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kipiarov [429]
3 years ago
11

A man is walking down a public street. Another man glances at him and quickly looks away, and they pass one another silently. Ac

cording to Goffman, what is the message exchanged between the two men?
Social Studies
1 answer:
Veseljchak [2.6K]3 years ago
5 0

Answer:

"I see you, and I mean you no harm."        

Explanation:

          Erving Goffman was a sociologist and a social psychologist. He is considered as one of the most influential sociologist of America.  His is well-known for the contribution to the social theory for his famous study of symbolic interaction.

         He used symbolic interaction views to understand the society better by analyzing and understanding people's everyday behaviors and interaction.

         In the context, according to Goffman's theory when two men crossing each other glances at each other and quickly passes silently conveys the message that both sees each other and they mean no harm to one another.

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svetlana [45]
The answer of this questions is true
6 0
3 years ago
Which describes the Aztec Empire before it was conquered?
Vesnalui [34]
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6 0
3 years ago
Assess the role of artists as political activists
labwork [276]

Answer:

Explanation:

Several years ago we had the good fortune to ask the renowned activist artist Hans Haacke a

question:

How can you know when what you’ve done works?

He thought for a moment, and then replied,

I’ve been asked that question many times, and that question requires one to go around it

before one really avoids it.

Haacke’s response was meant to be humorous, but beneath it lay a serious problem: a general

aversion to conceptualizing the relationship between art, activism and social change. To be fair,

on the spectrum of artistic activism Haacke’s place is more toward the pole of the artist, and thus

his refusal to be pinned down by such a question merely conforms to the modern tradition that

valorizes art’s autonomy from society. Yet, even as we slide down the scale from expressive

artist to the more instrumental activist, the answer to the questions of how artistic activism works

to bring about social change and how to assess that impact remains elusive.1

This is a shaky foundation upon which to construct a rapidly growing field. Art schools have

devoted whole programs to the practice of arts and activism. Since Portland State University

launched the first of such programs, Art & Social Practice in 2007, the School of Visual Arts in

New York has added a department of Art Practice; CalArts: Social Practice & Public Forms; and

Queens College: Art & Social Action. New York University has two graduate programs devoted

to the intersection of arts and activism: Arts Politics in its performing arts school, and Art,

Education and Community Practice in its school of education and fine arts. Regardless of

program and department, university courses on arts and politics abound. In the Fall of 2010

alone, NYU offered over twenty courses, across four schools and colleges, exploring the

interconnections between arts, politics and social activism. This academic interest has prompted

a slew of recent books on arts and activism, with a cursory search on Amazon.com under “art

and activism” returning a staggering 1,345 results.

Museums curate entire exhibitions around the practice. In recent years, in New York City alone,

the Brooklyn Museum staged their monumental AgitProp show, the Whitney Museum, offered

up An Incomplete History Of Protest, and the Museum of the City of New York hosted AIDS at

Home, Art and Everyday Activism. Over the past decade, the Queens Museum has centered their

curatorial and educational mission around socially engaged arts, while Creative Time, the

1

“Artistic Activism,” a term first popularized in scholarship by Chantal Mouffe and in the field by the Center for

Artistic Activism, goes by many names: political art, creative activism, activist art, artivism socially engaged arts,

social practice arts, community based arts, artivism, arte útil, etc., each with slightly different emphases, and a

different place on the art/activism spectrum. What unites them all is the mobilization of both affect and effect.

2

ambitious NYC-based arts institution, organizes yearly “summits” which bring together artistic

activists from around the world. Around the world, from the Disobedient Objects show at the

Victoria and Albert Museum in London to The Art of Disruptions at Iziko South African

National Gallery, arts and activism has become an integral part of the arts scene. No global

Biennale is complete these days without its “social interventions” and the requisite controversy

surrounding the place of activism in the art world.

More important than academic and artistic institutions, however, is the attention turned to the

artistic activism by NGOs and philanthropic funders. Large organizations like the Open Society

Foundations have created new programs like the Arts Exchange to integrate arts into all levels of

their social programming, and smaller foundations like A Blade of Grass, Compton,

Rauschenberg, Surdna, et al. have made the support of arts and activism central to their mission.

Research groups like Americans for the Art’s Animating Democracy, and The Culture Group

produce reports and user guides for a range of actors in the field. Training institutes like the

Center for Artistic Activism, Beautiful Trouble, The Yes Labs, Intelligent Mischief, Center for

Story-Based Strategies, Backbone Campaign, to list just a few US examples, work with activists

who aspire to create more like artists and artists who would like to strategize more like activists.

But probably most critical of all is the attention paid to the practice by activists themselves. It is

now common in global activist NGOs like Greenpeace to local grassroots groups working on

immigration reform such as the New Sanctuary Coalition in NYC to develop “creative

strategies” alongside more traditional legal, electoral and mobilization approaches

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George works in a factory and is a member of the labor union. He thinks his wages are low for the work that he does, so he tells
Mashcka [7]

Answer: C. collective bargaining

Explanation:

The union used collective bargaining by negotiating with its employer to determine its pay and raise the wage.

I hope this helps!

3 0
2 years ago
What happened after the British passed the intolerable acts in 1774, which closed Boston harbor and gave the British control of
kifflom [539]
The colonists boycotted British goods as they felt like their rights were being invaded without representation/a say in what was happening.
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3 years ago
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