Academic literature on the topic 'Cultural and art institutions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Cultural and art institutions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Cultural and art institutions"
1
Markellou, Marina P. "Appropriation art and cultural institutions." Queen Mary Journal of Intellectual Property 3, no. 2 (2013): 145–54. http://dx.doi.org/10.4337/qmjip.2013.02.03.
Full text
2
Odo, Franklin, and Paul Ong. "Art & Cultural Institutions and AAPI Communities." AAPI Nexus: Policy, Practice and Community 5, no. 1 (2007): v—xii. http://dx.doi.org/10.17953/appc.5.1.bku628337t00jnr7.
Full text
3
Kasbayeva, Gulnaz, Assiya Mamyrbekova, and Bagila Tairova. "Culture management in cultural and art institutions: A cultural analysis." Scientific Herald of Uzhhorod University Series Physics, no. 55 (February 5, 2024): 730–38. http://dx.doi.org/10.54919/physics/55.2024.73kd0.
Full textAbstract:
Relevance. The object of this research is the managerial culture in the museums of the Republic of Kazakhstan. The study considers a management culture in museums on a large scale, as museums of the Republic of Kazakhstan are a part of the world culture and their development occurs not in self-isolation from the world, but in this world, though in time of experiencing economic and political crises, and in time of a pandemic. Purpose. The paper examines the general history of museum development in Kazakhstan, management culture, and management itself. The management culture is shown from ethical and practical sides. The study demonstrates management as a new strategy of museum management in the modern world. The basic work of museums and their reaction to challenges of the modern world is also briefly shown, i.e., the new role of museums in the modern world is considered. Methodology. The desk research method was used: analysis of modern research of the last three years on the museums of the Republic of Kazakhstan, management culture and management in museums. Results/Conclusions. The article concludes that museums, despite their conservatism, can respond to the challenges of the time and adapt to the needs of society. Moreover, the culture of management in museums is changing in order to dictate to society what is relevant and interesting, rather than passively fulfilling its demands. The management culture dictates to museum workers new approaches to effective museum management, and the museum has become not only a centre of history and culture preservation but also an active centre of public education.
4
Oliveri, Vicki, Glenn Porter, Pamela James, Jenny Wise, and Chris Davies. "Art crime: discussion on the Dancing Shiva acquisition." Journal of Criminological Research, Policy and Practice 6, no. 4 (2020): 307–19. http://dx.doi.org/10.1108/jcrpp-03-2020-0033.
Full textAbstract:
Purpose This paper aims to explore how stolen Indian antiquities were purchased by a major Australian collecting institution, despite cultural protection policies designed to prevent such inappropriate acquisitions. Using the acquisition of the Dancing Shiva as a case study, the purpose of this paper is to examine how collecting institutions such as the National Gallery of Australia experience difficulty when determining legal title through provenance research. The impact of incautious provenance research produces significant risk to the institution including damaging its social responsibility credentials and reputation when the acquisition is discovered to be stolen. Design/methodology/approach This research applies a qualitative case study method and analysis of sourced official policy documents, personal communication with actors involved with the case, media reports and published institutional statements. Findings This work identifies four contributing factors that resulted in the National Gallery of Australia’s acquisition of stolen Indian artefacts: a misguided level of trust of the art dealer based on his professional reputation; a problematic motivation to expand the gallery’s Asian art collection; a less transparent and judicious acquisition process; and a collaboration deficiency with cultural institutions in India. Crime preventative methods would appear to be a strategic priority to counter art crime of this nature. Research limitations/implications Additional research into how collecting institutions can be effectively supported to develop and implement crime preventative methods, especially less-resourced institutions, can potentially further enhance cultural heritage protection. Practical implications Fostering a higher degree of transparency and institutional collaboration can enhance cultural heritage protection, develop a greater level of institutional ethics and social responsibility and identify any potential criminal activity. Changing the culture of “owning” to “loaning” may provide a long-term solution for cultural heritage protection, rather than incentivising a black market with lucrative sums of money paid for artefacts. Social implications Art crime involving the illegal trade of antiquities is often misinterpreted as a victimless crime with no real harm to individuals. The loss of a temple deity statue produces significant spiritual anguish for the Indian community, as the statue is representative not only of their God but also of place. Collecting institutions have a social responsibility to prioritise robust provenance policy and acquisition practices above collection priorities. Originality/value Art crime is a relatively new area within criminology. This work examines issues involving major collecting institutions acquiring stolen cultural heritage artefacts and the impact art crime has on institutions and communities. This paper unpacks how motivations for growing more prestigious collections can override cultural sensibilities and ethical frameworks established to protect cultural heritage. It highlights the liabilities associated with purchasing antiquities without significant due diligence regarding provenance research and safeguarding cultural heritage. It also emphasises the importance for collecting institutions to establish robust acquisition policies to protect the reputation of the institutions and the communities they represent.
