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In 2015, the Arts and Humanities Research Council (AHRC) commissioned John Holden, visiting professor at City University, London, and associate at the think-tank Demos, to write a report on culture as part of its Cultural Value Project. The claim within the report was to redirect culture away from economic prescriptions and to focus on ecological approaches to &lsquo ; value&rsquo ; . Holden considers the application and use of ecological tropes to re-situate culture as &lsquo ; non-hierarchical&rsquo ; and as part of symbiotic social processes. By embracing metaphors of &lsquo ; emergence,&rsquo ; &lsquo ; interdependence,&rsquo ; &lsquo ; networks,&rsquo ; and &lsquo ; convergence,&rsquo ; he suggests we can &ldquo ; gain new understandings about how culture works, and these understandings in turn help with policy information and implementation&rdquo ; . This article addresses the role of &lsquo ; cultural critique&rsquo ; in the live environments and ecologies of place-making. It will consider, with examples, how cultural production, cultural practices, and cultural forms generate mixed ecologies of relations between aesthetic, psychic, economic, political, and ethical materialisms. With reference to a body of situated knowledges, derived from place studies to eco-regionalisms, urban to art criticisms, we will consider ecological thinking as a new mode of cultural critique for initiating arts and cultural policy change. Primarily, the operant concept of &lsquo ; environing&rsquo ; will be considered as the condition of possibility for the space of critique. This includes necessary and strategic actions, where mixed ecologies of cultural activity work against the disciplinary policing of space with new assemblages of distributed power
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In: Moldoscopie: publicaț̦ie periodică științifico-practică, Heft 3, S. 123-143
The image of the European culture is given by the association of the concepts people – culture – history – territory, which provides certain local features. From this relation, we identify a cultural area with local, regional and national features beyond a certain European culture. Thus, we identify at least two cultural identity constructions on the European level: a culture of cultures, that is a cultural area with a particular, local, regional and national strong identity, or a cultural archipelago, that is a common yet disrupted cultural area. Whatever the perspective, the existence of a European cultural area cannot be denied, although one may speak of diversity or of "disrupted continuity".
The paper is a survey on the European cultural space in two aspects: 1. Europe with internal cultural border areas; 2. Europe as external cultural-identity border area. From a methodological point of view, we have to point out that despite the two-levelled approach the two conceptual constructions do not exclude each other: the concept of "culture of cultures" designs both a particular and a general identity area. The specific of the European culture is provided precisely by diversity and multiculturalism as means of expression on local, regional, or national levels. Consequently, the European cultural area is an area with a strong identity on both particular and general levels.
Es ineludible reclamar un proyecto nacional de cultura que guíe las políticas locales adaptadas a las posibilidades, demandas y vicisitudes del entorno. En el que las producciones artístico-culturales –que a veces no son mesurables por su cualidad de efímeras, como las obras de arte mural en la vía pública, la realización de producciones editoriales independientes o la inminencia de espacios culturales autogestivos, en suma, un acervo artístico cultural que representa lo propio–, por ejemplo, en la ciudad de La Plata, requieren ser tratadas con decisiones acordes a sus necesidades. Para ello, es preciso desmitificar la noción de política pública cultural –construida desde las acciones de formación y de capacitación para profesionales vinculados al arte y la cultura y a la gestión de espectáculos culturales por parte del gobierno, asistido por el mercado tendencioso–, direccionando los financiamientos hacia el sector de industrias creativas culturales. Entonces, se podrían anticipar hipótesis e interrogantes: ¿Hacia dónde deben apuntar las políticas culturales, hacia una democracia cultural? ¿Quién las define? Las políticas públicas culturales, ¿son condición del arte contemporáneo o un escenario para el convenio de campañas políticas de los gobiernos de turno? ; Facultad de Artes
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In: Cultural trends, Band 25, Heft 4, S. 305-306
ISSN: 1469-3690
In: Routledge advances in research methods, 13
