Gernot Wolfram shares the assumptions and / or dominant ideologies that shape his research. This is part of his work as a core member of the AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
Ideologies of Knowledge - Ideologies of 'White Spaces' and Reacting Language
1.
Imbalances
of
Knowledge
–
Ideologies
of
“White
Spaces”
and
Reacting
Language
Prof.
Dr.
Gernot
Wolfram
(The
Moving
Network
Project/
Macromedia
University
Berlin)
Bildquelle: germany.info 2013
2.
-‐ Latours
criticism
:
-‐ Terms
like
`culture`
are
often
used
as
terms
like
‚wooden‘
or
‚steely‘
-‐ A
certain
ideology
functions
here
–
there
is
a
hidden
agreement
on
these
terms
-‐ They
need
to
be
re-‐defined,
every
time
they
come
in
use
(Comp.
Latour
2007)
Working
with
ideological
words
4. Meta-‐Level:
a
common
`feeling`
about
the
meaning
of
words
used
in
arts
management,
f.e.
solidarity,
participation,
intercultural
understanding
Level
of
Function:
Political
discourses
Level
of
Use:
Use
in
the
arts,
in
concrete
projects
and
artistic
approaches
etc.
(Comp.
Wolfram/Al-‐Ani
2017)
Working
with
ideological
words
5. .
Self-‐definition
of
involved
actors
and
participants
and
the
words
they
want
use
.
What
happens
after
the
workshops
and
supported
projects?
.
What
voices
become
strong
enough
to
ask?
(comp.
Ali
2016)
The
Moving
Network
(www.the-‐
moving-‐network.de)
Milo Rau, Empire, Schaubühne Berlin 2016, Ramo Ali
6. Tendencies
in
Europe
and
Germany/Knowledge
Problem
§ Read
how
the
term
„culture“
is
used
as
a
political
term
and
compare
with
your
own
experiences
7. Data
§ “But
beyond
that,
culture
as
an
enabler
of
public
diplomacy,
is
a
way
of
sharing
our
values,
such
as
respect
for
human
rights,
diversity
and
equality,
the
independence
of
culture,
and,
ultimately,
the
creation
of
an
inclusive
society.
§ In
the
EU,
we
are
'united
in
our
diversity'.
This
is
the
measure
of
our
ambition
and
our
challenge
to
act
together.
§ As
I
said
at
a
seminar
at
Harvard
University
last
month:
'Europe's
soft
power
in
the
21st
century
should
be
about
taking
our
expertise
in
managing
our
own
cultural
diversity
to
the
global
stage.”
§ (Androulla
Vassiliou,
Speech
The
Role
of
Culture
in
EU
External
Relations
–
Final
Conference,
Palais
des
Beaux-‐Arts,Brussels,
7
April
2014)
Prof. Dr. Gernot Wolfram
8. Data
§ Looking
on
Data,
another
picture
comes
up….
§ 1.2.
Barriers
to
accessing
culture
(in
Europe)
§ Asked
about
the
barriers
to
accessing
cultural
activities,
respondents
across
the
EU27
generally
said
that
lack
of
interest
or
lack
of
time
are
the
main
obstacles.
Lack
of
interest
is
the
main
reason
for
not
attending
a
ballet,
dance
performance
or
opera
(50%),
visiting
a
public
library
(43%),
going
to
the
theatre
(36%),
visiting
a
museum
or
gallery
(35%),
or
going
to
more
concerts
(29%).
Lack
of
time
is
the
main
reason
for
not
reading
a
book
(44%),
visiting
a
historical
monument
or
site
(37%),
watching
or
listening
to
a
cultural
programme
on
the
TV
or
radio
(31%),
or
going
to
the
cinema
(30%).
Cost
is
also
an
important
factor
and
“too
expensive”
is
mentioned
as
a
reason
for
not
going,
or
going
less
often,
to
a
concert
(25%),
the
cinema
(22%),
or
the
theatre
(20%).
(vgl.
Eurostat,
EU-‐27,
2007)
Prof. Dr. Gernot Wolfram
9. Data
§ “A
comparison
with
the
2007
survey
shows
that,
across
the
EU,
there
has
been
a
decline
in
participation
in
the
majority
of
activities
asked
about,
which
may
reflect
an
overall
reduction
in
the
amount
of
money
or
time
EU
citizens
spend
on
cultural
activities
since
the
economic
crisis
began.
Only
visits
to
the
cinema
record
an
increase
in
participation,
with
a
one
percentage-‐point
rise.
§ Interestingly,
there
is
a
6-‐point
drop
in
watching
or
listening
to
a
cultural
programme
on
the
TV
or
radio,
an
activity
that
involves
little
or
no
cost.
The
reduction
from
78%
to
72%
is
therefore
likely
to
be
for
other
reasons
in
addition
to
financial
constraints.”
(Eurostat
EU-‐27,
2013)
Prof. Dr. Gernot Wolfram
11. Survey
§ 120
German
and
Austrian
students
(
between
20
–
28)
had
been
asked:
Could
you
mention
three
contemprorary
artists
from
your
neigbhor
countries
and
from
the
USA?
§ Only
4
%
could
give
a
proper
answer
concerning
countries
like
Poland,
Czech
Republic,
Slowakia
etc.
§ 91%
could
give
proper
answers
concerning
countries
like
the
UK
and
the
USA
§ 5%
could
give
no
proper
answer
§ How
would
you
see
such
a
survey
in
your
country?
§ (comp.
Wolfram
2013,
unpubl.)
12. Content
§ Central
questions:
§ How
important
are
the
analysis
of
„white
spaces“
within
cultural
policy
work?
§ What
consequences
has
this
analysis
for
cooperations
and
collaborations?
§ What
are
differences
between
national
cultural
policies
and
international
cultural
policies?
13. I.
European
Cultural
Projects
§ Cultural
projects
need
§ a.
an
analysis
of
ideological
knowledge
(Media,
Politics,
Management)
§ b.
strong
cultural
narratives
(postmodern
narratives)
§ c.
Formulation
of
a
„Guiding
Rocket
Strategy“
(Trompenaars
1993)
15. M.Martin
(2012):
„Refresh
the
Revolution“
§ The
White
Tower
building
in
Sverdlovsk
(the
Soviet
name
of
the
city
of
Ekaterinburg)
in
1929
by
Russian
architect
Mosei
Reicher
was
an
ambitious
architectural
project
dominating
the
new
industrial
district
of
Uralmash.
§ The
tower
was
before
the
intervention
empty
and
deserted
since
many
years
in
the
way
of
disappearance.
§ In
Refresh
the
Revolution
(refer
to
the
constructivist
revolution
in
architecture)
Matthieu
Martin
showed
the
White
Tower
in
its
original
look
–
he
put
off
the
advertisement
posters,
painted
it
in
white
with
all
tags
and
graffiti.
16.
17. § Thank
you
for
your
attention!
Kontakt:
g.wolfram@macromedia.de
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