering inter-human dealingss within society.

    The Fall of the Berlin Wall in 1989 and a twosome of old ages subsequently the reported End of the Cold War in 1991, was merely a beginning of a new epoch of ‘neoliberalism ‘ or in other words an unrestrained type of capitalist economy. A brief definition of neoliberalism gives Elizabeth Marinez and Arnoldo Garcia on Global Exchange web site. They pick out five chief points: The regulation of the market, Cuting public outgo for societal services, Deregulation, Privatization and Extinguishing the construct of “ the public good ” or “ community ” . The focal point of all these affairs is the favourable conditions for concerns, minimising the authorities controls in order to let a free and efficient market place, nevertheless at the same clip it worked largely against the on the job category people because of the reduced societal security including subsidisation. Finally people were forced to take ‘individual duty ‘ as an exigency to last. Former Prime Minister, Margaret Thatcher speaking to Women ‘s Own magazine ( October 31 1987 ) emphasized: “ There is no such thing as society ” . & A ; lt ; Deer, 1988 & A ; gt ; In other words the denial of society ‘s being turns us into persons constrained to run in private infinite being responsible for our ain public assistance. Less and less duty for people ‘s societal security leads to the authorities leveling the ‘welfare province ‘ , which was a proviso of services and security by the province, and a warrant of minimal criterions including minimal income & A ; lt ; An Introduction to Social Policy & A ; gt ; . These altering ordinances within the authorities and the earlier mentioned phenomenon of the twentieth century like denationalization have contributed tremendously to the turning gulf between people by pressing competition. This started to boom progressively because of the mounting figure of privatized companies and multi-national spread corporations, free endeavors and concerns within the boundaries of the western universe. This inclination automatically disregarded the jurisprudence of equality thereby spliting people into peculiar societal groups.

    All these procedures became the stimulation to the formation of consumer society, reconstituting the focal point from production to ingestion. In the capitalist economic system ware became the driving force to society thereby accomplishing “ the entire business of societal life ” ( Bourriaud, 2002:113 ) . “ These economic alterations – less existent goods produced, more promises made through progressively sophisticated advertisement – and the deceasing pant of capitalist economy are the ‘real ‘ roots of postmodernism and its attendant thoughts, suggest the Marxist econo-historians ” . & A ; lt ; Mizrach & A ; gt ; Whereas despite the booming economic system of the strongest states, prosperity of the international corporations so the fluxing wealth to the art universe excessively “ the greatest consequence on art has non been on its economic system but its rhetoric ” ( Stallabrass, 2004:9 ) . This meant that some cultural barriers fell down every bit good. Increase of looking biennials, art events, new modern-day art museums showed the influence of planetary alterations and disturbance. However, “ the activities of these museums became steadily more commercial as they adopted corporate ideals, set uping confederations with concern, conveying their merchandises closer to commercial civilization ” . ( 2004:10 ) It shows that our cultural, societal, economical and political life is intertwined every bit good as dependent upon each other.

    The fact of neglecting Democracy shows English economic expert and professor Noreena Herzt placing it as: “ societal unfairness, inequality and power dissymmetries ” , ( 2002:271 ) nevertheless the cause of the degrading society lies in the power of pull offing the society as a marionette which lacks its liberty being manipulated by others. A philosopher and author Raoul Vaneigem put it, “ the infinite of mundane life is encircled by every signifier of conditioning ” ( cited in Gardiner, 2000:107 ) , he continues, “ one of those steps is the trade good [ … ] the venue of societal control ” ( p.108 ) . Stephen Willats calls it a society as “ a sort of inert natural stuff to be diversely processed and regulated both spatially [ … ] and ideologically ” . ( cited in Kester, 2004:91 ) In stating this he distinguishes the communities treated as the passive or the invertebrate. Normally the duty for all these actions is carried by the province, the bureaucratic setup. However increasing corruptness is besides the cause of Democracy failure. Hertz giving the illustration of increasing corruptness within the State organic structures disclaims the governor ‘s power as to the full working. Today altruists are acute to donate to assorted causes but normally with the purpose to hold an influence all over the universe. Finally the authorities does non interfere in this affair as it used to be seen as – “ stepping in to control their power ” ( 2001:206 ) . Therefore it is non surprising that the common people have even less power to do an impact. No admiration that the definitions: ‘Government by the people, exercised either straight or through elected representatives ‘ and ‘The common people, considered as the primary beginning of political power ‘ & As ; lt ; The Free Dictionary & A ; gt ; can be barely considered as still holding the same significance today.