5
Walden, Lauren. "Cultural diplomacy and internationalism in regional art institutions." Visual Studies 34, no. 4 (2019): 350–63. http://dx.doi.org/10.1080/1472586x.2020.1715242.
Full text
6
Hermawati, Sri Hermawati, Supriadi Didin, Turnip Yehezkiel Petrus, Srimoko Gandung Joko, Saryanto, and Tarwiyah Tuti. "Transmission of Hadroh Kuntulan Banyuwangi Art through Community-Based Art Education." Mudra Jurnal Seni Budaya 40, no. 1 (2025): 1–9. https://doi.org/10.31091/mudra.v40i1.2859.
Full textAbstract:
This research explores cultural strategies through education, specifically focusing on Community-Based Art Education (CBAE) in Banyuwangi. In order to achieve the stated objective, a qualitative descriptive method was adopted to examine the Kuntulan art form, particularly Hadroh Kuntulan. The art form consisted of playing Hadroh music accompanied by sholawat singing and pencak silat movements that have evolved into dance. This investigation was conducted in Banje Hamlet, Bubuk Village, Rogodjampi District, Banyuwangi Regency, East Java, at Islamic Junior High School 8 & Art Studio Gholet Dhulur. The location was selected primarily due to the presence of the Using tribe, which, unlike more well-known groups such as the Baduy and Sasak tribes, remains relatively unknown. Typically, cultural transmission through Community-Based Art Education (CBAE) is facilitated by integrating educational institutions. Within the context of the present exploration, this studio played a central role. In Indonesia, art education is usually incorporated into a school's intracurricular and extracurricular curriculum. These institutions typically form school-age music groups comprising students from various schools. Within this construct, schools and social institutions function as program planners, students as learners, and the broader community as a source of cultural knowledge. The results obtained from this study show that the integration of cultural arts into the school curriculum through partnerships with social institutions plays a crucial role in preserving cultural heritage. It also emphasized that the resilience of these cultural traditions is sustained through the active support and inclusiveness of the community.
7
Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China." SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.
Full textAbstract:
As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
8
Rius-Ulldemolins, Joaquim, and Ricardo Klein. "From artistic direction to cultural management: governance and management of Barcelona's artistic institutions in the twenty-first century." International Journal of Public Sector Management 34, no. 1 (2020): 33–49. http://dx.doi.org/10.1108/ijpsm-03-2020-0082.
Full textAbstract:
PurposeDuring the twentieth and twenty-first centuries, debate about the governance and management of national cultural institutions has largely focused on the problematic relationship between art and the economy. However, several more recent changes have made this discussion outdated. These include loss of autonomy in the art world, transformation of cultural production and distribution and instrumentalisation of cultural policies to generate a new context leading to the emergence of art managers.Design/methodology/approachIn terms of cultural policy, the interplay between the governance and management of national cultural institutions is currently problematic, with the work of art managers now replacing the previous “art versus economy” binomial. Here, we demonstrate the growing centrality of the governance paradigm and generation of public value in the local context, by qualitatively examining the discourses of politicians and national cultural institution managers in Barcelona.FindingsWe concluded that a new interface between policymakers and managers has appeared in twenty-first century cultural institutions, and that this has replaced the previous antagonism between artistic directors and managers. Finally, although there is a consensus that the objective of national cultural institutions should be to enhance public value, we also identified the presence of a symbolic battle over how this public value is defined and who should evaluate it.Originality/valueThis paper reveals the centrality of this new debate: policymakers and managers have developed discourses and strategies so that their vision of public value now predominates. In turn, this debate has become the new “battlefield” of cultural policy and reflects a rebalancing between the artistic and political spheres.
9
Gawthrop, Rob. "Performance, Art, Institutions and Interdisciplinarity." Arts 13, no. 3 (2024): 79. http://dx.doi.org/10.3390/arts13030079.
Full textAbstract:
How have funding, art education, and politics affected the development of performance and interdisciplinary art? In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s.
10
Šapoka, Kęstutis. "(Šiuolaikinio) meno institucija kaip ideologinė medija." Lietuvos kultūros tyrimai 10 (2018): 111–24. https://doi.org/10.53630/lkt.2018.8.
