In the Market's Place: Cultural Policy in Norway

1984 ◽  
Vol 471 (1) ◽  
pp. 123-131 ◽  
Author(s):  
HANS F. DAHL
Keyword(s):  
Public Good ◽  
Cultural Production ◽  
Cultural Policy ◽  
Essential Role ◽  
Production Costs ◽  
State Spending ◽  
State Support ◽  
Cultural Traditions ◽  
The Arts ◽  
The 1960S

The arts in Norway are considered a public good and are therefore heavily subsidized, in order to make them available to the greatest number of people, to maintain Norway's national cultural standard on a par with neighboring countries, and to keep cultural traditions unbroken by preventing sudden ruptures in cultural production. The criterion for state support is art and its position in the market. The state comes in whenever the market proves insufficient, partly through direct subsidies covering production costs and partly by buying a certain amount of the cultural product. Norway advocates a policy of strong cultural decentralization. Cultural budgets are channeled through the Norwegian Cultural Fund, and individual artists' incomes tend to be a mixture of collective funds and individual royalty incomes, with a gradual shift toward individual incomes, even if still state-derived. State spending on culture has increased since the 1960s, and it has played an essential role in maintaining continuity in the quantity of cultural production, if not always the quality.

scholarly journals Cultural Ecology and Cultural Critique

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 166 ◽  
Author(s):  
Rowan Bailey ◽  
Claire Booth-Kurpnieks ◽  
Kath Davies ◽  
Ioanni Delsante
Keyword(s):  
Cultural Production ◽  
Cultural Policy ◽  
Cultural Practices ◽  
Cultural Value ◽  
Cultural Critique ◽  
Think Tank ◽  
Place Studies ◽  
Arts And Humanities ◽  
The Arts ◽  
Policy Information

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 ‘value’. Holden considers the application and use of ecological tropes to re-situate culture as ‘non-hierarchical’ and as part of symbiotic social processes. By embracing metaphors of ‘emergence,’ ‘interdependence,’ ‘networks,’ and ‘convergence,’ he suggests we can “gain new understandings about how culture works, and these understandings in turn help with policy information and implementation”. This article addresses the role of ‘cultural critique’ 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 ‘environing’ 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

Aesthetic Labeling and Scale Shifting in Cultural Production and Circulation

2020 ◽  
Vol 5 (4) ◽  
pp. 545-567
Author(s):  
Álvaro Santana-Acuña
Keyword(s):  
Cultural Production ◽  
World Literature ◽  
Cultural Goods ◽  
Literary Works ◽  
The Arts ◽  
Literatura Latinoamericana ◽  
The 1960S

Abstract Scholarship on production of cultural goods highlights translation of literary works as a key mechanism of cultural circulation. This article rethinks circulation beyond translation. It argues that changes in aesthetic labels applied to cultural goods can prompt a scale shifting that favors the diffusion of these goods beyond their vernacular space of circulation. This article studies the transnational success of the label literatura latinoamericana, which from the 1960s onward gained acceptance in Spanish, English, French, and other languages as the label that best captured the region’s literary uniqueness. This change in aesthetic labeling made it possible for literatura latinoamericana to enter world literature and for literary works such as One Hundred Years of Solitude to circulate at an unprecedented scale, as international bestsellers and classics. The article finds that aesthetic labeling – a “cultural kind” in the arts – is a far-reaching and understudied mechanism in cultural production and circulation.

Cultural Policies of the Chávez Government

2017 ◽  
Author(s):  
Sujatha Fernandes
Keyword(s):  
Cultural Production ◽  
Cultural Policy ◽  
Alternative Conceptions ◽  
Cultural Activity ◽  
Left Wing ◽  
Cultural Policies ◽  
The Arts ◽  
The Everyday ◽  
Cultural Movements ◽  
Hugo Chavez

The cultural policies of the left-wing government of Hugo Chávez in Venezuela in the new millennium saw a shift back to funding and patronage of the arts after years of defunding and commodification of cultural production. However, despite leading to a renaissance of cultural activity, Chavista cultural policy also retained a modernist rationality that treated cultural production as objects to be classified and quantified. Official cultural policy in Venezuela has historically developed alongside popular-cultural formations that draw on alternative conceptions of culture that stem from everyday life. The official and the everyday have developed in tandem and, sometimes, at cross-purposes. Many scholars look to policies and states as the producers of change, but it is at the level of the everyday that we can see the emerging possibilities that define cultural movements in search of social change.