    Apparently this transitional clip from one period to another, the displacement from Industrialism to Information Age, made an tremendous impact on the political, economic and societal clime. This displacement was the ground for non merely the antecedently discussed causes like neoliberalism or consumerism taking to the societal atomization and disaffection but besides the followers. “ The true footing of postmodern idea is the displacement to a post-industrial economic system. Many postmodernists would hold, proposing that in the new economic system, service and information will be more of import trade goods than goods or labour power in the new ‘information society ‘ ” & amp ; lt ; Mizrach & A ; gt ; . Another factor impacting the societal battle is mentioned in this accent by Mizrach promoting the importance of being able to understand and do out a new environment, where the laterality of the information undisputedly is important in order non to fall behind by traveling manus in baseball mitt with the new technological accomplishment leting it to run the new information flow, as without information this endurance will non be possible. However art critic Nicolas Bourriaud speaking about the development of communicating tools every bit good as the mechanisation of societal maps Markss it as a weak nexus in societal exchanges, about replacing them. He gives common illustrations such as automated telephone services replacing the human voice, hard currency machines non necessitating human interaction for money dealing undertakings. ( 2002 ) This lone illustrates the non-stopping advancement in engineering development, in some facets to the hurt of world, finally turning against the adult male himself despite the great part for illustration to medicate and scientific discipline.

    Noreena Hertz in the Silent Takeover ( 2002 ) proves the fact, that engineering has facilitated a production procedure by contriving fabrication. In other words this is a exchanging from handcraft to high-tech. Indeed “ technological progresss have allowed machines to replace people ” ( p.61 ) . However there is concern if the same engineerings are replacing the human relationship excessively, in such a manner exposing the battle of our society. It is non a new thought but instead the on-going issue of the technological invasion into our lives, which is replacing non merely our existent demands but besides our existent values. Michael and Diane Medved present the flooring fact in the book Salvaging Childhood ( 1999 ) : “ The mean American kid will pass more clip watching Television by the age of 5 than they will pass speaking to their male parent in their life-time ” ( p.19 ) , which means the continuously turning withdrawal of kids from their parents. Unwittingly possible relationships are being superseded by engineering.

    Another illustration of human interaction being replaced through engineering is a good known eating house ‘Inamo ‘ in Soho, which is sole because of a de-personalised procedure of telling nutrient. The synergistic system does everything for the server in relation to taking the orders. Apparently full of exhilaration clients enjoy taking the control into their custodies. However in the terminal there is a lost connexion in communicating between client and forces. This is an indicant of the enormously spread outing intercession of engineering into our mundane life, which is making disaffection by weakening the human relationships. This is one of the conducive factors for Bourriaud, whose thoughts will be explored in the following chapters in more item.

    Looking at these the illustrations we see that today engineering undisputedly is one of the tools that patterns our lives. Another instance of societal concern and a effect of engineering ingestion occurs non merely every bit physical force, but instead the ‘electronic aggression ‘ & As ; lt ; Centers for Disease Control and Prevention ( CDC ) & A ; gt ; spread in practical infinite, where young persons utilizing new communicating avenues such as text messaging, chat suites, and societal networking web sites, can pull strings their namelessness and go against their equals. “ Youth can utilize electronic media to abash, harass or endanger them ” & amp ; lt ; CDC & A ; gt ; . The purpose of the force against others frequently arises from a antecedently experienced clang with force, no affair what beginning it comes from, whether it be a video game, cyberspace or media. Research workers in their work “ The influence of media force on young person ” confirm that “ a assortment of violent media is come ining the place and ask foring the active engagement of immature kids – frequently with small parental supervising ” & amp ; lt ; Anderson et al. , 2003:105 & A ; gt ; . Finally as a consequence “ it permits media force to be seen as one of the complex influences on the behaviour of kids and young person ” & amp ; lt ; 2003:105 & A ; gt ; . These manifestations of force reveal a harmful atmosphere in the societal clime lifting from societal atomization.

