As part of a deconstruction of national identity, Jennifer Jolly, in her Creating Pátzcuaro, Creating Mexico: Art, Tourism, and Nation Building under Lázaro Cárdenas, analyzes the tourist town of Pátzcuaro in the west-central Mexican state of Michoacán as a microcosm of cultural power in which tourism, art, history, and ethnicity were woven together under the presidency of Lázaro Cárdenas del Río (1934–40).
Within this article, public service media and community media will be compared with regard to their potential to provide access, interaction and participation of civil society. These potentials will be identified at the level of organizational structures as well as the level of content production and evaluation. The theoretical considerations finally lead to the question whether and how the concept of public value as participation of civil society and accountability of media organizations is applicable to different forms of media organizations and which problems could arise out of that. By discussing how different dimensions of participation are realized within public service media and community media in the Austrian media market, we want to show how different structural prerequisites can also lead to different materializations of participation. In the end, this leads to the conclusion that public service media and community media in Austria do not only realize participation in different ways but thereby also fulfill their roles and tasks in democratic societies differently. We argue that instead of trying to apply a common framework, the output of and values created by public service media and community media have to be evaluated and measured in particular ways.
Recent years have seen increased emphasis on the autonomy of human agency in creating meaning in everyday life. The institutional bias in sociology, however, and its concomitant emphasis on social reproduction rather than change favors hierarchical approaches to cultural production. This is apparent in the theorizing even of sociologists such as Pierre Bourdieu who emphasize the cultural dynamism of religion and other meaning systems. This article critiques the mechanistic underpinnings of Bourdieu's perspective on religious production and his categorical differentiation between religious producers and consumers. Using data gathered from American Catholics, the author shows that interpretive autonomy allows them to recast the official discourse of the church hierarchy in ways that advance alternative interpretations. Interpretive autonomy is grounded in the Catholic tradition or habitus and is reflexively used by Catholics both to maintain the vibrancy of the church and expand the possibilities for institutional change.
This work sets out to consider the fate of creativity and forms of cultural production as they fall into and between the regimes of cultural heritage law and intellectual property law. It examines and challenges the dualisms that ground both regimes, exposing their (unsurprising) reflection of occidental ways of seeing the world. The work reflects on the problem of regulating creativity and cultural production according to Western thought systems in a world that is not only Western. At the same time, it accepts that the challenge in taking on the dualisms that hold together the existing legal regimes regulating creativity and cultural production lies in a critically nuanced approach to the geo-political distinction between the West and the rest. Like many of the distinctions considered in this book, this is one that holds and does not hold
"In this book, Goriunova offers a critical analysis of the processes that produce digital culture. Digital cultures thrive on creativity, developing new forces of organization to overcome repetition and reach brilliance. In order to understand the processes that produce culture, the author introduces the concept of the art platform. An art platform is a specific configuration of creative passions, codes, events, individuals and works that are propelled by cultural currents and maintained through digitally native means. Art platforms can occur in numerous contexts bringing about genuinely new cultural production, that, given enough force, come together to sustain an open mechanism while negotiating social, technical and political modes of power.Amateur and folklore work, aesthetic forms of organization and geeky publics, creativity, freedom, and humour are reinterpreted in the theoretical apparatus offered in this book and tested through case studies derived globally. Software art, digital forms of literature, 8-bit music, 3D art forms, pro-surfers, and networks of geeks are test beds for enquiry into what brings and holds art platforms together. Goriunova provides new means of understanding the development of cultural forms on the Internet, placing the phenomena of participatory and social networks in a conceptual and historical perspective, and offering powerful tools for researching cultural phenomena overlooked by other approaches. This book an invaluable resource for scholars of digital media and cultural studies, and a readership involved in every kind of network culture."--