scholarly journals Theories on socialist realism and socialist music culture in the 1960s in Hungary

Muzikologija ◽  
2019 ◽  
pp. 125-140
Author(s):  
Andras Ranki
Keyword(s):  
Social Sciences ◽  
Cultural Policy ◽  
Socialist Realism ◽  
The Political ◽  
Music Culture ◽  
The Public ◽  
The Arts ◽  
Crucial Problem ◽  
Points Of View ◽  
The 1960S

In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: Jozsef Ujfalussy, Denes Zoltai and Janos Marothy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.

scholarly journals Reconsidering the Age and Typological Character of “Pox Pottery” from Guerrero, Mexico

2021 ◽  
pp. 1-14
Author(s):  
Douglas J. Kennett ◽  
Barbara Voorhies ◽  
Josue Gomez
Keyword(s):  
Formative Period ◽  
Early Age ◽  
Cultural Traditions ◽  
Isthmus Of Tehuantepec ◽  
Per Se ◽  
The 1960S ◽  
Formative Ceramics ◽  
Early Formative

We revisit the age and typological character of “Pox Pottery” that was reported in the 1960s by Charles Brush who considered it to be uniquely early (~2440 BC). Investigating the same two sites in coastal Guerrero where Brush excavated, we recovered Early Formative ceramics, some with the “pox” attribute. Here, we report potsherd frequencies for these deposits at both sites according to regional ceramic typologies, as well as AMS 14C dates used to establish a Bayesian stratigraphic chronology for each site to better constrain the age of these Early Formative period deposits. We argue that “Pox Pottery” is not a ceramic type per se and that the “pox” attribute occurs in multiple Early Formative period ceramic types. The earliest pottery is similar to other Red-on-Buff ceramic traditions from the Central Mexican Highlands and west of the Isthmus of Tehuantepec. Our chronological work demonstrates that these ceramics date between 1820 and 1400 cal BC, consistent with other recent studies indicating an early age of Red-on-Buff ceramics and suggesting shared cultural traditions distinct from the contemporary Locona interaction sphere that emerged in parallel.

Christian Feminist Theology and the Arts

2021 ◽  
Author(s):  
Elizabeth Ursic
Keyword(s):  
Performing Arts ◽  
Feminist Theology ◽  
Christian Theology ◽  
Female Leaders ◽  
Christian Women ◽  
The Bible ◽  
Inclusive Language ◽  
The Arts ◽  
In Christ ◽  
The 1960S

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.

scholarly journals From Culture 1.0 to Culture 3.0: Three Socio-Technical Regimes of Social and Economic Value Creation through Culture, and Their Impact on European Cohesion Policies

2018 ◽  
Vol 10 (11) ◽  
pp. 3923 ◽  
Author(s):  
Pier Sacco ◽  
Guido Ferilli ◽  
Giorgio Tavano Blessi
Keyword(s):  
Cultural Production ◽  
Value Creation ◽  
Cultural Policy ◽  
Policy Design ◽  
Economic Value ◽  
Cultural Participation ◽  
Social Value Creation ◽  
Open Question ◽  
The Relationship

We develop a new conceptual framework to analyze the evolution of the relationship between cultural production and different forms of economic and social value creation in terms of three alternative socio-technical regimes that have emerged over time. We show how, with the emergence of the Culture 3.0 regime characterized by novel forms of active cultural participation, where the distinction between producers and users of cultural and creative contents is increasingly blurred, new channels of social and economic value creation through cultural participation acquire increasing importance. We characterize them through an eight-tier classification, and argue on this basis why cultural policy is going to acquire a central role in the policy design approaches of the future. Whether Europe will play the role of a strategic leader in this scenario in the context of future cohesion policies is an open question.

scholarly journals The Boundaries of Language: Dealing with Paralinguistic Features