Full textAbstract:
The article analyses (contemporary) art system and institutions as ideological media. The author uses the concepts of repressive state apparatus and ideological state apparatuses formulated by philosopher Louis Althusser, according to which the essence of military, religious, educational, as well as cultural institutions is the spread of ideological propaganda, ensuring ideological subjectivation. This means that each individual adopts the ideology of dominant social class as its own model of thinking. Both totalitarian states and those that promote liberal capitalism use ideological interpellation. It is precisely on this global ideological order that focuses the article, looking though the specific prism at the (contemporary) art system. (Contemporary) art institutions are interpreted as a ruphor of repressive neoliberal ideology and a kind of media, on the one hand, spreading neoliberal consumerist propaganda. On the other hand, the purpose of such institutions, in addition to the dissemination of ideological propaganda, is self-legtimation and the assurance of functioning of self-serving mechanics. “Art” and “aesthetics”, as autonomous and ideologically independent fields, are suitable for both purposes.
Dissertations / Theses on the topic "Cultural and art institutions"
1
Tanurovska-Kjulavkovski, Biljana [Verfasser]. "Modelling Cultural and Art Institutions / Biljana Tanurovska-Kjulavkovski." Brussels : P.I.E-Peter Lang S.A., Éditions Scientifiques Internationales, 2021. http://d-nb.info/1236117816/34.
Full text
2
Dunin-Wąsowicz, Roch. "Culture for Europe : struggles for contemporary meanings and social understandings of Europe through cultural institutions, festivals, and art projects." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3223/.
Full textAbstract:
This thesis investigates struggles for meanings and social understandings of Europe taking place through cultural institutions, festival sites, and art projects. I claim that culture is a social field where meanings of Europe are made. I argue that meanings of Europe that emerge in these cultural sites are not prior or given, but are a result of struggles between the actors involved. They These meanings are to different degrees particular and autonomous, depending on the proximity of a given cultural site to the political structures of the state and the EU. This research identifies that actors who construct Europe’s meaning do so according to common patterns. Europe’s meanings evoke notions of unity – it is a symbol of coming together. At the same time, what different actors mean by Europe is an articulation of their particular ideals circumstances and aspirations, rooted in their direct contexts. In other words, in culture, there is but one Europe. There is not one Europe. This is confirmed by how Europe is understood by the immediate audiences of these cultural sites. It is perceived as relevant only when translated through familiar contexts – specific, local or national – and only then it is embraced. The background of the analysis is the significance of aesthetic culture in modernity, its role in making the nation, and its social imagining. This thesis examines the ways in which culture today demonstrates a similar capacity in regard to Europe, albeit in a micro scale. The methods employed are discourse and audience reception analysis, as well as participant observation. The empirical investigation comprises of a microanalysis of sites of cultural production. The case studies selected for this analysis, drawing on studies of cultural nationalism, include an online cultural outlet, an independent film festival and a transnational cultural festival, as well as a series of state commissioned contemporary artworks, all of which claim to be European in one way or another.
3
Celeste, Elizabeth M. "Examining the OSU Urban Arts Space as a Model for Ecological Sustainability Initiatives for Arts and Cultural Institutions." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253047778.
Full text
4
Frost, Sophie Louise. "Art at work : creativity and participation in the public cultural institution." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230630.
Full textAbstract:
This thesis reflects upon the nature of creativity and participation in the UK public cultural institution. It asks: to what extent is creative agency enabled or disabled within this context? In order to answer this question a qualitative study of Southbank Centre, one of the UK's leading public cultural institutions, has been constructed. The thesis considers the institution in its totality, analysing and interpreting both internal, subjective dimensions and external, public-focused dimensions. An interdisciplinary approach characterises a theoretical and methodological framework that draws upon concepts and methods from sociology, visual culture, museum studies and institutional ethnography. The case study is contextualised through analysis of three key historical examples that provide the preconditions for current perspectives on the relationship between art and work in the public cultural institution: the 1951 Festival of Britain, Artist Placement Group (APG) and the Arts and Crafts Movement. The Southbank case study involves employee interviews, fieldwork observations and the interpretation of cultural objects. These provide the empirical evidence that enables reflection on how creative work and the public are constituted, and how the institution might be seen to exist as a site of struggle. These methods facilitate an assessment of the critical potential of creative work within and around the public cultural institution's self-defined boundaries and the specific historical, discursive and symbolic conditions through which it is enabled or disabled. Although the influence of neoliberal cultural policy cannot be underestimated in this context, the thesis concludes with an alternative suggestion for what the public cultural institution could be. It claims that the discursive tension between artistic and managerial agendas can act as a productive terrain for creative work in its broadest sense.