"This edited collection provides an introduction to the emerging interdisciplinary field of cultural mapping, offering a range of perspectives that are international in scope. Cultural mapping is a mode of inquiry and a methodological tool in urban planning, cultural sustainability, and community development that makes visible the ways local stories, practices, relationships, memories, and rituals constitute places as meaningful locations. The chapters address themes, processes, approaches, and research methodologies drawn from examples in Australia, Canada, Estonia, the United Kingdom, Egypt, Italy, Malaysia, Malta, Palestine, Portugal, Singapore, Sweden, Syria, the United Arab Emirates, the United States, and Ukraine. Contributors explore innovative ways to encourage urban and cultural planning, community development, artistic intervention, and public participation in cultural mapping--recognizing that public involvement and artistic practices introduce a range of challenges spanning various phases of the research process, from the gathering of data, to interpreting data, to presenting 'findings' to a broad range of audiences. The book responds to the need for histories and case studies of cultural mapping that are globally distributed and that situate the practice locally, regionally, nationally, and internationally"--Provided by publisher
In: Cultural trends, Band 27, Heft 3, S. 218-223
ISSN: 1469-3690
In: Citizenship studies, Band 17, Heft 1, S. 92-110
ISSN: 1469-3593
In: International journal of cultural policy: CP, Band 11, Heft 1, S. 1-13
ISSN: 1477-2833
In: Visnyk Nacionalʹnoi͏̈ akademii͏̈ kerivnych kadriv kulʹtury i mystectv: National Academy of Managerial Staff of Culture and Arts herald, Heft 1
ISSN: 2409-0506
The purpose of the article is to reveal the peculiarities of cultural diffusion as a phenomenon of the sociocultural space based on the analysis of the cultural discourse of the first decades of the 21st century. Research methodology. An analytical method, a terminological analysis method (to clarify the concept of "cultural diffusion"), a systemic method (to consider cultural diffusion as a complex multifaceted system), a comparative analysis method (to identify differences in the mechanisms and types of cultural diffusion), and a generalisation method were applied. Scientific novelty. On the basis of the analysis of the modern cultural discourse, the peculiarities of the phenomenon of cultural diffusion in the socio-cultural space were revealed; the factors affecting cultural diffusion were considered, the process and influence of cultural diffusion were investigated; analysed four types of cultural diffusion (direct, indirect, forced and stimulus diffusion), theories and models explaining the mechanisms and results of cultural diffusion. Conclusions. Based on the analysis of the scientific works of modern foreign researchers on the theory of cultural diffusion, it was found that this phenomenon means the spread of cultural objects (ideas, styles, religions, technologies, languages, fashion) within or between cultures and gained popularity in the 20th century thanks to the theory of the famous anthropologist A. Kreber. Scientists identify three mechanisms (the theory of diffusion of innovations, hierarchical diffusion model, contagious diffusion model) through which cultural diffusion occurs and four main types (direct, indirect, forced and stimulating diffusion), which are distinguished by specific processes of spread and rooting in new environments. The study of cultural diffusion is a promising direction of cultural studies, as it contributes to the understanding and comprehension of the intricate network of influences and borrowings that form the modern socio-cultural space.
In: Cultura: international journal of philosophy of culture and axiology, Band 18, Heft 2, S. 75-91
ISSN: 2065-5002
Abstract: I defend cultural relativism against the following objections: (i) The analogy between motion and morality is flawed. (ii) Cultural relativism has greater potential to be harmful to our daily lives than is cultural absolutism. (iii) We made moral progress when we
moved from slavery to equality. (iv) There are some moral principles that are accepted by all cultures around the world. (v) Moral argumentation is impossible within the framework of cultural relativism. (vi) We construct arguments for and against cultures.
In: Growth and change: a journal of urban and regional policy, Band 39, Heft 1, S. 95-103
ISSN: 1468-2257
ABSTRACT The paper begins with a discussion of the definition of cultural industries. The paper's three main themes are concerned with, first: 1) a contestation of the generic application of the global commodity chain concept, 2) the need for a unique focus on cultural industries associated with the particular nature of its production process, and 3) the role of embedded judgments of quality is an integral part of this process. Second, the paper suggests that a restyled focus on production chains (involving the full cycle of production to use) might be more appropriate than "commodity chains" for this application. Finally, issues of spatiality and scale are discussed: it is argued that although global commodity chain debates explore linkages at a regional and national scale, they downplay linkages at the local level.
In: Cognitive linguistic studies in cultural contexts Volume 8
Cultural Linguistics: An overview -- Cultural conceptualisations and language: The analytical framework -- Embodied cultural metaphors -- Research methods in Cultural Linguistics -- Cultural Linguistics and pragmatics -- Cultural Linguistics and emotion research -- Cultural Linguistics and religion -- Cultural Linguistics and political discourse -- Cultural Linguistics and World Englishes -- Cultural Linguistics and intercultural communication -- Cultural linguistics and Teaching English as an International Language TEIL) -- Cultural Linguistics and linguistic relativity -- Recent developments and research initiatives on language and culture
In: Springer eBook Collection
Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers