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In 2015, the Arts and Humanities Research Council (AHRC) commissioned John Holden, visiting professor at City University, London, and associate at the think-tank Demos, to write a report on culture as part of its Cultural Value Project. The claim within the report was to redirect culture away from economic prescriptions and to focus on ecological approaches to &lsquo ; value&rsquo ; . Holden considers the application and use of ecological tropes to re-situate culture as &lsquo ; non-hierarchical&rsquo ; and as part of symbiotic social processes. By embracing metaphors of &lsquo ; emergence,&rsquo ; &lsquo ; interdependence,&rsquo ; &lsquo ; networks,&rsquo ; and &lsquo ; convergence,&rsquo ; he suggests we can &ldquo ; gain new understandings about how culture works, and these understandings in turn help with policy information and implementation&rdquo ; . This article addresses the role of &lsquo ; cultural critique&rsquo ; in the live environments and ecologies of place-making. It will consider, with examples, how cultural production, cultural practices, and cultural forms generate mixed ecologies of relations between aesthetic, psychic, economic, political, and ethical materialisms. With reference to a body of situated knowledges, derived from place studies to eco-regionalisms, urban to art criticisms, we will consider ecological thinking as a new mode of cultural critique for initiating arts and cultural policy change. Primarily, the operant concept of &lsquo ; environing&rsquo ; will be considered as the condition of possibility for the space of critique. This includes necessary and strategic actions, where mixed ecologies of cultural activity work against the disciplinary policing of space with new assemblages of distributed power

The image of the European culture is given by the association of the concepts people – culture – history – territory, which provides certain local features. From this relation, we identify a cultural area with local, regional and national features beyond a certain European culture. Thus, we identify at least two cultural identity constructions on the European level: a culture of cultures, that is a cultural area with a particular, local, regional and national strong identity, or a cultural archipelago, that is a common yet disrupted cultural area. Whatever the perspective, the existence of a European cultural area cannot be denied, although one may speak of diversity or of "disrupted continuity".
The paper is a survey on the European cultural space in two aspects: 1. Europe with internal cultural border areas; 2. Europe as external cultural-identity border area. From a methodological point of view, we have to point out that despite the two-levelled approach the two conceptual constructions do not exclude each other: the concept of "culture of cultures" designs both a particular and a general identity area. The specific of the European culture is provided precisely by diversity and multiculturalism as means of expression on local, regional, or national levels. Consequently, the European cultural area is an area with a strong identity on both particular and general levels.

Es ineludible reclamar un proyecto nacional de cultura que guíe las políticas locales adaptadas a las posibilidades, demandas y vicisitudes del entorno. En el que las producciones artístico-culturales –que a veces no son mesurables por su cualidad de efímeras, como las obras de arte mural en la vía pública, la realización de producciones editoriales independientes o la inminencia de espacios culturales autogestivos, en suma, un acervo artístico cultural que representa lo propio–, por ejemplo, en la ciudad de La Plata, requieren ser tratadas con decisiones acordes a sus necesidades. Para ello, es preciso desmitificar la noción de política pública cultural –construida desde las acciones de formación y de capacitación para profesionales vinculados al arte y la cultura y a la gestión de espectáculos culturales por parte del gobierno, asistido por el mercado tendencioso–, direccionando los financiamientos hacia el sector de industrias creativas culturales. Entonces, se podrían anticipar hipótesis e interrogantes: ¿Hacia dónde deben apuntar las políticas culturales, hacia una democracia cultural? ¿Quién las define? Las políticas públicas culturales, ¿son condición del arte contemporáneo o un escenario para el convenio de campañas políticas de los gobiernos de turno? ; Facultad de Artes

Abstract: I defend cultural relativism against the following objections: (i) The analogy between motion and morality is flawed. (ii) Cultural relativism has greater potential to be harmful to our daily lives than is cultural absolutism. (iii) We made moral progress when we
moved from slavery to equality. (iv) There are some moral principles that are accepted by all cultures around the world. (v) Moral argumentation is impossible within the framework of cultural relativism. (vi) We construct arguments for and against cultures.

ABSTRACT  The paper begins with a discussion of the definition of cultural industries. The paper's three main themes are concerned with, first: 1) a contestation of the generic application of the global commodity chain concept, 2) the need for a unique focus on cultural industries associated with the particular nature of its production process, and 3) the role of embedded judgments of quality is an integral part of this process. Second, the paper suggests that a restyled focus on production chains (involving the full cycle of production to use) might be more appropriate than "commodity chains" for this application. Finally, issues of spatiality and scale are discussed: it is argued that although global commodity chain debates explore linkages at a regional and national scale, they downplay linkages at the local level.

