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Digital Culture: The Changing Dynamics things on some media that you cannot do on others. And, therefore, if you watch the whole field, you can prevent this waste that comes by one cancelling the other out.” 6 Typology of portals according to the objectives The portals’ objectives may be publicly declared or not, but they always appear easily according to the local contexts. They may also vary a lot, inviting us as a first step to classify these objectives in relation to two main parameters: the sociocultural significance and the actual political aims. We may observe that according to the country of origin, these portals have specific main and/or simultaneous objectives, such as: • putting online cultural data for administrative purposes • offering a public cultural service • promoting public or private cultural institutions • commercial promotion • promoting cultural diversity • education and prevention • contributing to building the national identity • escaping the isolation of a region or a country • offering cultural contents to remote areas • promoting cultural activities and contents thanks to an online cultural magazine • promoting national identities by updating traditional cultural contents • fostering cultural life and production in a social community • expanding cultural democracy • encouraging the younger generations to share cultural values • promoting cultural and tourist attractions internationally. One may observe that these portals, although they always declare themselves as neutral cultural public services, always follows political national aims, which are related directly to the origin of their financial resources. Most of them are therefore under the control of government departments or public administrations. These different purposes often converge. Usually they are not declared. Publicly announced objectives may dissimulate hidden strategies. But there is always an investment, human work and therefore a strategy and an aim. They may result from 6 McLuhan, Marshall: Understanding Me: Lectures and Interviews. Ed. by Stephanie McLuhan and David Staines, Foreword by Tom Wolfe. MIT Press, 2004, p. 271 146
governmental or corporate action plans, which instrumentalize these portals of “natural” appearance. It would be nonsense to think that culture is a neutral service, such as roads or public health. You cannot separate culture and the state, as you do between religion and the state in a secular country. The investments of the state are therefore always linked to identity affirmation, social consensus, education, international prestige and tourism or any specific local interest, which are fully legitimate as long as they don’t slip into political propaganda. Characterization Ecology of the media and hyperhumanism To clarify the objectives and strategies of these portals, it may be useful to consider a series of parameters: • origin of the financial resources • type of governance (public, private, commercial, NGO, hybrid, etc.) • type of contents • architecture of the portal • design and aesthetic of the portal • type of users • level of open access, interactivity and possible participation of the users (closed architecture of collaborative openness - Web 2.0). According to these ecological parameters we may discover that cultural portals are a typical illustration of media ecology theory and its preoccupation with understanding media, as McLuhan would say (2004). We do not intend in a general ecology of media, nor in the specific analysis of cultural portals, to introduce implicit hidden values and conclude with political judgments. All these categories, purposes and strategies may be recognized as legitimate social functions. Evaluating the political system of a society or the cultural state policy of a country would bring us to another type of analysis and discourse. But it may be useful to allow the sociocultural, commercial or political logics to appear, those which inspire these cultural portals, and to verify their design and coherence, or to demonstrate their ambiguity and confusions and, according to these, to predict their success or failure. Any public institution or commercial group who decide to create a cultural portal should systematically question these ecological parameters and carefully analyse these issues according to their declared and explicit purposes. It would allow them to be efficient and not to work hard just for a final frustrating result. The ambiguity of cultural enterprises, reflected in the architecture, design, aesthetics and contents of any cultural service, is certainly leading to a final failure, especially in the field of cultural portals, which are very complex and sensible 147
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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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Transformations of cultural product
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