? i zmartwychwstanie w tworczosci postromantyka (Krakow: Collegium Columbinum, 2008) and Jacek Salij, "Problem mcczenstwa u Norwida," in Norwid a chrzescijanstwo, eds.
has stated (2006:17), cultural diversity and biodiversity will be two major social movements in the 21st century, since "economic globalization of the contemporary world does not guarantee the persistence of the cultural legacies to which we are heirs." The delicate balance of the cultural ecosystem needs a movement in which culture becomes conscious of its precarious state in the face of the laws of economics and consumption and develops networks that create alliances in local, regional and global settings.
Yet, in different ways, the arts have also contributed to representing and even anticipating the future: "Some artists express in their work feelings or codes that forecast the future or that indicate symbolically that the present is no longer viable" (Smiers 2005: 9).
In this context, the aesthetisation of daily life (Smiers 2005; Ley 2003) has proceeded apace.
Joost Smiers define a arte como "um campo de batalha" e como "formas específicas de comunicação", que não são socialmente neutras.
Smiers defende uma nova dinâmica criativa baseada na liberdade de criação, o que implica o enaltecimento das práticas recombinantes.
(1.) Joost Smiers
(2001), La propriete intellectuelle, c'est le vol!