    Supporting the fact that force is quickly perforating into our relationships, art critic Grant Kester defines it as a inquiry herewith seeking the solution to the job: “ How do we cut down the force and hatred that have so frequently pronounced human societal interactions? ” . ( 2004:152 ) Immediately for a philosopher Gilles Deleuze “ this inquiry is straight related to procedures of representation ( of ego to other, of the person to the group, of image to object ” . ( cited in Kester, p.152 ) Supporting that Claire Bishop discoursing Nicolas Bourriaud theories summarizes that “ all representation refers to values that can be transposed into society ” . ( 2006:162 ) . Stating this Bishop asserts that no affair what we are stand foring, it will convey whether bad or good values which can be exposed to others. Therefore the following chapters will be discoursing whether art can be that powerful tool capable to works it ‘s moralss into society and if it can decide the societal issues spread within society by declining the tactics of prohibition but instead altering the established theoretical accounts, criterions and values through the act of stand foring art as the theoretical account, besides measuring whether Deleuze ‘s “ long-standing involvement in the curative power of art ” is considered to be right ( cited in Kester, p.152 )

    Chapter Two

    Guy Debord and His Concept of ‘The Society of Spectacle ‘

    At the clip of post-war capitalist economy, knocking the modern society had formed the politico-cultural organisation known as Situationist International operational between 1957-1972. The outgrowth of such organisations shows the cogency of the bing issues within civilization. Situationists focused on review of Western civilization as being the beginning of disaffection, isolation and atomization within society. Their end was “ the creative activity of non-alienated ‘situations ‘ exterior of the power construction of consumer capitalist economy ” . ( Gardiner, 2000:107 ) In other words, they strongly believed in the potency of non-hierarchical and non-alienated society, which is contrary to deeply frozen capital society. They aimed “ to accomplish an ‘authentic being ‘ through the constitution of non-commodified societal dealingss, thereby get the better ofing the disaffections and passivenesss induced by modern consumer capitalist economy ” . ( p.103 ) They believed that through Cultural Revolution the every twenty-four hours life can be changed as consumer capitalist economy was busying the topographic point of societal life. Every revolution is “ a far-reaching and drastic alteration, particularly in thoughts, methods ” . & A ; lt ; The Free Dictionary & A ; gt ; However those revolutions can get down in the institutional infinite conveying different attitudes and doing statements.

    Some of the undertakings of that epoch are rather controversial, utilizing drastic steps to make the populace ‘s attending. Like the collaborative undertaking Imponderabilia ( 1977, fig.1, fig.2 ) by the creative persons Marina AbromoviA‡ and Ulay. Albeit uncomfortable, because of the nudity throughout the public presentation, it was impossible to acquire in without avoiding physical engagement. However the purpose of this undertaking was interpersonal relationships every bit good as the involvement in the organic structure and gender. The scenario of the undertaking was: two bare creative persons are confronting each other at a distance so museum visitants had to go through by taking which of the creative persons to face. Everyone willing to come in has to get the better of this uncomfortableness therefore no 1 stays inactive. Once they passed through, they realized that they had been filmed. Further, they were confronted with this text on the wall: ‘Imponderable. Such imponderable human factors as one ‘s aesthetic sensitiveness / the overruling importance of imponderables in finding human behavior. ‘ Ironically, the docudramas of the public presentation show that most of the visitants faced the adult female. The inquiry arose, was it because the adult female and her female signifier is unconsciously more apprehended, or instead, the dorsum is turned to the adult male non because he is thankless but that he is the stronger sex, non to be challenged. Therefore he is to be avoided, without eye-to-eye contact to the point of turning one ‘s dorsum. These inquiries of domination, categories and gender advantage are all portion of our society concerns.