5
Abbey, Jennifer Ann, and mikewood@deakin edu au. "Death and late-stage dementia in institutions: a cultural analysis." Deakin University. School of Nursing, 1995. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050825.153139.
Full textAbstract:
The first purpose of this study was to describe the deaths of fifteen nursing home residents with late-stage dementia. The devastating effect of dementia on a person has been called a living death (Woods, 1989). The caring which occurs when someone is going through this process in a nursing home was recorded and analysed.
In analysing this act of caring, the second purpose was to look for the origins of the structures and the sources of pressure that shaped the context and therefore helped determine the behaviour of the various groups under observation. These groups were residents and their relatives, the staff of the nursing home and the treating doctors.
Before commencing observations and carrying out this study, an understanding needed to be developed of: the condition of dementia as it is perceived by health professionals and presented in the media; the institutions in which the majority of people with dementia end their days; the background and conditions of the staff who nurse in them; the models of care that guide and determine policies; and the conceptions of life and death which underpin relevant laws and moral standpoints.
Accordingly, in part 1. chapter 1 the history, causes, pathology and effects of dementing conditions are examined. Relevant medical and lay literature including media influences are examined which pertain to the subject of death and dementia and nursing home care. The history of this institutional care is briefly examined together with the growth of the discipline of gerontological nursing. Chapter 2 discusses some of the effects of this history on present day care and the concept of emotional work being carried out within the present day aged care public policy regulations. The moral arguments surrounding illness and dying in Australian society today are briefly discussed.
Chapter 3 describes the conceptual framework for the study, the ethnographic method that has been employed and an outline of critical theory as the basis for analysis. The chapter concludes by recounting the practical steps taken to arrange the field work, secure the consent of participants, record data and gather documents, and outlines the ethical considerations given to the undertaking of the study. Chapter 4 describes the context in which the study took place and the first tentative exploration of the culture from an etic perspective.
Part 2 describes the death trajectories observed and raises some questions about alternative strategies that may have been considered within a different paradigm of caring. In chapter 5 the death trajectories of each of the fifteen residents in the study are described, each written with a particular emphasis to illustrate aspects of the
culture of care that emerged through thematic analysis. Observations, comments and feelings from staff and family are wound in and around these case studies. Chapter 6 looks more closely at the impact of policy and institutional pressure on the milieu in which these deaths took place.
Part 3 draws conclusions from the observations and makes suggestions for emancipatory change as viewed from the author's standpoint of critical ethnographic analysis. In the final chapter an argument is presented for policy change that leads a movement towards palliative care practices for people with late-stage dementia. Approaches to implementation of palliative care will need to take account of any expression by the resident such as an advanced directive, indicating a preferred approach to treatment in the period prior to death; a need for a better understanding of such issues as the significance of body breakdown, the manifestations of pain and electrolyte imbalances; the surrounding ethical complexities and shift in public opinion, and perhaps, most of ail, the culture of the institutions in which this dying will take place. A definition of late-stage dementia which might be used in determining patterns of care is set out.
A discussion about changes in practice which relate lo communication with treating doctors, the administering of antibiotics, the relief of pain, the mobilisation of residents and the provision of food and water takes place in light of the evidence found. The discussion of these issues is raised in the form of debate. Each aspect needs more rigorous analysis and information so that evidence-based practice, rather than care which is value-laden and emotional, can be used when treatment decisions are made for people with late-stage dementia.
6
Wu, Chin-tao. "Privatising culture : aspects of corporate intervention in contemporary art and art institutions during the Reagan and Thatcher decade." Thesis, University College London (University of London), 1997. http://discovery.ucl.ac.uk/10044720/.
