"THE PROMISE OF CULTURAL NETWORKS: Towards a research framework for the study of region-specific cultural network ecosystems" presented at the Cultural Trends Conference "IN SEARCH OF CULTURAL POLICY" on Thursday, November 24th, 2011 (London, United Kingdom).
This document discusses different types of culture, including material and non-material culture, subcultures, high culture, popular culture, consumer culture, and global culture. It provides definitions and characteristics of each type of culture, and examines how cultures develop and are influenced by societal structures. Revision cards are also included to highlight key aspects of different cultures.
Chapter 3 focuses on bodies as sites where social differences like race and gender are constructed and negotiated. It introduces analyzing body politics to understand how meanings attached to differences uphold hierarchies.
Chapter 6 examines how global media and popular culture influence intercultural communication and identities. It explores how power shapes mediated intercultural representation of non-dominant groups and strategies for critical media consumption and production.
The document discusses how intercultural communication is embodied and how people communicate identities through their bodies. Bodies are where power inscribes and regulates social categories like gender, race, and class.
This document discusses the role of popular culture and power. It makes two key claims: 1) Americans are uniquely exposed to US popular culture but not other cultures, and 2) it is difficult for non-English pop culture to spread widely. It also discusses how the US maintains control over production and distribution of pop culture through infrastructure, knowledge and capital, establishing hegemony through pleasure and "cool" factors. Governments may be concerned about foreign pop culture entering their countries as a form of cultural imperialism.
experience: Saskatchewan Arts Board Annual Report 2012-2013Saskatchewan Board
Saskatchewan has a thriving arts community. This magazine-style publication highlights our innovative artists, organizations and communities through feature stories and photos. It is also a celebration of the Saskatchewan Arts Board's 65th anniversary.
The expressive turn of political participation in the digital ageJakob Svensson
1) In digital late modernity, political participation and citizenship are motivated by expressive rationality rather than instrumental or communicative rationality.
2) Expressive rationality refers to citizens' motivation to express, perform, and create their identities through participation and deliberation.
3) Understanding citizenship in this way allows for participation whether citizens' views change or not, as the goal is self-realization and identity expression rather than reaching consensus.
Today is a new metropolitan age and for the first time ever more people live in cities than they do anywhere else. As cities strengthen their international and cultural influence, the global world is acted out most articulately in the world's urban hubs - through its diverse cultures, broad networks and innovative styles of governance. Cities, Cultural Policy and Governance examines how governance and cultural policy play out in a national and international framework, and covers issues that fully comprehend a city's cultural dynamics and its impact on policy including alternative economies, creativity, migration, diversity, sustainability, education and urban planning. The book is ideal for students, scholars and researchers interested in sociology, urban studies, cultural studies, and public policy.
Cities, Cultural Policy and Governance is the fifth in a series of major works gathering together leading international scholarship on culture and globalization. In common with previous volumes, Cities, Cultural Policy and Governance features Australian-based contributors including Ramon Lobato, Stuart Cunningham, Terry Flew, Mark Gibson, Justin O'Connor and Gu Xin.
This document summarizes a presentation about culture, technology, and cities. It discusses how urban populations are growing globally and cities are centers of finance, industry, and creative industries. It also examines how cities have historically been cosmopolitan hubs within global networks and how the rise of the internet has not diminished cities' importance. The document analyzes the social shaping of technology and the relationship between culture and technology at different levels. It also discusses challenges with cluster and creative city models of urban cultural policy.
This document discusses different types of culture, including material and non-material culture, subcultures, high culture, popular culture, consumer culture, and global culture. It provides definitions and characteristics of each type of culture, and examines how cultures develop and are influenced by societal structures. Revision cards are also included to highlight key aspects of different cultures.
Chapter 3 focuses on bodies as sites where social differences like race and gender are constructed and negotiated. It introduces analyzing body politics to understand how meanings attached to differences uphold hierarchies.
Chapter 6 examines how global media and popular culture influence intercultural communication and identities. It explores how power shapes mediated intercultural representation of non-dominant groups and strategies for critical media consumption and production.
The document discusses how intercultural communication is embodied and how people communicate identities through their bodies. Bodies are where power inscribes and regulates social categories like gender, race, and class.
This document discusses the role of popular culture and power. It makes two key claims: 1) Americans are uniquely exposed to US popular culture but not other cultures, and 2) it is difficult for non-English pop culture to spread widely. It also discusses how the US maintains control over production and distribution of pop culture through infrastructure, knowledge and capital, establishing hegemony through pleasure and "cool" factors. Governments may be concerned about foreign pop culture entering their countries as a form of cultural imperialism.
experience: Saskatchewan Arts Board Annual Report 2012-2013Saskatchewan Board
Saskatchewan has a thriving arts community. This magazine-style publication highlights our innovative artists, organizations and communities through feature stories and photos. It is also a celebration of the Saskatchewan Arts Board's 65th anniversary.
The expressive turn of political participation in the digital ageJakob Svensson
1) In digital late modernity, political participation and citizenship are motivated by expressive rationality rather than instrumental or communicative rationality.
2) Expressive rationality refers to citizens' motivation to express, perform, and create their identities through participation and deliberation.
3) Understanding citizenship in this way allows for participation whether citizens' views change or not, as the goal is self-realization and identity expression rather than reaching consensus.