"Cultural Linguistics" -- "Editorial page" -- "Title page" -- "LCC data" -- "Table of contents" -- "List of figures" -- "About the author" -- "Acknowledgements" -- "Preface" -- "Note on transliteration conventions of Persian transcripts" -- "Chapter 1. Cultural Linguistics: An overview" -- "1.1 Cultural Linguistics" -- "1.2 The theoretical framework of Cultural Linguistics" -- "1.3 The analytical framework of Cultural Linguistics" -- "1.4 An assessment of Cultural Linguistics" -- "Chapter 2. Cultural conceptualisations and language: The analytical framework" -- "2.1 Cultural schemas" -- "2.2 Cultural categories" -- "2.3 Cultural metaphors" -- "2.3.1 Cultural metaphors relating to the Land" -- "2.3.2 Cultural metaphors relating to Medicine" -- "2.3.3 Creative cultural metaphors" -- "2.3.4 The cognitive processing continuum of cultural metaphors" -- "2.4 Concluding remarks" -- "Chapter 3. Embodied cultural metaphors" -- "3.1 Embodiment and embodied cognition" -- "3.2 Conceptualisations relating to del in contemporary Persian" -- "3.3 Del in psychological, intellectual, and person-bound concepts" -- "3.3.1 del as the seat of emotions, feelings, and desires" -- "3.3.2 del as the centre of thoughts and memories" -- "3.3.3 del as the centre of personality traits, character, and mood" -- "3.3.4 Summary" -- "3.4 Cultural conceptualisations behind the notion of del" -- "3.5 Iranian Traditional Medicine (ITM) and temperature terms in Persian" -- "3.6 Concluding remarks" -- "Chapter 4. Research methods in Cultural Linguistics" -- "4.1 Conceptual-associative analysis" -- "4.2 Conceptual analysis of story recounts" -- "4.3 (Meta)discourse analysis" -- "4.4 Corpus-based analysis" -- "4.5 Ethnographic-conceptual text/visual analysis" -- "4.6 Diachronic/synchronic conceptual analysis" -- "4.7 Concluding remarks

The following thesis revolves around the research question what is the role of cultural surveys in Finnish cultural policy? In order to try to answer this question, elements were taken into consideration involving the relationship between these types of surveys and trends followed in Finnish cultural policy. Among the elements analysed were: the model of cultural policy in Finland and its shifts, the main cultural surveys carry out in Finland, the cultural surveys at a local level using as an example the case of Helsinki, and the adoption of indicators as measurements for effectiveness in public policy. The research methods used were a combination of a revision of official documents, together with six semi-structured interviews. The information found in documents such as "Effectiveness Indicators to Strengthen the Knowledge Base for Cultural Policy" elaborated by the Ministry of Education and Culture Finland (2011), or the Strategy Programme 20132016 of the city of Helsinki, facilitate the identification of formal discourses, while the data retrieved from the interviewees, -mostly decision makers and actors involved in the cultural field -, served as a complement. The research data has been analysed and interpreted using theoretical inputs from Foucault and his study of statistical knowledge in governmentality (1980, 2003, 2007), the models of cultural policy proposed by Hillman & McCaugheya (1989) and Mulcahy (1998), evidence-based policy and the new public management paradigm. From the results of the thesis can be concluded that although there is a connection between cultural surveys and cultural policy, changes in the latter are not in direct causality or in a linear mode with the former. There is a significant trend in Finnish government towards using surveys and statistical data as audit and assessment tools for effectiveness, nonetheless there is not a unified system to collect data in the cultural field, neither at the national level or at the local level.

In 2002 I published the research "Condors´nest aspects of daily life, Pereira of the twentiesâ€. Acultural view. With elements own to the discourses of history, journalism and literature I intended to re-build a picture of the epoch in regard to a city that historically doesn´t differ from the Colombian intermediate cities. Then I asked myself what sore of methodology had I applied and how had I used the concept of Cultural View as a reading of the world experience, considering an instrument of reflection, approximation and interpretation of the phenomena own to modern culture and especially to the phenomenon inherent to our critical work from peripheral places. It is necessary to distinguish three essential moments of the concept: memory, palimpsest and the chronic of the local. With these three components I advise the limits of the cultural view and its use in research processes where is possible to dialogue with our regions and their cultural, political and social memory. ; En 2002 publiqué el trabajo de investigación Nido de cóndores: aspectos de la vida cotidiana de Pereira en los años veinte. Una Mirada Cultural. Con elementos propios de los discursos de la historia, el periodismo y la literatura intenté reconstruir un cuadro de época, a propósito de una ciudad que, históricamente, no difiere en sus procesos de las ciudades intermedias colombianas. Luego me pregunté qué metodología había aplicado y cómo había utilizado el concepto de Mirada Cultural y si había tenido una buena aplicación. La recepción que tuvo el libro me animó a pensar en el modelo que sugería la labor metodológica. El presente trabajo busca dar cuenta del concepto de Mirada Cultural como experiencia de lectura de mundo, al considerarlo instrumento de reflexión, aproximación e interpretación a fenómenos propios de la cultura moderna y , en especial, a fenómenos que son inherentes a nuestra labor crítica desde lugares periféricos. Es necesario distinguir tres momentos esenciales del concepto: la memoria, el palimpsesto y la crónica de lo local. Con estos tres componentes advierto los límites de la Mirada Cultural y los usos que puede tener en procesos de investigación, donde es posible dialogar con nuestras regiones y su memoria cultural, política y social. Â