i teori og praksis? - Forskning - IVA
i teori og praksis? - Forskning - IVA
i teori og praksis? - Forskning - IVA
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Projektets baggrund<br />
Projektet tager udgangspunkt i de teknol<strong>og</strong>iske, sociale <strong>og</strong> kulturelle<br />
ændringer af kulturformidlingens betingelser: den kulturelle<br />
frisættelse, som har betydet, at kulturinstitutioner <strong>og</strong> kulturformidling<br />
har mistet autoritet <strong>og</strong> monopol. De er stadig værdsat af deres<br />
superbrugere, veluddannede i 50 plus aldre. De er mindre værdsat<br />
af de yngre generationer, der bliver fremtidens brugere. For dem har<br />
den teknol<strong>og</strong>iske <strong>og</strong> mediemæssige udvikling har skabt grundlaget<br />
for den kulturelle ’turn’, der har gjort private værelser til landets<br />
ubestridt største kulturinstitution. Her kan alle gå til koncert <strong>og</strong> selv<br />
komponere, i bi<strong>og</strong>rafen <strong>og</strong> selv producere, animere <strong>og</strong> instruere, de kan<br />
gå på museer <strong>og</strong> selv skabe deres egne udstillinger, installationer <strong>og</strong><br />
kunstværker, gå på bibliotekets hylder, magasiner <strong>og</strong> arkiver, bestille<br />
hjem, downloade, de kan møde ny litteratur <strong>og</strong> nye litteraturgenrer,<br />
anmelde, diskutere <strong>og</strong> selv skrive <strong>og</strong> publicere, de kan møde alle<br />
typer af billeder <strong>og</strong> selv fot<strong>og</strong>rafere, spille computerspil <strong>og</strong> selv være<br />
spiludviklere – <strong>og</strong> de kan chatte, bl<strong>og</strong>ge, kommunikere, kritisere<br />
<strong>og</strong> diskutere det hele. De har adgang til en tværgående bredde<br />
af kunstneriske <strong>og</strong> kulturelle udtryks-, oplevelses-, oplysnings-,<br />
evaluerings- <strong>og</strong> kommunikationsformer. De unge generationer benytter<br />
sig af mulighederne. De amerikanske forskere, Henry Jenkins <strong>og</strong><br />
Vanessa Bertozzi, beskriver tendenserne på følgende måde:<br />
”More young people are producing media than ever before, yet<br />
policymakers complain about a lack of participation in the arts.<br />
What is wrong with this picture? Historically, arts policymakers and<br />
scholars have defined participation in terms of attending so-called high<br />
art concerts or museums. Currently, there is a growing concern that<br />
members of the younger generation do not seem to have much interest<br />
in these forms. This chapter argues something different: youth are<br />
very interested in participating, just not necessarily in the arts as they<br />
have been traditionally defined. This is not to say that today’s young<br />
people do not respect artists who have devoted their lives to becoming<br />
masters or that over time they may not emerge as active audiences<br />
for traditional arts events. Often, young people come away with a new<br />
appreciation of such works once they have a chance to make their<br />
own media. They do object to the mystification of art – to an attitude<br />
that demands quiet contemplation and distanced admiration. The<br />
culture in the United States is moving away from a world where a few<br />
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