Today is a new metropolitan age and for the first time ever more people live in cities than they do anywhere else. As cities strengthen their international and cultural influence, the global world is acted out most articulately in the world's urban hubs - through its diverse cultures, broad networks and innovative styles of governance. Cities, Cultural Policy and Governance examines how governance and cultural policy play out in a national and international framework, and covers issues that fully comprehend a city's cultural dynamics and its impact on policy including alternative economies, creativity, migration, diversity, sustainability, education and urban planning. The book is ideal for students, scholars and researchers interested in sociology, urban studies, cultural studies, and public policy.
Cities, Cultural Policy and Governance is the fifth in a series of major works gathering together leading international scholarship on culture and globalization. In common with previous volumes, Cities, Cultural Policy and Governance features Australian-based contributors including Ramon Lobato, Stuart Cunningham, Terry Flew, Mark Gibson, Justin O'Connor and Gu Xin.
This document summarizes a presentation about culture, technology, and cities. It discusses how urban populations are growing globally and cities are centers of finance, industry, and creative industries. It also examines how cities have historically been cosmopolitan hubs within global networks and how the rise of the internet has not diminished cities' importance. The document analyzes the social shaping of technology and the relationship between culture and technology at different levels. It also discusses challenges with cluster and creative city models of urban cultural policy.
Presentation by Oto Hudec, Technical University of Košice
Advanced Brainstorm Carrefour (ABC): ‘Smart People in Smart Cities’ Matej Bel University, Banská Bystrica, Slovakia (August, 2016)
This document discusses international cultural cooperation and the mobility of artists and cultural professionals. It outlines three main objectives: 1) fostering intercultural dialogue and cultural diversity in the EU, including by enhancing cross-border mobility and dissemination of artworks, 2) promoting culture and creativity as drivers of economic growth, and 3) integrating culture into the EU's international relations. It also describes new multi-level partnerships between the EU Commission, cultural sector stakeholders, member states, and others to implement these objectives through structured dialogue and the open method of coordination.
This document provides information about Culture Track, an ongoing survey of cultural participation in the United States. It is conducted by surveying over 4,000 respondents to understand attitudes, behaviors, motivators and barriers related to attendance at visual and performing arts events. The 2011 survey found that cultural participation clusters into eight distinct segments. It also explored how the economic downturn has impacted attendance levels and reasons for changes. While many continue cutting back on expenses, fewer see the arts as less relevant compared to 2009. Participation patterns by art form have remained steady but the frequency of attendance has declined. Incentives like lower ticket prices, convenience factors and opportunities for social connection remain important motivators.
Out of the Blue will partner with existing organizations in Athens, Georgia to provide free visual arts education and materials using a mobile art studio. Its mission is to foster art, awareness, and participation among diverse and marginalized populations by providing accessible art resources. The goals are to eliminate barriers like transportation, cost, and lack of access to creative opportunities in order to make art available to all communities. Staff will include an executive director, assistant director, art educators, interns and volunteers overseen by a board.
http://entrelib.org/conferences/2013-conference/scheduled-presenters/
Project APRCH (Agency in the Preservation of Refugee Cultural Heritage) asks refugees to speak in their own voice (agency) about how they wish to document (record for posterity), perpetuate (ongoing practice/survival) and disseminate (make accessible) their cultural heritage. By using a “scholarship of dialogue” approach, we seek to be culturally competent in this endeavor.
–Nora J. Bird, Assistant Professor, UNCG Department of Library and Information Studies
–Clara M. Chu, Professor, UNCG Department of Library and Information Studies
–Fatih Oguz, Assistant Professor, UNCG Department of Library and Information Studies
International Entrepreneurship in the Arts: Unexpected PartnershipLidia Varbanova
Unexpected Partnership: New spaces for creation and creativity: How do we support them?" Presented by Lidia Varbanova at IFACCA 7th World Summit, Malta, October, 2016
Cultural Intermediation as the Practice of GoverningPhil Jones
This document summarizes the work of a research project team examining cultural intermediation and governance. The team took an interdisciplinary approach, studying cultural intermediation through an arts and humanities lens. They examined cultural intermediation's role in both formal governance structures and informal everyday practices. Through baseline assessments, case studies, and diary-keeping with participants, the team explored how cultural intermediation connects and disconnects different cultural sectors and communities. Their goal was to understand how cultural intermediation could help "re-govern" creative cities to be more inclusive. The team planned to share their findings through academic publications, policy discussions, and local seminars.
Paul Long: Culturing communities? Understanding intermediation and localityPhil Jones
This document discusses a research project exploring how cultural intermediation connects communities to the creative economy. The project aims to understand how intermediation engages hard-to-reach communities and how to measure the value of these activities. Key research questions examine how formal cultural intermediation has involved different communities and facilitated their connection to the creative economy. The investigations will take empirical perspectives from within communities in Balsall Heath and Ordsall to understand the dynamic sites of cultural policy implementation and cultural production.
The document discusses the tension between locality and globalization in Istanbul. As Istanbul experiences rapid globalization, its cultural identity and local values from its past are at risk of being lost. However, globalization does not necessarily require the disappearance of local differences. The challenge is how to leverage Istanbul's position at the intersection of global and local influences to create dialogue between citizens and value both local culture and contemporary trends.
Digital Culture and the Shaking Hand of ChangeMichael Edson
The presentation shows how to create and use a "problem space" to organize complex challenges. The central metaphor for the talk is the "civic handshake" — a process by which different parts of society cooperate through the informal exchange of information and the sharing of responsibilities.
Paul Long Royal Geographical Society 2014 presentationPhil Jones
Whose Culture, Whose Creative City. A paper given by Paul Long of the AHRC-funded Cultural Intermediation project at the Royal Geographical Society annual conference in August 2014.
