By Lisa Sonora Beam
The artistic Entrepreneur takes readers on an internal trip of artistic exploration to find the right way to make their desires of artistic livelihood genuine, as they craft their very own Artist's company magazine, that's a visible, project-oriented, step by step method of company improvement for artists from all walks of existence who need to make a company out in their artistic work.
The inventive Entrepreneur was once voted Winner, in categories—Craft and enterprise, of the 2009 IBPA (Independent e-book Publishers organization) Benjamin Franklin Award which acknowledges excellence in publishing.
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Additional info for The Creative Entrepreneur: A DIY Visual Guidebook for Making Business Ideas Real
But how does one fare in the wake of this revelation? Anny, Roquentin’s love interest, ever attempts to make of the ordinary, aesthetically unsatisfying flux of everyday life ‘‘an experience’’ with its own positivity, purposivity, and meaning. Anny attempts in vain to render the world, and in particular a moment of the world, as ordered by necessary being. Her design and realization of ‘‘perfect moments’’ [moments parfaits] out of privileged situations—those which have all the right content and await the perfect form—would enact a moment of living as art, perfect like ‘‘a concerted silence, as when, at the Opera, the stage is empty for exactly seven measures of music’’ (Sartre 1964, 193).
For an account of the possibility of the re-establishment and revivification of the quotidian in the wake of its breakdown, one must look beyond Sartre’s novel, beyond the literature of alienation and subjective authenticity. In this chapter the relationship between phenomenological and literary explorations of the quotidian, and its latent ecstasis, have been introduced. Habit structures the appearance of the everyday world; but in modern literature and art this mode of appearance is exposed as fragile, subject to dissolution in the process of defamiliarization, and further in confrontation with a sense of uncanniness and the void, or when ordinary objects stand out obtrusively.
There is nothing’’ (131). Here Sartre gets closest to describing a magnified interstice of the epoche´: for the phenomenologist the bracketing of the world does not leave the thinker abandoned in the abeyance which is nothingness, for there is a retention of things as phenomena, as appearances; but for a mind habitually absorbed into the natural attitude, and subject to literary-aesthetic fascinations, this retention does not neutralize yet the distressing negation of the presumed actuality in itself once believed to reside within or ‘behind’ appearances.