    One of the ways to throw off some Stereotypes, is “ the preparedness of the creative persons to predate their stray, elevated, privileged place in relation to the audience ” ( Fieling et al. , 2008:27 ) . Fluxus was one of those motions holding the end of uniting the spectator and the creative person, such as an act of a Fluxus undertaking like Cut Piece ( 1964, fig.3 ) , foremost performed in 1964 by creative person Yoko Ono. The creative person herself says that the thought was based on a Buddhist fable, in which Buddha forfeits. In this event it juxtaposes to the scarification of the writing, absorbing the writer as equal to participant. Motionless place, allowing the robe to be cut piece by piece about until the performer becomes nude is like disdain or disapprobation of the performing artist herself to be executed for the interest of the originative procedure affecting the audience. Undoubtedly the distance between the participant and the performing artist is really close and confidant, therefore it creates a tenseness and an awkward temper, as the work is open-ended without cognizing the intended bends of the participator. However this occurrence is reciprocally liberating and destructing the barriers estranging people.

    Obviously one of the effects refering to disaffection was widely discussed by Karl Marx in his Theory of Alienation ( 1844 ) . His apprehension of disaffection was grounded in the stuff universe, where the representative of the Situationist International, art critic, Guy Debord even more exacerbates from the position of the last age modern-day by utilizing the construct of ‘Spectacle ‘ in his analysis ‘The Society of Spectacle ‘ ( 1967 ) . He emphasized the open significance of the universe phase for ‘Spectacle ‘ after production was superseded by ingestion. It is no surprise that this procedure is affecting trade good, media, advertizement which replaces human relationships, active engagement, or as Debord calls it ‘lived experience ‘ ( cited in Gardiner, 2000:107 ) , so change overing society into a spread and anomic universe, where the experience of human dealingss are non immediately conveyed any more, the focal point is concentrated on philistinism, where society is kept under control of pseudo-need, pseudo-enjoyment, pseudo-response. Judy Cox pinpoints that the mass production has a mark “ continually to seek to make new demands ” .

    ( 1998 ) Gardiner asserts: “ when the economic system dominates all societal life, the formation of reliable human demands is replaced by manufactured pseudo-needs ” , ( p.109 ) chiefly through the mass media and advertizement, thereby incarcerating people in the semblance universe, where “ the rhythm of eternal ingestion requires that all leisure and mundane clip be commodified and manipulated ” . ( p.109 )

    At that clip the Brazilian creative person Helio Oiticica tried to unite leisure and creative activity in the early installing graphicss Tropicalia, Penetrables PN 2 ‘Purity is a myth ‘ and PN 3 ‘Imagetical ‘ ( 1966-7, fig.4 ) and Eden ( 1969, fig.5 ) . The purpose was the meeting of the boundaries between art and mundane life promoting the audience to take part in the environment making a multisensoral experience. “ The Tropicalistas ( the creative persons of the art motion lasted for a few old ages ) established an “ anti-art ” which was non focused on representation and the object but on making state of affairss and contexts for corporate behavioural experiments ” ( Kunsthallewien website ) . The mixed-media installing Tropicalia consisted of sand covering the art infinite floor, cabins, tropical programs, live birds and a telecasting interpreting the vocalists sing themselves as portion of the motion. The name itself associates with energ

    Y, refreshment, and the alien. The infinite to walk through was portion of “ the pleasance in sharp spectacle ” . ( Kunsthalle Wien ) In the inhibitory clip of Brazilian history it was fresh air to cultural life. The consequence of active coaction was so strong that the piece of art was an inspiration to the beginning of Tropicalism. However returning to the work, it created the pseudo-reality like Debord would state, which did non be but made an impact on the farther procedure of the state ‘s rich cultural diverseness. Oscar Wilde speaking about modernness said ‘art does non copy life ; life imitates art ‘ ( cited in Bishop, 2006:169 ) . This expressly applies to this undertaking.

    However as society has confused the existent values in the context where “ ‘being ‘ is equated with ‘having ‘ under consumer capitalist economy ” ( Gardiner, 2000:110 ) . Art is non without a ground. Often it can make more than we can conceive of through the small appreciation of micro-utopias experienced in the graphicss altering the forms of our lives.