This document provides an overview of the Free Culture movement, which advocates transforming cultural production through regulatory frameworks based on peer-to-peer networks, open source, and free software. It mobilizes creative professionals and holds events like the annual Free Culture Forum in Barcelona. The movement defends internet neutrality and openness. It views creativity as a collaborative process of remixing and sharing, rather than being defined by commercial products. While not against markets, it argues that corporate control restricts creativity and that governments should ensure network neutrality and access. The research will take an ethnographic approach to explore the values and practices of digital cultural production within Free Culture through participant observation rather than evaluate its ideology or viability.
Keynote for the Prague Platform on the Future of Cultural Heritage, convened by the European Commission, October 7-8, 2019. The Prague Platform talks about
“Enhanced digitally enabled cultural heritage participation for all citizens.”
But what do these words mean? And how might we approach them — as practitioners, communities, governments and institutions, and citizens?
This document is an introduction to a collection of research articles on the state of the nonprofit arts sector in New York City. It discusses how arts and culture have long been central to the mission of The Municipal Art Society of New York. The introduction provides background on recent collaborations between MAS and the Alliance for the Arts to research and advocate for the arts. It summarizes the four articles that follow, which analyze data from the Cultural Data Project to tell a story about the resilience of the nonprofit arts community during the economic downturn from 2008-2011. The introduction emphasizes the importance of measuring impacts and developing new indicators of vibrancy and sustainability for the cultural field.
This document outlines the Playing Identities - Performing Heritage project. The project will involve young artists from different European countries working together to produce "creole" theatrical performances. The performances will explore and negotiate cultural heritage and identities. The project involves selecting young theatre makers, four artistic fieldworks in different countries, creative residencies to develop the performances, and a final performance cycle in Siena, Italy. The goal is for theatre to facilitate sharing cultural knowledge and triggering social innovation through performing heritage in an inclusive way.
This document provides an overview of digital culture and introduces the book "Digital Culture: The Changing Dynamics". It discusses how digital trends are intersecting with culture and the arts. The book examines how new technologies are challenging traditional understandings of culture and extending it into the digital realm. It also analyzes shifts in cultural diversity and communication driven by technologies, and how cultural policies are addressing digital culture. The book aims to provide insight into these interrelated topics and discuss whether we can talk about cultural diversity in the digital domain.
The document provides information about the IDEAS CITY Festival that will take place from May 28-30, 2015 in New York City. The festival theme is "The Invisible City" and will explore questions of transparency, citizenship, expression, participation and the quest for visibility in cities. The festival will include talks, panels, films and discussions at the Great Hall of the Cooper Union on May 28th. Panelists will discuss issues like designing cities for the future, the role of data and privacy in democracy, and networks and infrastructure. The festival aims to create networks between thinkers from different fields and engage the public in addressing civic issues.
The document discusses the relationship between culture and economy. It argues that the distinction between the two is becoming blurred, with the economization of culture and culturalization of the economy. It uses Facebook as an example of this relationship, noting how social networks influence consumer choices and identity in ways that accumulate social and cyber capital. The document also examines surveillance and censorship issues related to social media, providing examples from China banning Facebook.
Academic research and creative industries: a brief and partial genealogyGraham Jeffery
a quick, rough,and semi-historical overview of the relationship between academic research/theory and the development of concepts of creative/cultural industry. Lecture for MA Music, Innovation and Entrepreneurship students at the University of the West of Scotland.
The document discusses engagement and participation in cultural institutions. It defines engagement as mutual learning between publics and experts, in contrast to one-way transmission of knowledge. Effective engagement involves reciprocity and acting together. Some key strategies discussed for public participation include allowing the public to shape content through voting, user-generated tagging and commenting, and encouraging the public to take on roles as both audiences and cultural producers through activities like contributing and sharing creative works. The benefits and challenges of different approaches are outlined. Examples provided include public voting to select art for exhibitions and an open studio event where the public nominated local artists.
This document discusses the need for museums to increase diversity and inclusion in their practices. It notes that museum staff, collections, and boards are not representative of the general population and this hinders audience engagement. While technology is often touted as a solution, the document argues it is ineffective without addressing underlying social and cultural issues. A case study of the program Curated x Kai is presented as using technology to create new narratives and engage diverse audiences. The document concludes that meaningful diversity is needed for institutions to fully leverage technology to reach new communities.
Other Worlds, Other DHs - Roopika Risam #DH2014Roopsi Risam
1. The document discusses the need for the digital humanities field to be more inclusive and consider perspectives from around the world.
2. It highlights several projects that seek to introduce global digital humanities work and build an international community.
3. Several quotes argue that the digital humanities cannot be thought of separately from sociocultural contexts, and that errors in language should be seen as a form of diversity rather than deficiency.
Presentation by Oto Hudec, Technical University of Košice
Advanced Brainstorm Carrefour (ABC): ‘Smart People in Smart Cities’ Matej Bel University, Banská Bystrica, Slovakia (August, 2016)
This document discusses international cultural cooperation and the mobility of artists and cultural professionals. It outlines three main objectives: 1) fostering intercultural dialogue and cultural diversity in the EU, including by enhancing cross-border mobility and dissemination of artworks, 2) promoting culture and creativity as drivers of economic growth, and 3) integrating culture into the EU's international relations. It also describes new multi-level partnerships between the EU Commission, cultural sector stakeholders, member states, and others to implement these objectives through structured dialogue and the open method of coordination.
