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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."--

By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization.

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.

'Global Local: Cultural Production and the Transnational Imaginary,' edited by Rob Wilson and Wimal Dissanyake, is reviewed.

Theories about Creativity and Cultural Production. Introductory Perspectives on Creativity -- The Creator as Genius -- Bio-Psychological Perspectives -- Creativity and The Social -- The Cultural View -- Reconceptualising Creativity -- Issues for Media Practice. Agency and Structure: The Case of Radio -- Journalism: Structures and Motivation -- Television: Form, Format and Being Formulaic -- Film: Auteur Theory, Collaboration, Systems -- Photography: Art, Craft and Their Symbiosis -- Popular Music: Creativity and Authenticity -- The Digital Revolution: Copyright and Creativity -- Refocusing Methods for Creative Work.

This essay explores the role of Istanbul's 'cultural productions' as components of the city's structure and texture. Istanbul is a city of tensions generated by its countless conflicting and divergent flows which are constantly influenced by socio-economic political and cultural fusions and confusions. It is constantly expanding both horizontally and vertically as evidenced by its central and peripheral settlements illegal dwellings and squatted lands. With each and every new inhabitant further cumulative cultural input is added to the city which also blends social exclusion and transgression (together with axiomatic de facto regulations). The city 'operates' as a jumbled mode of excessive information ; the repetitive collapse and replenishment of this information overload opens up diverse 'realities'. Within this picture 'cultural productions' of the city have emerged as indicators of inhabitants' reactions exposing ways of coping with/surviving in the city. These cultural productions are locally temporarily and spontaneously produced. Consequently this essay investigates how such cultural productions have been processed by the inhabitants of the city since the 1980s and specifically focuses on the latest research and project models navigating through projects undertaken by academics artists and architects who correspond and have connections with international institutions - most notably in the field of contemporary art. Resume Cet essai examine le role des 'productions culturelles' d'Istanbul en tant que composantes de la structure et de la texture urbaines. Cette ville est faite de tensions generees par un nombre infini de flux contradictoires et divergents influences en permanence par des fusions et confusions socio-economiques politiques et culturelles. Elle ne cesse de se developper tant au plan horizontal que vertical comme le montrent ses implantations centrales et peripheriques ses habitats illegaux et ses terrains squattes. Chaque nouvel habitant apporte une contribution culturelle cumulative a la ville qui melange egalement exclusion sociale et transgression (ainsi que des regles axiomatiques de fait). La ville 'fonctionne' comme un enchevetrement d'informations excessives: l'effondrement et la reconstitution reiteres de cette surcharge d'informations revelent diverses 'realites'. Dans cette representation les 'productions culturelles' de la ville sont apparues comme des indicateurs des reactions des habitants traduisant leurs manieres d'affronter la ville et d'y survivre. Les modalites de ces productions sont locales temporaires et spontanees. L'etude s'interesse donc au traitement de ces productions culturelles par les habitants depuis les annees 1980 et porte en particulier sur les modeles de recherches et de projets les plus recents en passant par des travaux d'universitaires d'artistes ou d'architectes qui correspondent et ont des liens avec des institutions internationales notamment dans le domaine de l'art contemporain.

How free can intellectuals (writers ; poets ; and artists) continue to exist in a political system that exercises a huge amount of pressure ; control ; and censorship ; forcing them to conform to its heavily skewed ideological and historical perspectives? The core question of a dispute among Iraqi intellectuals since 2003 has been: Who has the right to speak for Iraq? This question underlines the need to delve deeper ; it touches upon the urgency of re-examining the political and cultural dynamics of Baathist rule ; the cultural institutions of which provided a restrictive framework within an overall atmosphere of intimidation ; control ; and surveillance. During this time ; Iraqi intellectuals took on various attitudes ; varying from compliance and collaboration ; to resistance to the system or outright exile. The rift between Iraqi intellectuals is mostly between those on the "inside" and those on the "outside." This paper discusses the relationship between intellectuals and power and the peculiarities of Iraqi cultural production in Baathist times ; and then analyses the role of intellectuals through two case studies ; debating the strategies of survival and complicity.

This groundbreaking collection focuses on what may be, for cultural studies, the most intriguing aspect of contemporary globalization-the ways in which the postnational restructuring of the world in an era of transnational capitalism has altered how we must think about cultural production. Mapping a ""new world space"" that is simultaneously more globalized and localized than before, these essays examine the dynamic between the movement of capital, images, and technologies without regard to national borders and the tendency toward fragmentation of the world into increasingly contentious e

This article analyzes the 1993 Kyana Corroboree of the Noongah Aborigines of Western Australia as a case study of the cultural production and cultural politics of ethnogenesis and indigeneity through public celebration. Kyana is a local example of how indigenous peoples globally experience "ethnic reorganization," an often inchoate, mutable process of social reproduction that encourages the survival of an ethnic group, albeit in an altered form. This article demonstrates how Noongah and Aboriginal ethnogenesis is composed of a mercurial mixture of conflict and concordance, especially in regard to aspirations toward some level of influence over the self‐definition of Aboriginality and its symbolic representations.The organization of contemporary ethnicity and the nature of current ethnic relations reflect contemporary adaptations and continually evolving identities and institutions.—Nagel and Snipp 1993, p. 225Celebration is a "text," a vivid aesthetic creation that reflexively depicts, interprets and informs its social context. [Celebration] articulates and modifies power relations.—Manning 1983, p. 6