    Chapter Three

    Participatory Art

    German author Walter Benjamin has said: “ The work of art should actively step in in and supply a theoretical account for leting viewing audiences to be involved in the procedure of production: ‘this setup is better, the more consumer it is able to turn into manufacturers – that is, the more readers or witnesss into confederates ” . ( cited in Bishop, 2004:12 ) This is what most of participatory art is endeavoring to make. But the inquiry arises as to if art can move, like the Freudian metaphor would show, as ‘the ‘therapist ” ( Gardiner, 2000:120 ) which was used to qualify the curative activities of Situationists. Therefore this chapter will be looking at the different attacks in participatory art and if art can be the manner of work outing societal issues.

    A really interesting contemplation is raised by Felix Guattari a Gallic institutional clinical psychologist and philosopher: ‘the merely acceptable end of human activities is the production of a subjectiveness that invariably self-enriches its relationship with the universe ‘ . ( cited in Bishop, 2006:169 ) . The thought has found favour with modern-day creative persons who create and set-up life forms with different tracts instead than peculiar objects, therefore they use clip as a natural stuff where administrative officials alternatively are handling the communities as a natural stuff ( Kester, 2004 ) . No uncertainty this comparing shows the contrast between the different attacks. Here modern-day art patterns suggest the production of subjectiveness as the chiefly facet to animate “ the lost entirety ” in a corporate effort ( Bishop, 2006:169 ) whereas the province as opposed to the creative person is absorbing the community to an homogeneous and inactive or even unvoiced status which has to be regulated by the province. By looking at this contrast, a adult male is seen as a topic or as an object depending on, who ‘s manus holds the tool. Two different establishments – [ creative person and administrative official ] – two different perceptual experiences of the human-being. For this ground merger can be considered simply as implementing therefore it remains as a construct of micro-utopia in art.

    The undertaking 7000 Oaks for Documenta 7 ( 1982-87, fig.6 ) by Joseph Beuys is a good illustration of a societal sculpture to be participatory. This undertaking had been started with the purpose non to be ended for the ecological and “ green ” intents. However the usage of a tree in this undertaking I find more symbolic than actual. A tree itself has symbolic significance, particularly the oak tree for illustration, “ the oak is the mightiest of trees and symbolizes strength, bravery [ … ] fulfilment ” & amp ; lt ; Living Arts Originals & A ; gt ; . However solidness and illustriousness as the characteristics of the tree may go evident merely after clip, as the tree grows, so certain procedures require clip until it consolidates. Therefore in this undertaking clip instead than the object [ tree ] is used as a natural stuff for a community to beef up societal connexions utilizing the planting of the oak tree as a tool merely. This undertaking is aimed more at assemblage people together for the intent, which amalgamates the people. Therefore to follow aspirations, the stability to non halt planting trees is really of import. This analogue shows that a certain aim has a manner of conveying people together, even if it entreaties merely to one group of people like “ Greens ” .

    Finally Joseph Beuys says: The context of art offers advantages when action involves besieging societal and bureaucratic hierarchies [ … ] . ( cited in Kester, 2004:101 ) He confirms the fact of the inability of art to be to the full working without declining the appropriate governments. Supporting the thought which is raised by Beuys, creative person Rirkrit Tiravanija exposes this place by put ining his work Untitled ( tomorrow is another twenty-four hours ) ( 1997, fig.7, fig.8 ) into the gallery infinite. The scene of his ain flat in New York suggests that visitants to the gallery be involved into ritual plant we do everyday like cookery, rinsing, hanging out in the life room etc. Tiravanija himself asserts this as “ the alone combination of art and life offered an impressive experience of togetherness to everybody ” ( cited in Bishop, 2005:118 ) in a non-hierarchical sense.