This document provides information about Culture Track, an ongoing survey of cultural participation in the United States. It is conducted by surveying over 4,000 respondents to understand attitudes, behaviors, motivators and barriers related to attendance at visual and performing arts events. The 2011 survey found that cultural participation clusters into eight distinct segments. It also explored how the economic downturn has impacted attendance levels and reasons for changes. While many continue cutting back on expenses, fewer see the arts as less relevant compared to 2009. Participation patterns by art form have remained steady but the frequency of attendance has declined. Incentives like lower ticket prices, convenience factors and opportunities for social connection remain important motivators.
Out of the Blue will partner with existing organizations in Athens, Georgia to provide free visual arts education and materials using a mobile art studio. Its mission is to foster art, awareness, and participation among diverse and marginalized populations by providing accessible art resources. The goals are to eliminate barriers like transportation, cost, and lack of access to creative opportunities in order to make art available to all communities. Staff will include an executive director, assistant director, art educators, interns and volunteers overseen by a board.
http://entrelib.org/conferences/2013-conference/scheduled-presenters/
Project APRCH (Agency in the Preservation of Refugee Cultural Heritage) asks refugees to speak in their own voice (agency) about how they wish to document (record for posterity), perpetuate (ongoing practice/survival) and disseminate (make accessible) their cultural heritage. By using a “scholarship of dialogue” approach, we seek to be culturally competent in this endeavor.
–Nora J. Bird, Assistant Professor, UNCG Department of Library and Information Studies
–Clara M. Chu, Professor, UNCG Department of Library and Information Studies
–Fatih Oguz, Assistant Professor, UNCG Department of Library and Information Studies
International Entrepreneurship in the Arts: Unexpected PartnershipLidia Varbanova
Unexpected Partnership: New spaces for creation and creativity: How do we support them?" Presented by Lidia Varbanova at IFACCA 7th World Summit, Malta, October, 2016
Cultural Intermediation as the Practice of GoverningPhil Jones
This document summarizes the work of a research project team examining cultural intermediation and governance. The team took an interdisciplinary approach, studying cultural intermediation through an arts and humanities lens. They examined cultural intermediation's role in both formal governance structures and informal everyday practices. Through baseline assessments, case studies, and diary-keeping with participants, the team explored how cultural intermediation connects and disconnects different cultural sectors and communities. Their goal was to understand how cultural intermediation could help "re-govern" creative cities to be more inclusive. The team planned to share their findings through academic publications, policy discussions, and local seminars.
Paul Long: Culturing communities? Understanding intermediation and localityPhil Jones
This document discusses a research project exploring how cultural intermediation connects communities to the creative economy. The project aims to understand how intermediation engages hard-to-reach communities and how to measure the value of these activities. Key research questions examine how formal cultural intermediation has involved different communities and facilitated their connection to the creative economy. The investigations will take empirical perspectives from within communities in Balsall Heath and Ordsall to understand the dynamic sites of cultural policy implementation and cultural production.
The document discusses the tension between locality and globalization in Istanbul. As Istanbul experiences rapid globalization, its cultural identity and local values from its past are at risk of being lost. However, globalization does not necessarily require the disappearance of local differences. The challenge is how to leverage Istanbul's position at the intersection of global and local influences to create dialogue between citizens and value both local culture and contemporary trends.
Digital Culture and the Shaking Hand of ChangeMichael Edson
The presentation shows how to create and use a "problem space" to organize complex challenges. The central metaphor for the talk is the "civic handshake" — a process by which different parts of society cooperate through the informal exchange of information and the sharing of responsibilities.
Paul Long Royal Geographical Society 2014 presentationPhil Jones
Whose Culture, Whose Creative City. A paper given by Paul Long of the AHRC-funded Cultural Intermediation project at the Royal Geographical Society annual conference in August 2014.
This document provides an overview of the Free Culture movement, which advocates transforming cultural production through regulatory frameworks based on peer-to-peer networks, open source, and free software. It mobilizes creative professionals and holds events like the annual Free Culture Forum in Barcelona. The movement defends internet neutrality and openness. It views creativity as a collaborative process of remixing and sharing, rather than being defined by commercial products. While not against markets, it argues that corporate control restricts creativity and that governments should ensure network neutrality and access. The research will take an ethnographic approach to explore the values and practices of digital cultural production within Free Culture through participant observation rather than evaluate its ideology or viability.
Keynote for the Prague Platform on the Future of Cultural Heritage, convened by the European Commission, October 7-8, 2019. The Prague Platform talks about
“Enhanced digitally enabled cultural heritage participation for all citizens.”
But what do these words mean? And how might we approach them — as practitioners, communities, governments and institutions, and citizens?
This document is an introduction to a collection of research articles on the state of the nonprofit arts sector in New York City. It discusses how arts and culture have long been central to the mission of The Municipal Art Society of New York. The introduction provides background on recent collaborations between MAS and the Alliance for the Arts to research and advocate for the arts. It summarizes the four articles that follow, which analyze data from the Cultural Data Project to tell a story about the resilience of the nonprofit arts community during the economic downturn from 2008-2011. The introduction emphasizes the importance of measuring impacts and developing new indicators of vibrancy and sustainability for the cultural field.