Full textAbstract:
This study provides an analysis of the growth of corporate art intervention in America and Britain during the Reagan-Thatcher era of the 1980s. The premise is that the factors governing business intervention into the art world are inseparable from the free-market enterprise culture and the government-specific policies deployed to promote it. After a general introduction, Chapter 2 investigates the concept of the state and its role in relation to the arts. The public perception of differences between the American and British arts funding systems is further explored in terms of the financing of American art museums, and the arts provision provided by the state before the 1980s is examined in the practices of the Arts Council of Great Britain and the National Endowment for the Arts. The public arts policies of the New Right, and in particular the use of tax deduction incentives, are analysed in Chapter 3. It also examine the host of measures implemented by the two governments to inject the principles and ethos of the free market into these public arts agencies, and to transform them into paragons of arts privatisation. The corporate takeover of art museums is the subject of Chapter 4. The crucial role played by the corporate elites who served on the boards of trustees of these institutions is investigated, together with the great influx of corporate capital into them. Chapter 5 gives an account of how corporations integrated themselves into the arts support system, by holding art exhibitions themselves, and by establishing branches of public art museums within corporate premises. Chapter 6, which concentrates on corporate art collections themselves, shows how these came to fulfil the dual function of private investment and public image-enhancing, how they sought and achieved validation and legitimation, how artists reacted to them, and how they succeeded in re-defining the meaning of cultural production. A conclusion summarises the various developments of corporate art intervention under the "casino economy" of the Reagan-Thatcher decade, and looks forward to possible directions for the future.
7
Couret, Magali. "La production de l'œuvre publique d'art contemporain." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010256/document.
Full textAbstract:
L'art contemporain se veut transgressif, c'est un art fugitif dont on garde trace dans ses souvenirs, grâce à des photographies et des protocoles conservés dans les archives des institutions et prêts à être «réactivés». Située à la frontière de plusieurs domaines de création et confrontée à une forte dématérialisation, l'œuvre d'art contemporain déroute le juriste. Aujourd'hui, elle ne résulte plus du travail d'un artiste agissant seul dans son atelier, mais d'équipes réunissant les talents de multiples professions qui fragmentent sa réalisation en plusieurs phases. De fait, la scénographie ou le procédé artistique l'emportent souvent sur l'œuvre elle-même. Ce procédé prend le nom de «production» d'art. C'est pourquoi l'art contemporain constitue un objet d'étude complexe en droit, lequel s'attache encore trop à la forme de l'œuvre plutôt qu'à ses modes de création. La production artistique contemporaine est un domaine où les usages et les coutumes naissent au gré de pratiques efficientes, et prennent petit à petit le pas sur le droit. Dès lors, un fossé se creuse entre les professionnels de l 'art contemporain et le droit, ce qui a tendance à induire la coexistence de pratiques divergentes et d'interprétations diverses des coutumes établies, ainsi que le chevauchement de la coutume et de la législation, sans que des directives d'application de l'une ou l'autre ne soient adoptées. La question à laquelle nous tentons donc de répondre dans cette thèse est celle de savoir comment réduire cet écart entre la pratique des professionnels de la création contemporaine et le droit afin d'apporter sécurité juridique à la production artistique, et plus particulièrement au sein de la commande publique<br>Contemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists
8
Bazin, Quentin. "Perplexités, Institutions, Créativités : De l’art brut au laboratoire itinérant." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3046.
Full textAbstract:
En indiquant l’importance de travailler à soigner la culture qui est malade, en affirmant que ce quiimporte se passe dans les interstices de la société, l’art brut n’est pas pour autant dénué deréflexes normatifs et identitaires. Comment prendre la mesure de la nouveauté impliquée par l’a rtbrut sans servir ses contradictions ? Comment raconter l’art brut, que l’on tient pour capable devivifier nos créativités, sans reconduire des dominations portées sur les altérités qui président àses oeuvres ?Ce travail cherche à appréhender la notion d’art brut en considérant que ses productions, sesdiscours et ses effets témoignent d’une nouvelle conception de la créativité, qui nourrit lecommun par le détour de ce qui est hors du commun. Le premier mouvement prospecte descomposantes signifiantes de l’art brut (les fantasmes portés sur l’altérité, la primitivité, l’intensit é ,la singularité, mais aussi les pouvoirs de mutation et de conflit des productions brutes), ainsi quedes registres de discours tenus sur ses productions. Le mouvement suivant descend le long del’imaginaire conceptuel brut pour approcher une métaphysique de la créativité. Celle-ci articule lescomposantes de l’art brut et redessine le rapport aux subjectivités, aux expériences esthétiques etaux institutions (ce terme renvoyant aux établissements, mais aussi au langage, aux significationset aux comportements institués). Le dernier mouvement remonte des concepts vers uneproposition de pratiques organisées, prenant place dans une politique culturelle attentive auxrapports aux institutions, aux créativités mineures et aux inégalités dans les légitimités à créer. Cespratiques s’organisent autour d’un projet de laboratoire itinérant en Auvergne-Rhône-Alpes, dontles fonctions sont la transmission