"In this book, Goriunova offers a critical analysis of the processes that produce digital culture. Digital cultures thrive on creativity, developing new forces of organization to overcome repetition and reach brilliance. In order to understand the processes that produce culture, the author introduces the concept of the art platform. An art platform is a specific configuration of creative passions, codes, events, individuals and works that are propelled by cultural currents and maintained through digitally native means. Art platforms can occur in numerous contexts bringing about genuinely new cultural production, that, given enough force, come together to sustain an open mechanism while negotiating social, technical and political modes of power.Amateur and folklore work, aesthetic forms of organization and geeky publics, creativity, freedom, and humour are reinterpreted in the theoretical apparatus offered in this book and tested through case studies derived globally. Software art, digital forms of literature, 8-bit music, 3D art forms, pro-surfers, and networks of geeks are test beds for enquiry into what brings and holds art platforms together. Goriunova provides new means of understanding the development of cultural forms on the Internet, placing the phenomena of participatory and social networks in a conceptual and historical perspective, and offering powerful tools for researching cultural phenomena overlooked by other approaches. This book an invaluable resource for scholars of digital media and cultural studies, and a readership involved in every kind of network culture."--
1. Introduction: Refiguring the digital tools of creative work and cultural production -- Part 1: Frameworks for studying softwarization and cultural production -- 2.TikTok as a platform tool: Surveying disciplinary perspectives on platforms and cultural production -- 3.The Spatial Languages of Virtual Production: Critiquing Softwarization with Aesthetic Analysis -- 4.Generative AI and the Technological Imaginary of Game Design -- Part 2: Studies of cultural subjectivities after softwarization -- 5.Autoharps, Chord Organs, and MIDI Packs: Easy-Playing Instruments, Gender, and Classes of Musical Participation -- 6.Figurations of the Tool Agnostic -- 7.The expressive subject: prosumers, virtuosi, and digital musical control -- 8.Artist and Agency: Technologies for Exploring Self and Place -- Part 3: Socialities of softwarized cultural production -- 9.Alternative gamemaking tools as grassroots platforms -- 10.Bypassing defaults in data visualisation design processes: a Tableau case study -- 11.The Creative Appropriation of a Scientific Software: The FITS Liberator, a Case Study -- 12.Dolby Atmos Music and the Production of Risk.
Iran is undergoing a period of socio-political transformation joined to a cultural space that despite binding censorship regulations, circumnavigates restrictive bans and, in the world of film, generates award winning, critically acclaimed masterpieces. In the course of this two-day conference, participants will investigate cinema in Iran as part of Iran's rich media and cultural ecology. The conference brings together international scholars on topics, which explore: The contemporary political and industrial context in which films are produced, distributed, and consumed in Iran and the ways in which formal and informal censorship structures and practices impact the industry; Film as both a formal and informal information conduit in closed or censored societies; Cinematic circulation and flows among and between the Iranian Diaspora and Iranians in Iran; The role of Iranian cinema as public diplomacy and public debate surrounding film in Iran; The political economy of film in Iran, including piracy and do-it-yourself (DIY) cinematic production such as YouTube; The role of cinema vis à vis television: subject migration, professional migration, content regulation ; Cinema in Iran: Circulation, Censorship and Cultural Production , conference, ICI Berlin, 16–17 December 2011
Arguing that questions of power expressed through aesthetic form are too often left out of current approaches to digital culture, this article revives the modernist aesthetic category of glamour in order to analyze contemporary forms of platformed cultural production. Through a case study of popular feminism, the article traces the ways in which glamour, defined as a beguiling affective force linked to promotional capitalist logics, suffuses digital content, metrics, and platforms. From the formal aesthetic codes of the ubiquitous beauty and lifestyle Instagram feeds that perpetuate the beguiling promise of popular feminism, to the enticing simplicity of online metrics and scores that promise transformative social connection and approbation, to the political economic drive for total information awareness and concomitant disciplining, predicting and optimizing of consumer-citizens, the article argues that the ambivalent aesthetic of glamour provides an apt descriptor and compelling heuristic for digital cultural production today.
1. Studio technologies : changing concepts and practices -- 2. Technology, collaboration and creativity -- 3. Emotional labour and musical performance -- 4. The studio sound-space -- 5. Recording studios in urban music scenes -- 6. Recording studios in project networks (1) : the networked studio -- 7. Recording studios in project networks (2) : a global urban geography of music production -- 8. MP3s and home recording : the problems of software -- 9. Changing employment relations and experiences of work -- 10. Networking, reputation building and getting work.