D:\Documents and Settings\Ana\My Documents\Biserka-knjiga ...

More documents

Recommendations

Info

Digital Culture: The Changing Dynamics The precipitous development of new technologies and the emergence of digital cultures has intensified the emergence of new forms of cultural organization. 2 As Lessig (2004:9) stated, “...the Internet has unleashed an extraordinary possibility for many to participate in the process of building and cultivating a culture that reaches far beyond local boundaries” and in fact far beyond national or conventional organizational boundaries and borders that defined the functioning of cultural institutions and arts organizations. The constant increase in the number of cultural portals and networks in the virtual sphere and the areas of their activities indicate that the conventional notion of a cultural organization’s functioning, operation, governance and management is being redefined and challenged. As the number of cultural portals and networks rapidly evolves, the question arises as to whether the associated management structures follow their growth – do they progress, do they expose themselves to the risk of adopting new approaches to dealing with kaleidoscopic environments? Out of all public policies and systems, cultural policies can be distinguished as key resource structures that support and assist cultural organizations in their path from their foundation to the time when they are reaching audiences – in brief, cultural policy provides for cultural content and activity to be generated while arts and cultural organizations find their position in the wider public context. 3 This paper will attempt to define the status of the cultural portals and networks or cultural organizations that concentrate their activities and predominantly operate in the virtual sphere in the framework of European cultural policies. It sets out to identify and investigate the standing models of management 4 and governance in cultural portals and networks and measures them vis-à-vis a cultural policy scale of 2 Although there are many new and quite exciting forms of cultural organizations that base their activities in the virtual sphere (online galleries, libraries, archives, blog posts, design rooms, etc.), for the purposes of this paper by new forms of cultural organizations, we refer to cultural portals and cultural networks exclusively. 3 Cultural policy in this context is regarded in its core meaning implying that cultural policy provides structural guidelines and legislative frameworks that define and assist arts and cultural organizations in methods and ways of functioning. These include legal acts on founding an arts organization, governance, finance, etc. 4 By establishing models of management, we can consider the application of standard arts management practice, i.e. the application of the five traditional management functions - planning, organizing, staffing, supervising and controlling (Martin, 1998: 128 in Chong 2002: 8). The research presented in this paper does not investigate all these aspects of managing arts organizations but focuses mainly on the governance and management structures, their roles in the decision-making processes and how it affects overall organizational prosperity. 128
Managing culture in virtual realms: policy provisions and issues - a European perspective relevance while examining whether there are suitable provisions or positions that these organizations have in the European cultural policies structure. It is to be noted that the paper does not, at any point, attempt to focus on cultural policies’ treatment of changes in cultural consumption and production cycles as initiated by new technologies. Finally, the paper proposes a debate about how cultural policy provisions, or lack of them, might have profound consequences on the future of the new generation of arts organizations. Contextualizing cultural portals and networks Cultural portals 5 and networks 6 can be defined as the new generation of cultural organizations – their audiences are widespread, their activities displayed in an international arena and their operational tools (communication mediums) subjected to constant change and upgrade. They are regarded as virtual communities based predominantly in the virtual sphere of online communications, offering and sharing cultural and creative content (Castells, 2003:131). The role of cultural portals and cultural networks in contemporary cultural development has been widely acknowledged; they successfully overcome and reduce barriers, they provide the unrestricted space where cultural diversities and identities are communicated and affirmed, where intercultural dialogue and communication are 5 Portals are