    His other plants besides have similar subjects: ‘parallel infinites ‘ to the environments of our day-to-day life. Cafes and dining suites tend to be with the ruling subject of inclusion into societal activities. It is like an effort to defy or as Beuys says ‘circumvent ‘ the societal hierarchies or castes of the deep-seated system of capitalist economy by ask foring to trip the audience in engagement, in the whole procedure of the creative activity, whereas Kester identifies that as “ incarnations of art ‘s power to exceed institutional and cultural boundaries and to make a Utopian infinite of free and unfastened exchange ” . ( p.105 )

    One of such undertakings was implemented by the creative person Jay Koh within two months in 1995-6 in Thailand. His purpose to utilize art as an “ cosmopolitan linguistic communication ” ( Kester, 2004:104 ) in cultural exchanges was successfully fulfilled as a undertaking called Exchanging Thought. ( fig.9 ) In order for the thought of cross-cultural to work there is necessary to admit “ the bing differences ” sing the political and societal context. ( p.104 )

    Continuing on from this undertaking, the thought was to give the graphicss of assorted international creative persons in exchange for the things and objects brought by townsfolk of Chiang Mai in a market place, therefore a strategic construct of duologue was interrupting different attitudes and traverse cultural barriers utilizing the professionals and the people dialoging on a one-on-one footing as “ dialogical art is non merely ocular but besides aural and haptic ” . ( p.189 ) In other words it is similar physical experience in all the senses.

    Since art is no longer a narrative for art history to discourse the issues through the position of the objects, modern-day art is “ to make with synergistic, user-friendly and relational constructs ” ( Bourriaud, 2002:8 ) . Some of the illustrations of such work are art installings by Cuban creative person Felix Gonzalez-Torres. The graphics Untitled ( Placebo ) ( 1991, fig.10 ) invites the spectator to pick up some Sweets off the floor covered by them, so prosecuting the audience to take part. The same creative person allows the witness freely to assist themselves taking postings with them off the ‘paper tonss ‘ in his work Untitled ( 1989-90, fig.11 ) . Stallabrass calls this ‘democratic ideal ‘ , where the audience plays an of import function holding the voice for the valuable part in footings of its ideas and actions over the creative person. Nicolas Bourriaud claims that art that encourages societal interactions is human and democratic nevertheless Stallabrass asserts that democracy bing merely in art is a serious job, he prolongs: “ Governments [ … ] hope that socially synergistic art will move as dressing for the grave lesions. ” ( 2004:123 ) , This statement of the willingness to implement democracy through art is the first indicant of the deficiency of democracy in our every twenty-four hours environment.

    Continuing on with the ‘democratic ‘ graphicss, one of the earlier mentioned illustrations is the art installing of Tiravanija ‘s flat which is conceived as political because of “ an thought of democracy ” , ( Bishop, 2005:119 ) which is seen in most of his plants, capable of manufacturing relationships. However Bishop argues against this construct as “ recent political theoreticians have shown that inclusiveness does non automatically compare with democracy: alternatively, the populace domain remains democratic merely in so far as its naturalized exclusions are taken into history and made unfastened to controversy ” . ( Bishop, 2005:119 )

    This means that democracy is exposed merely when the oppositional attitudes are brought into treatment. Mentioning back to the already mentioned Koh ‘s observation of the recognition of the bing differences, this can besides be the beginning of democratic dealingss between persons and cross-cultures. However the phenomenon of argument vanishes in Tiravanija ‘s work as “ the work speaks merely to a community whose members have something in common: an involvement in art or free nutrient, ” continued Bishop ( p.119 ) . Apparently conveying different categories into the gallery infinite such as the hapless and the intelligent individual, does non needfully take to arbitrary argument for the bing differences.

    Kester raises a different facet for the statement against Bourriaurd ‘s thesis, speaking about Tiravanija ‘s flat reconstructed in the Kolnischer Kunstverein. He argues for the institutional-transgress work as the menace for the establishment because of stateless people who cluster around the gallery. Udo Kittelmann supports the contradiction by doing a comment about the earlier mentioned Tiravanija ‘s work. The frights of the desolation of art-space where the infinite is inhabited did non turn out but “ the infinite lost its institutional map and eventually turned into a free societal infinite ” ( cited in Bishop, p.119 ) . Again it is contradictory to the thesis of Bourriaud who upholds the thought of this art being human and democratic ( Stallabras, 2004:121 ) . This statement shows that today good established institutional infinite and strongly prevailing hierarchal society are acknowledging alterations really reluctantly.

    Looking at the different undertakings in this chapter it is seen how artists attack and respond to todays environment.

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