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Digital Culture: The Changing Dynamics established and promoted. 7 At the same time, this new context of cultural organizations is faced with old cultural policy systems. Thus, as research results further in this text show, cultural portals and networks often have similar or even the same organizational set-up and governing structure as the conventional arts organizations and cultural institutions: from managing/governing bodies that represent the founders and main funders with decision-making capacity (e.g. steering committees, managing boards, assemblies, etc.) to expert bodies which have advisory capacity (stakeholders forums, editorial boards, artistic boards, etc.) and some input into the decision-making bodies (representatives on advisory boards becoming members of governing boards). As new technologies provide the main medium of existence of portals and networks, they are not operationally subjected to having a physical or actual space of functioning along with permanent members of staff. Due to the participatory nature of how audiences consume and contribute to their activities, cultural portals and networks could benefit from having horizontal models of both governance and management that would enable setting structures which could be described as innovative and flexible. Accordingly, existing policy framework is yet to propose stipulations that would be appropriate for these new forms of cultural organizations. Hence, it is often the case that cultural portals and networks have numerous difficulties in their operation precisely due to the following two factors: an overwhelming institutional structure and difficulties with obtaining funds. Despite this situation, the number of cultural portals at the global level is continuously increasing. According to the surveys carried out in 2005 and 2006 by Culture.mondo, 8 the number of cultural portals has grown from just a few in the 1990s, to over 300 that were identified in their survey in 2005, and to over 600 that were identified in the survey in 2006. Additionally, in the European context, there are more than 200 networks that operate within Europe listed in the networks directory at the LabforCulture website. 9 Although this can be construed as a positive advancement, it also should be viewed with caution and much consideration. One of the principal critical points in a paper by 7 Although it does not build on any written sources, this claim emanates from proven practices of the networks and portals that are investigated in this paper’s research. Also, as both authors have years of experience of working in a cultural network of networks (Culturelink Network), this claim developed throughout those years of work, observance and continuous communication and collaborative projects with numerous cultural networks. 8 Available at http://www.culturemondo.org/english/wp-content/uploads/2006/08/culturemondo-32ppwi_14790d.pdf 9 http://www.labforculture.org/en/Directory/Networks/(offset)/30 (information obtained on 7 February 2008) 130
Managing culture in virtual realms: policy provisions and issues - a European perspective Paul van Paaschen from the Hivos Culture Fund 10 entitled “What prevents many foundations from engaging in international cultural cooperation?”, is that the donors and sponsors perceive that there exists a great number and variety of cultural portals and networks. Van Paaschen claims that it is difficult for the donors to get the complete picture of who is who and who does what. Moreover, he asserts that many virtual organizations are duplicating or intersecting work of other discipline-based, issue-based, or lobby-oriented organizations. Listed as the main critical points are tendencies of virtual organizations to take on too many themes and issues instead of focusing on two or three along with matters of “actual ownership by and commitment of participants” which is directly related to the problematic decision-making structures, unstable funding basis and finally the whole issue of continuity. Although it can be asserted that most arts organizations and cultural institutions face difficulties with matters of funding by default, conventional arts organizations and cultural institutions do have guidelines and legislative frameworks for decision-making structures and funding proposed for them by cultural policy provisions. 11 Research outline and methodology Arts management is inherently associated with cultural policy. Further confirmation for this stance in the academic sense (and in addition to the legislative and executive relation between the two fields in practice) is the fact that nowadays almost every course teaching arts management includes parallel study of cultural policy. 12 Numerous books and articles have been written on arts management and managing cultural institutions and organizations, from public/state-owned to non-governmental 10 This paper was distributed to the participants of the cultural networks meeting at the World Culture Forum in Rio de Janeiro, November 2006. Although it was written by the representative of Hivos Culture Fund, it reflected opinions of other cultural foundations that are mostly based in Europe (i.e. Fondazione Fitzcarraldo, European Cultural Foundation, etc.), and whose representatives were present when this paper was discussed in Rio de Janeiro. A similar stance to the one taken by Paul Van Paaschen can be found in a research report by the Fondazione Fitzcarraldo “Cultural Cooperation in what Role for Foundations?” available online at http://www.compagnia.torino.it/comunicazioni/pdf/NEF.PDF 11 By guidelines and legislative framework we mean acts that are brought in and which set and recommend organizational set-ups, structures and funding schemes for arts organizations and cultural institutions. For example, in Croatia these acts are the Law on institutions ( NN 76/93; NN 29/97 and NN 47/99 - Amendment), the Law on governing and managing public cultural institutions (NN 96/01) and the Law on financing public needs in culture (NN 27/93). 12 For example, the most well-known course on cultural policy is the one at City University in London which includes arts management, followed by the courses at University College Dublin, Warwick University, and Carnegie Mellon University, etc. 131
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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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Transformations of cultural product
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