This document outlines the Playing Identities - Performing Heritage project. The project will involve young artists from different European countries working together to produce "creole" theatrical performances. The performances will explore and negotiate cultural heritage and identities. The project involves selecting young theatre makers, four artistic fieldworks in different countries, creative residencies to develop the performances, and a final performance cycle in Siena, Italy. The goal is for theatre to facilitate sharing cultural knowledge and triggering social innovation through performing heritage in an inclusive way.
This document provides an overview of digital culture and introduces the book "Digital Culture: The Changing Dynamics". It discusses how digital trends are intersecting with culture and the arts. The book examines how new technologies are challenging traditional understandings of culture and extending it into the digital realm. It also analyzes shifts in cultural diversity and communication driven by technologies, and how cultural policies are addressing digital culture. The book aims to provide insight into these interrelated topics and discuss whether we can talk about cultural diversity in the digital domain.
The document provides information about the IDEAS CITY Festival that will take place from May 28-30, 2015 in New York City. The festival theme is "The Invisible City" and will explore questions of transparency, citizenship, expression, participation and the quest for visibility in cities. The festival will include talks, panels, films and discussions at the Great Hall of the Cooper Union on May 28th. Panelists will discuss issues like designing cities for the future, the role of data and privacy in democracy, and networks and infrastructure. The festival aims to create networks between thinkers from different fields and engage the public in addressing civic issues.
The document discusses the relationship between culture and economy. It argues that the distinction between the two is becoming blurred, with the economization of culture and culturalization of the economy. It uses Facebook as an example of this relationship, noting how social networks influence consumer choices and identity in ways that accumulate social and cyber capital. The document also examines surveillance and censorship issues related to social media, providing examples from China banning Facebook.
Academic research and creative industries: a brief and partial genealogyGraham Jeffery
a quick, rough,and semi-historical overview of the relationship between academic research/theory and the development of concepts of creative/cultural industry. Lecture for MA Music, Innovation and Entrepreneurship students at the University of the West of Scotland.
The document discusses engagement and participation in cultural institutions. It defines engagement as mutual learning between publics and experts, in contrast to one-way transmission of knowledge. Effective engagement involves reciprocity and acting together. Some key strategies discussed for public participation include allowing the public to shape content through voting, user-generated tagging and commenting, and encouraging the public to take on roles as both audiences and cultural producers through activities like contributing and sharing creative works. The benefits and challenges of different approaches are outlined. Examples provided include public voting to select art for exhibitions and an open studio event where the public nominated local artists.
This document discusses the need for museums to increase diversity and inclusion in their practices. It notes that museum staff, collections, and boards are not representative of the general population and this hinders audience engagement. While technology is often touted as a solution, the document argues it is ineffective without addressing underlying social and cultural issues. A case study of the program Curated x Kai is presented as using technology to create new narratives and engage diverse audiences. The document concludes that meaningful diversity is needed for institutions to fully leverage technology to reach new communities.
Other Worlds, Other DHs - Roopika Risam #DH2014Roopsi Risam
1. The document discusses the need for the digital humanities field to be more inclusive and consider perspectives from around the world.
2. It highlights several projects that seek to introduce global digital humanities work and build an international community.
3. Several quotes argue that the digital humanities cannot be thought of separately from sociocultural contexts, and that errors in language should be seen as a form of diversity rather than deficiency.
This document provides an overview of using social network analysis to study cultural production. It discusses how the Manchester punk/post-punk music scene from 1976-1980 formed a cultural network among over 100 key actors. Having a "critical mass" of interconnected artists allowed resources and enthusiasm to be pooled, cultural work to be completed, and a music scene to emerge and be recognized. The network structure influenced opportunities for collaboration, support, and innovation. Studying relationships and dynamics within cultural networks can provide insights into how conventions, resources, and opportunities are distributed and how cultural production unfolds over time.
What are the forces that contribute to cultural innovation and change, and how should cultural policies and institutions approach it, given their various (purist, modernist, nationalist, economic) agendas? In this exploration, I try and argue for the role played by "ordinary people" through their diffused but pervasive "everyday actions and practices", suggesting that this is a vital and democratic force that must be championed at all costs as it is essential to building social capital. In our increasingly globalized and corporatized society, the role of the ordinary person is gradually transforming from an active agent-creator to a passive recipient-consumer, leaving less and less scope for individual creativity and innovation. While this triggers a subversive and tactical re-appropriation of cultural goods as shown by de Certeau, I ask why artistry and culture cannot remain a common, affordable and easily-accessible praxis as it still does in Indian and other "poor & under-developed" societies, rather than turning into a premium and exclusive commodity.
This document discusses the concept of diasporic small and medium enterprises (SMEs) and their entrepreneurial networks. It examines how diasporic SMEs maintain multi-local identifications while being dispersed from their homelands. Diasporic SMEs form global networks based on trust and shared culture, ethnicity, and language that provide economic advantages and resources. Their entrepreneurial networks are underpinned by social capital from strong interpersonal relationships and bounded solidarity within their communities.
The document discusses the need for new strategies and capacities to meet the changing demands of the 21st century world. It introduces the Institute for Multimedia Literacy (IML) and its mission to empower students through media to be critical, competent citizens and scholars for the 21st century. The IML offers courses, programs, projects and collaborations focused on new media literacy.
We should be software: Recoding cultural action through networked formations ...maudelfin
Abstract
In recent years, Latin America has witnessed the appearance of various “cultural networks” composed of arts and culture organizations, directly influenced by digital media and networked technologies. These networks have impacted policy spaces while forming alternative circuits for cultural production, consumption and valuation, within their countries and across national boundaries. They can be understood as a reaction to vertical cultural policy-making (generally focused on the promotion of fine arts and archaeological heritage) and widespread institutional opacity and government centralization in the region. Cultural networks advance a plurality of socio-political agendas and broaden the spectrum of collective aspirations surrounding culture and its relationship to social development.
