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Digital Culture: The Changing Dynamics countries and Canada shows that the digitization of cultural heritage, museums, archives and libraries is in the forefront, followed by the digitization of audiovisual documents and photographic collections. The field of “e-art” (digital artistic creativity) is rarely mentioned. According to the Compendium, only a few countries have adopted a strategy which, in the context of new technologies, includes digital cultural content (Finland, Great Britain, Greece, Ireland, the Netherlands, Norway, Poland, Portugal, Moldova, Slovakia), the most developed being those of Finland: Digital Content Creation Strategy (2007) and Great Britain: White Paper on Competitiveness (1998) and Culture Online (2002). Finland’s strategy defines digital content creation as “production of cultural, documentary, educational, research, entertainment and marketing content for the electronic media”. The key aim of the British Culture Online is to mobilize the resources of the cultural sector to enrich school education, particularly in subjects such as history, literature, music, art and design, strengthening new links between digital technology and cultural resources. 2 The Canadian strategy – Digital Content Strategy – which is not mentioned in the Compendium despite this country’s participation in the project, concerns cultural heritage, but also underlines the power of the digital content industry. Canada has also developed a Digital Culture Online Branch in the framework of the Department of Canadian Heritage with the aim of promoting policies and programmes concerning digital culture. The analysis shows that, in the process of creation of a digital future, cultural policies are focusing their attention more on the digitization of heritage than on the emergence of a new culture where interactivity and convergence are becoming the main aspects. Now that museums and libraries, the cinema, photography, music and books have already become part of the digital revolution, it is high time to rethink the role of cultural policies. In fact, it is necessary to start “a process of deconstruction and refocusing of cultural policies” (Cowen, 2002). Aware of the importance of digital culture in strategies and cultural policies, the Council of the European Union, in November 2007, adopted a resolution on a European Agenda for Culture (Council of the European Union, 2007), which put digitization among five specific priority areas of action for the promotion of cultural diversity and intercultural dialogue in the 2008-2010 period. Interactive content: creators, users, consumers The study of interactive content, undertaken by Screen Digest, CMS Hasche Sigle, Goldmedia and Rightscom for the European Commission (European Commission, 2 In this respect, we can highlight the creation of the first national virtual museum in Britain (the 24 Hour Museum) which is one of the five most visited cultural websites in the United Kingdom, see pp. 154-161 in this book. 106
2006), foresaw an impressive growth in the distribution and use of digital content (music, films, games, TV, publishing, radio) in Europe between 2005 and 2010, as shown in the following table: Uptake of digital distribution/exploitation of content in Europe – Key figures m a 2005 2010 Music (online and mobile) 196.3 2.0 1,794 20.4 Movies (VOD) 30 0 1,269 7 Games (online, mobile) 699 11.2 2,302 33.4 TV programmes (VOD and digital advertising) % b 4.5 n/a 689 n/a Publishing 849 2 2,001 5.4 Radio 15 0.3 250 4.8 Total 1,793 8,303 Notes: a. Market size in terms of revenues Challenges for cultural policies: the example of digital culture b. Percentage of total sector revenues Source: Screen Digest, CMS Hasche Sigle, Goldmedia & Rightscom: Interactive content and convergence. Implications for the information society, The Final Report 2006. As well as showing an impressive change in the technology platform and market orientation of digital content, this data also allows us to think of a strong increase in users. They devote themselves more and more to a participatory culture. Recent developments in the field of cultural consumption indicate that the users/consumers are not only increasingly demanding in relation to the culture they consume, but are also becoming more creative. This indicates a transition from simple, passive consumption of the mass media to an involvement with more interactive and creative content (Lessig, 2004). This user-created content (UCC) opens up new ways of communication and the very idea of participation is changing. The distinction between creators and consumers is becoming fluid. Individuals can “tell their stories”, produce cultural goods such as music and video, and transform the information and media content environment surrounding them (Benkler, 2006). The proliferation of content creativity is leading people to look for ways that they can participate and assert themselves in the production of culture and meaning (Tims and Wright, 2007). There is a new question for cultural policy in the creative age: “So, what do you do?”. The issues relating to the widening of audiences and the democratization of culture, which so preoccupied cultural policies in the 1980s, have changed considerably. The altered structures of participation and communication, active relationships built on exchange, have an impact not only on the way that m % 107
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CULTURELINK Network of Networks for
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Managing culture in virtual realms:
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Foreword Digital culture is a new c
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INTRODUCTION
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Digital Culture: The Changing Dynam
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PART ONE DIGITAL CULTURE - THE NEW
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Introduction Media users: from read
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Media users: from readership to co-
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designers will take a back seat in
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References Culture Interactive Cult
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A glance at the Cuban culture throu
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This paper attempts to: • provide
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websites that fused into what we ma
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