2012 ◽  
Vol 54 (2) ◽  
pp. 37-54 ◽  
Author(s):  
Maciej Karpiński
Keyword(s):  
Significant Progress ◽  
Speech Technology ◽  
Flexible Approach ◽  
Speech Prosody ◽  
Arts And Sciences ◽  
The Arts ◽  
Gesture Analysis ◽  
The 1960S ◽  
Consistent Approach ◽  
New System

ABSTRACT Maciej Karpiński. The Boundaries of Language: Dealing with Paralinguistic Features. Lingua Posnaniensis, vol. LIV (2)/2012. The Poznań Society for the Advancement of the Arts and Sciences. PL ISSN 0079-4740, ISBN 978-83-7654-252-2, pp. 37-54. The paralinguistic component of communication attracted a great deal of attention from contemporary linguists in the 1960s. The seminal works written then by Trager, Crystal and others had a powerful influence on the concept of paralanguage that lasted for many years. But, with the focus shifting towards the socio-psychological context of communication in the 1970s, the development of spoken corpora and databases and the significant progress in speech technology in the 1980s and 1990s, the need has arisen for a more comprehensive, coherent and formalised - but also flexible - approach to paralinguistic features. This study advances some preliminary proposals for a revised treatment of paralanguage that would meet some of these requirements and provide a conceptual basis for a new system of annotation for paralinguistic features. A range of views on paralinguistic features, which come mostly from the fields of speech prosody and gesture analysis, are briefly discussed. A number of assumptions and postulates are formulated to allow for a more consistent approach to paralinguistic features. The study suggests that there should be more reliance on continua than on binary categorisations of features, that multi-functionality and multimodality should be fully acknowledged and that clear distinctions should be made among the levels of description, and between the properties of speakers and the speech signal itself.

scholarly journals Ivan Aleksandăr (1331-1371)

2010 ◽  
Author(s):  
Alberto Alberti
Keyword(s):  
Fourteenth Century ◽  
Cultural Production ◽  
Cultural Evolution ◽  
Crucial Importance ◽  
Amount Of Information ◽  
The Arts ◽  
Literary Sources ◽  
Military Campaigns ◽  
First Time

The long reign of Ivan Aleksandăr (1331-1371), the penultimate emperor of Bulgaria prior to the Turkish conquest, was marked by a series of successful military campaigns against Serbia and Byzantium and above all by an intensive cultural production, largely fostered and funded by the sovereign himself. The central decades of the fourteenth century were of crucial importance for the later cultural evolution of Bulgaria and the whole of Orthodox Slovenia, despite which to date ample and exhaustive studies on the figure of Ivan Aleksandăr are lacking. There is, in effect, a considerable amount of information at disposal, although it is scattered over the literary sources, the colophons of the manuscripts, the epigraphic documentation and also, obviously, the official deeds promulgated by the Emperor. Through the analysis of this varied documentation, this book attempts to reconstruct the figure of the sovereign, the context in which he lived and worked, his greatness and his mistakes and his parallel activities as a strategist and an illuminated patron of the arts. For the first time, the Italian reader can find collected and translated all the manuscript sources relating to the Bulgarian sovereign. The book is completed by an appendix with the original texts of the Slavonic-ecclesiastical tradition.

scholarly journals This Kinetic World: Rethinking the Grid (Neo-Baroque Calls)

2017 ◽  
Vol 3 (1) ◽  
pp. 285
Author(s):  
Lara D. Nielsen
Keyword(s):  
Cultural Practices ◽  
Linear Perspective ◽  
Port Cities ◽  
Control Society ◽  
The Arts ◽  
The 1960S ◽  
Performance Research

In performance research today, as in the 1960s, the pressing question is: how to do things with systems. I return to the grid to attend both sites and modes of cultural practices and techniques� (technologies) that so powerfully harness and transform the control society.� My approach to the grid as dispositif seeks to open familiar dialogues, about variants of subjectivity and presence, to the materialities and devices of systems, structures, and bureaucratic operations. As seeing machine, the grid�s story includes linear perspective, geometricization, and fugitivity. Defined by consistency and contradition, by optics, haptics, and cybernetics, I identify grid logics with the neo-baroque. Exploring the grid through tiling, weaving, seafaring, and curating techniques that link the administrative and the algorithmic state, I discuss the arts of two architectural sites in the port cities of Cartagena, Colombia and Singapore.

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