This paper argues that the power of cultural networks relies on a distinct exploitation of the affordances of digital media to generate new and augmented collective narratives, champion a non-hierarchical and distributed ethos, and introduce new modes for cultural labor. It also proposes that they represent an emerging politics of relationality among arts and cultural organizations that takes advantage of a widening gap between mainstream institutional and media cultures and new political cultures characterized by rapid appropriation of distributed technologies and open source ethics. Three case studies — Fora do Eixo, Plataforma Puente and Cultura de Red — are used to describe how these networks function as domains for social action, vehicles for the construction of “futurity” (Appadurai, 2004) and meaning structures that engineer new social relations.
Finally, this paper argues that cultural networks constitute a unique opportunity to study “the becoming topological of culture” as defined by Lury, Parisi and Terranova (2012); the idea that culture is increasingly organized in terms of its capacities for change. For these networks, culture appears as a field of connectedness, of ordering by means of continuity and not as a structure based on essential properties, such as archetypes, values or norms, or regional location (5). Thus, these networks challenge a foundational aspect of contemporary cultural policies: The idea of “national space” as main guarantor and source for political identity, order and control.
Viva, Libre, Abierta y en Red: Nuevos insumos para las políticas culturales e...maudelfin
Lunes, 7 de enero de 2013 - 19:00 — Auditorio del Convento de Santo Domingo - Qorikancha (Plazoleta Santo Domingo s/n)
VIVA, LIBRE, ABIERTA Y EN RED:
Nuevos insumos para las políticas culturales en el Perú del siglo 21
+ Una conversación con Mauricio Delfin (Culturaperu.org)
En la última década la región Latinoamericana ha visto emerger una serie de nuevos movimientos sociales desde agentes y espacios culturales diversos que buscan transformar la manera en cómo entendemos la relación entre cultura y desarrollo humano. Se trata de nuevos liderazgos, agendas y repertorios culturales para la emancipación y la transformación social que retan directamente las estructuras tradicionales y hegemonías que sostienen el diseño de políticas culturales en países como el Perú.
En esta conversación, Mauricio Delfin (Director de Culturaperu.org) describirá cuatro ejes de acción cultural (cultura viva, cultura libre, cultura abierta y cultura en red) que prometen transformar la forma en cómo entendemos no sólo la relación entre arte y cultura, sino también la función del gestor cultural y la naturaleza de las políticas culturales tanto a nivel local como nacional y global.
Esta presentación busca dar cuenta de nuevas fuerzas y espacios para la acción cultural que transforman directamente lo que está en juego cuando hablamos de política cultural y desarrollo humano. Al centro de esta aproximación a la acción cultural está la reconfiguración del rol que deberán jugar los ciudadanos y las comunidades en el diseño de nuevas políticas culturales, y la necesidad imperiosa de trabajar colaborativamente hacia la construcción criterios compartidos para una verdadera descentralización del aparato cultural y así lograr un gobierno abierto de la cultura en el Perú.
+ Sobre MAURICIO DELFIN:
Mauricio Delfin es antropólogo y especialista en tecnologías para el desarrollo humano. Bachiller con Honores en Antropología y Estudios de Desarrollo Internacional de la Universidad de McGill (Canadá) y Maestría en Medios, Comunicación y Cultura de la Universidad de Nueva York. Fundó y dirigió Realidad Visual desde 2001, una asociación cultural interesada en la promoción de las artes mediales y el fomento de políticas culturales inclusivas en el Perú.
Como investigador social ha estudiado temas diversos como violencia juvenil, ecología social y salud global. Como director y productor audiovisual ha realizado documentales, proyectos de videoarte e instalaciones interactivas. Ha sido Director del Festival Internacional de Video/Arte/Electrónica (VAE) e impulsor de los encuentros peruanos de arte y nuevos medios (PLASMA). Es miembro activo de Tándem: Gestión Cultural para el Desarrollo, y Director de Investigación y Desarrollo de La Factura (http://lafactura.com/). En la actualidad se desempeña como Director General de Culturaperu.org (http://culturaperu.org/) y del Encuentro Nacional de Cultura (ENC) (http://
Media, information and the promise of new technologies in Knowledge Transfer ...maudelfin
The document discusses knowledge transfer and exchange in the context of global health research. It explores how new technologies and networked societies are challenging traditional models of knowledge generation and dissemination. It also examines examples of new configurations for knowledge sharing, such as open data initiatives, crisis mapping, and open access protocols that utilize distributed networks instead of hierarchies. Finally, it calls for future research on knowledge transfer and exchange to take a more critical approach and consider how power structures and institutional contexts are impacted.
Modelos de Gestión de Proyectos Culturales en América Latina: Casos de Éxito (Centro Cultural de España en Managua - CCEN, Nicaragua - 7 de Marzo, 2012).
Participaron en la Mesa: Mauricio Delfín (Culturaperu.org/Peru), Natacha Melo (Red Sudamericana de Danza/Uruguay), Roberto Guerrra (Red Latinoamericana de Gestión Cultural/Chile) y Fernando García (Fundación Imagen/Bolivia). Moderador: Juan Espinoza (Hivos/Bolivia).
Presentación en el marco del primer encuentro de validación del Proyecto RIO.
Art, technology and culture: the policy/political linkmaudelfin
October 5th, 2011 - Open Session:
“Art, technology and culture: the policy/political link”
at the 5th World Summit on Arts and Culture (Melbourne, Australia)
Media, information and the promise of new technologies in Knowledge Transfer ...maudelfin
This document discusses knowledge transfer practices and the role of new technologies. It covers different knowledge systems like communities of practice and academia. It also examines knowledge transfer spaces like workshops and digital repositories. Finally, it discusses key message formats, open data, and licensing regimes like Creative Commons that enable open sharing of information.
This document discusses three crowdsourcing initiatives that aim to promote civic engagement and improve local communities: SeeClickFix from the US, FixMyStreet from the UK, and an app from Boston, US. The initiatives allow citizens to report issues in their neighborhoods and receive updates from local governments on resolving problems.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
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Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
1. THE PROMISE OF CULTURAL NETWORKS
Towards
a
research
framework
for
the
study
of
region-‐specific
cultural
network
ecosystems
MAURICIO DELFIN
IN SEARCH OF CULTURAL POLICY
Cultural Trends Conference
Thursday, November 24th, 2011
London, United Kingdom
13. PROYECTO RIO - América Latina
Redes, Interacciones y Organización del sector cultural
2012-2013
First meeting: March 2012, Nicaragua
14. 40+ NETWORKS PROJECTS
• CUFA
o
Afroreggae
• Red Profesionales del Teatro de Nicaragua • Cultura Digital
• Red de Software Libre • Alianza Latinoamericana Cultura y Política
• Red Residencias Artísticas • Red Latinoamericana de Gestión Cultural
• Foro Nicaragüense de Cultura (RLAGC)
• Relajo • Red Suramericana de Danza (RSD)
• Asociación Nicaragüense de Cinematografía • Red Latinoamericana de Arte y
• Puntos de Encuentro Transformación Social (RLATS)
• Centroamérica-redes • Cofralandes
• Caja Lúdica/Red Guatemalteca de Arte • Pueblo Hace Cultura
Comunitario (RGAC) • Red de Programadores de América Latina y el
• MARACA Caribe
• GUANARED • Cultura Senda
• Red Centroamericana de Danza • Chaski, Red de Microcines
• Proyecto Lagartija • Asociación para el Desarrollo de la Industria
• Carromato Musical Iberoamericana
• Mujeres en las Artes • Plataforma Puente Cultura Viva Comunitaria
• Cultura & Integración • Red Latinoamericana de Teatro en
• CINERGIA Comunidad
• Red Dominicana de Culturas Locales • CAN y alrededores-buenas prácticas
• Circuito Fora do Eixo • Culturaperu.org
• Puntos de Cultura/TEIA • Fundación Imagen/Martadero
• Núcleo dos Festivais Internacionais de Artes • Red Festivales de Danza en Red
Cênicas do Brasil • LabComplex
• Fes:val
Cena
Contemporánea
• Somos Cultura
18. Cultural networks as:
• Emerging artistic forms (Fiedler)
• Processes of
deterritorialization/
transterritorialization (Wortman)
• Straightforward political
practices in a networked age
(Van Paaschen)
• Distracting ‘talismans’ of
different sorts (Isar)
Cvjetičanin, Biserka (2011) Networks: The evolving aspect of culture in the 21st Century. Culturelink, IMO.
19. “(Cultural) networks in Latin America
exist out of necessity and today they
have developed massively in the new
economic, political and cultural
context of the region, in the light of
new circulating imaginaries about the
importance of making use of
instances of civil society, and as the
base for a social development that
has not only economic consequences,
but that also creates social links,
horizontal and based in solidarity”
- Ana Wortman in Cvjetičanin, 2011; 177
Cvjetičanin, Biserka (2011) Networks: The evolving aspect of culture in the 21st Century. Culturelink, IMO.
20. “Is this the time for a new cultural
deal? Are we approaching a post-
network situation? Is networked
cultural entrepreneurship out of
date, or does it offer new
perspectives? Are we moving from
networking of cultures to
networked cultures as a significant
response to new challenges? The
time to establish new policies and
practices is now!
- Foreword, Cvjetičanin, 2011; 177
Cvjetičanin, Biserka (2011) Networks: The evolving aspect of culture in the 21st Century. Culturelink, IMO.
27. old questions à new questions
what à how
less productive for… à more productive for…
28. “OLD” QUESTIONS:
What is a cultural network?
How many cultural networks
are there in X?
What do cultural networks do?
…
29. “NEW” QUESTIONS:
How do cultural networks work in X (region/issue)?
How do cultural networks vary according to regional/socio-
cultural context?
What does it mean when a cultural network “fails”?
How do certain socio-technological aspects of cultural
networks sustain essential net-domain functions?
How do networks engage in the construction and
reconfiguration of “cultural value”?
30. Theoretical/Analytical framework(s)
• Identity and control (White, 2008)
– Vocabularies: Identity (levels), control, “stories”, netdoms
• The Network Inside Out (Riles, 2001)
– Diagrams as “network artifacts” (.ppts), failure, self-reflexivity,
“institutionalized utopianism”
• The Capacity to Aspire: Culture and the terms of recognition
(Appadurai, 2004)
– Futurity, terms of recognition
• Organized Networks (Rossier, 2006)
– Organized networks (socio-technical systems), transdiciplinarity
(educational practices of networked cultures)
– From representational processes to relational procedures
31. CLAIM 1
cultural networks
entities/actors à domains/environments
32. CLAIM 2
cultural networks
maps/topologies à layers/articulations/“stories”
33.
34.
35. CLAIM 3
cultural networks
“civil society” à “networked” political identities
36. White, H. C. (2008)
Identity and control : how social
formations emerge.
Princeton University Press.
37. “Identities spring up out of
efforts at control in turbulent
context”
“Networks lay out the space
of social action”
“Identity is produced by the
contingency to which it is a
response…”
White, H. C. (2008) Identity and control : how social formations emerge. Princeton University Press.
38. “Since social situations
include stories, nonverbal
relations, and instantaneous
ties, I conclude that social
networks emerge only as ties
mesh with stories”
“Contextualizing contexts is
central”
White, H. C. (2008) Identity and control : how social formations emerge. Princeton University Press.
39. CONTEXT
Crisis (economic/political/social)
Colonialism/Capitalism
Inequity/Poverty
Governance/“cultural” policies
institutions vs. communities
Narratives of “Development”
Lack/Absence of Information
50. CONTEXT
Crisis (economic/political/social)
Colonialism/Capitalism
Inequity/Poverty
Governance/“cultural” policies
institutions vs. communities
Narratives of “Development”
Lack/Absence of Information
52. ”(A Network is) a set of institutions,
knowledge practices, and artifacts
thereof that internally generate the
effects of their own reality by reflecting
on themselves”
“For those concerned with the
intersection of modernist epistemologies
and liberal political philosophies, the
Network offers a poignant case study of
institutionalized utopianism, an ambition
for political change through
communication and information
exchange, of universalism after cultural
relativism…”
Riles, A. (2001). The Network Inside Out. University of Michigan Press.
53. Appadurai, Arjun (2004) “The Capacity
to Aspire: Culture and the Terms of
Recognition” in Rao & Walton (2004)
Culture and Public Action.
Stanford Social Sciences.
54. “The capacity to aspire is a navigational
capacity (to explore the future) (…) it has
to do with how collective horizons are
shaped”
“The norms of futurity are shaped by the
capacity to aspire”
“(harnessing this capacity means)
altering the terms of recognition in a
particular (cultural) regime"
Appadurai, Arjun (2004) “The Capacity to Aspire: Culture and the Terms of Recognition” in Rao &
Walton (2004) Culture and Public Action. Stanford Social Sciences.
56. “The network models of sociality made
possible by information and
communication technologies have
resulted in new forms of social-technical
systems, or what I am calling emergent
institutional forms of organized
networks.”
Rossiter, N. (2006). Organized Networks: Media Theory, Creative Labour, New Institutions.
NAi Publishers.
57. “Transdisciplinarity can be understood
as an experimental research
methodology and pedagogy that
emerges within the logic of networks as
they traverse diverse institutional forms.
To this end, transdisciplinarity is a
practice interested in the educational
capacities of network cultures.“
Rossiter, N. (2006). Organized Networks: Media Theory, Creative Labour, New Institutions.
NAi Publishers.
59. Three stories/ties
• Incorpore: Mapping networks in Central
America (Costa Rica/CA)
• The Network of Cultural Organizations in
Cusco (Peru)
• Plataforma Puente (multi-network initiative)
60. Incorpore (Costa Rica/CA):
Mapping networks in Central America
• “Rupture” (1997) – Crafting an ontology
• Vision/Practice of Cultural Diversity
• Diagramatic structures
• Ecological approach
• Complexity
Themes:
– Networks and genealogies
– Rupture/Resistance
61. Presentation (.ppt) Redes e integración cultural en Centroamérica:
algunas experiencias y sus conclusiones en proceso (2011)
62. “La red como un término
comodín para visibilizar y
reconocer lo invisibilizado,
nombrar lo silenciado, lo
novedoso, lo que no cabe en
otros conceptos.”
“The network as a “wild card”
term to make visible, and
recognize that which has been
made invisible, name what has
been silenced, the new, what
does not fit in other concepts”
Presentation (.ppt) Redes e integración cultural en Centroamérica:
algunas experiencias y sus conclusiones en proceso (2011)
63. Presentation (.ppt) Redes Culturales: Una opción para fomentar la corresponsabilidad
social y la sostenibilidad en el aprovechamiento de los recursos culturales (2011)
64.
65. The Network of Cultural Organizations
in Cusco (Peru)
• “Birth” (2011)
• Burden of traditional organizing cultures
• The ideal of leaderless-ness (no caudillos)
• “The value or doing our own thing”
• Establishing connections with authorities
• “The network is and is not there” (Moscoso)
Themes:
– Non-traditional forms of political organization
– How to build a networked “domain”
– Negotiating Non-economic goals
91. Research agenda
• Sociological/relational/ecological dynamics –
from society to “arrangement of identities”/
informational cultures
• Ethnographic/qualitative depth – layered
dynamics, political configuration of identities
• Anthropology of public policy/tensions – spaces
for (cultures of) engagement with policy; for the
construction of “cultural value”
• “Mediology” of cultural networks (mediated
dimensions of…) – configuration of network
domains
92.
93.
94.
95. MAURICIO DELFIN
Director
Culturaperu.org
delfin@culturaperu.org
96. THE PROMISE OF CULTURAL NETWORKS
Towards
a
research
framework
for
the
study
of
region-‐specific
cultural
network
ecosystems
MAURICIO DELFIN
IN SEARCH OF CULTURAL POLICY
Cultural Trends Conference
Thursday, November 24th, 2011
London, United Kingdom