generally explained as gateways for websites on the World Wide Web that are or propose to be a major starting point for users when they get connected to the Web or that users tend to visit as an anchor site. They are divided into general portals and specialized or niche portals (definition quoted from http://searchcio-midmarket.techtarget.com/sDefinition/0,,sid183_gci212810,00.html where further definitions on Internet portals can be obtained). Research carried out by Culture.mondo in 2005 states that launching of the cultural portals is predominantly initiated to offer cultural and creative content for wider audiences to explore their own as well as other diverse cultures (research report available online at www.culturemondo.org). 6 A basic definition of a network in the vocabulary of information technology would be that a network is a series of points or nodes interconnected by communication paths. Networks can interconnect with other networks and contain subnetworks (definition quoted from http://searchnetworking.techtarget.com/sDefinition/0,,sid7_gci212644,00.html where further definitions on networks can be obtained). When referring to the cultural networks and with reference to the topic of this paper, a more narrow definition on networks by Barry Wellman can be used; he considers networks to be connections between individuals or groups that give us information, support, sense of community, sense of belonging and common identity (Wellman, 2001:1 in Castells, 2003: 142). Additionally, Aleksandra Uzelac defines cultural networks that base their activities predominantly in the virtual sphere as networks “whose members are communicating through Internet infrastructure, but have common aims and activities and they collaborate on particular joint projects” (Uzelac, 2006). 129
Page 2 and 3:
CULTURELINK Network of Networks for
Page 4 and 5:
This Work has been published with t
Page 6 and 7:
Culturelink Joint Publications Seri
Page 8 and 9:
Managing culture in virtual realms:
Page 11 and 12:
Foreword Digital culture is a new c
Page 13:
INTRODUCTION
Page 16 and 17:
Digital Culture: The Changing Dynam
Page 18 and 19:
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
Page 26 and 27:
Page 28 and 29:
Page 31:
PART ONE DIGITAL CULTURE - THE NEW
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
Page 51 and 52:
Introduction Media users: from read
Page 53 and 54:
Media users: from readership to co-
Page 55 and 56:
Page 57 and 58:
As John B. Thompson argues, the sup
Page 59 and 60:
Page 61 and 62:
designers will take a back seat in
Page 63 and 64:
The above-mentioned are two affirma
Page 65 and 66:
The understanding of media users, a
Page 67 and 68:
Transformations of cultural product
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
Page 75 and 76:
Page 77:
References Transformations of cultu
Page 80 and 81:
Page 82 and 83:
Page 84 and 85:
Page 86 and 87: Digital Culture: The Changing Dynam
Page 99 and 100: Copyright and the digital age: a co
Page 107: Copyright and the digital age: a co
Page 111 and 112: Challenges for cultural policies: t
Page 113 and 114: Challenges for cultural policies: t
Page 115 and 116: 2006), foresaw an impressive growth
Page 117 and 118: digital resources, needs to be defi
Page 119 and 120: References Benkler, Yochai: The Wea
Page 121 and 122: Digital culture in policy documents
Page 123 and 124: communication and economic producti
Page 129 and 130: informatization of processes in ins
Page 133 and 134: References Bennett, Tony: Differing
Page 135: Managing culture in virtual realms:
Page 139 and 140: Managing culture in virtual realms:
Page 145 and 146: With reference to possible policy r
Page 147: References Managing culture in virt
Page 151 and 152: Ecology of the media and hyperhuman
Page 153 and 154: languages on the Internet - mainly
Page 155 and 156: governmental or corporate action pl
Page 157: global critical consciousness that
Page 175 and 176: The online power of users and money
Page 185 and 186: • selling artistic products onlin
Page 187 and 188:
References Culture Interactive Cult
Page 189 and 190:
A glance at the Cuban culture throu
Page 191 and 192:
Page 193 and 194:
This paper attempts to: • provide
Page 195 and 196:
websites that fused into what we ma
Page 197 and 198:
Portal del Cine y el Audiovisual La
Page 199 and 200:
Internet costs nothing in any forei
Page 201:
Page 205 and 206:
Authors in this volume Authors in t
Page 207 and 208:
Authors in this volume Daniela Ange
Page 209 and 210:
Authors in this volume Imaging a Wo
Page 211:
Culturelink Joint Publications Seri
show all

D:\Documents and Settings\Ana\My Documents\Biserka-knjiga ...

Create successful ePaper yourself

Delete template?

Save as template?