de nouvelles de la biodiversité culturelle locale, l’animationd’ateliers et de chantiers collectifs dans l’espace public et en institutions, ainsi que la recherche surles créativités populaires et leurs potentiels de transformation sociale<br>By pointing out the importance of working to heal the culture that is sick, by saying that what matters is happening in the interstices of society, art brut is not without normative and identity reflexes. How can we measure of the novelty implied by the art brut without serving its contradictions ? How to tell the art brut, which we consider capable of invigorating our creativities, without renewing the domination of the othernesses which preside over his works ?This survey seeks to understand the notion of art brut by considering that its productions, its speeches and its effects reflect a new conception of creativity, which feeds the common through what is out of the ordinary. The first movement explore the significant components of art brut (phantasies about otherness, primitivity, intensity, singularity, but also the powers of mutation and conflict of raw productions), as well as registers of speeches about his productions. The next movement descends along the raw conceptual imaginary to approach a metaphysics of creativity. It articulates the components of art brut and redesigns the relationship to subjectivities, aesthetic experiences and institutions (this term referring to establishments, but also language, instituted meanings and behaviors). The last movement goes back from concepts to a proposal of organized practices, taking place in a cultural policy attentive to relations with institutions, minor creativities and inequalities in the legitimacy to create. These practices are organized around a mobile laboratory project in Auvergne-Rhône-Alpes, whose functions are the transmission of news about local cultural biodiversity, the animation of workshops and collective projects in the public spaces and in institutions, as well as research on popular creativity and their potential for social transformation
9
Didier, Caroline. "Enjeux communicationnels et injonctions à la créativité dans des dispositifs participatifs." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL010/document.
Full textAbstract:
Le renouvellement des formes de participation des structures culturelles et territoriales pose la question du positionnement des acteurs de la participation dans la mise en place de dispositifs participatifs. L'analyse des dispositifs participatifs montre en quoi ces derniers inscrivent la participation dans une mise en scène de la participation sur le territoire. Des évolutions sont relatives à la « figure » du participant et à sa « parole » potentielle dans les structures et soulèvent des contradictions entre des logiques d'audience et de production, et une volonté d'intégrer des formes plus « sensibles ». En effet, des injonctions à la « créativité » apparaissent avec la mise en place de parcours dans la ville avec les participants, d'ateliers d'écriture pour scénariser les usages du territoire et de restitutions sur scène des expériences de participation, nécessitant de la part des participants un engagement corporel et scénique. Des collaborations avec le monde de l'entreprise et la recherche scientifique conduisent à une complexification des langages de la participation et des techniques empruntant à la fois à l'animation théâtrale et à l'entreprise, du management de la « créativité ». Face à ces conditions, les participants manifestent leur volonté de contrôler leur image et de s'emparer des dispositifs pour communiquer leur propre « sens » de la participation. Autant de conditions s'inscrivent dans des modes d'engagement qui interviennent dans une situation d'épreuve de la confiance envers les structures. La réflexion sur les conditions de mise en scène des dispositifs participatifs, les modes d'engagement des participants, leur scénarisation et leur dramatisation de la participation en lien avec les acteurs de la participations, politiques et administratifs, ainsi que sur les spécificités des stratégies de mise en visibilité de l'activité de participant, permettent de poursuivre l'analyse de l'espace dramaturgique de la participation et de ses enjeux politiques<br>The cultural and local institutions are trying to renew the public debates forms. The participatory devices components are getting immersive and multimodal, making the participants physically and bodily involved. However, some factors as « sociability » and « creativity », which are increasingly introduced in the participatory devices, would change the participant stratus into audience status. We analyzed strategies used by the participation's actors to set up the participatory devices and make the participant as « co-producer ». We analyzed the participants appropriation. The participant's body engagement gives a visual image of his activity : it makes it observable for the institution. Therefore, the body's image is taking importance in the aesthetic experience of public debate as reaching a social network experience. The network experience would redefine the expressiveness and the articulation between individual identity and « community ». In order to analyse the communication issues it raises, we focused on differents process of the participatory devices : the exhibition's participant, the narrative construction of the engagements and the scenarisation of the participation
10
Bottallo, Marilucia. "A mediação cultural e a construção de uma vanguarda institucional: o caso da arte construtiva brasileira." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-09092011-114050/.
Full textAbstract:
O presente trabalho levanta questões sobre algumas formas particulares de estruturação de um sistema profissional de produção cultural para as artes plásticas no eixo Rio de Janeiro São Paulo no período que coincide com um momento de florescimento político e econômico e se fortalece a partir da segunda metade dos anos 1940 e ao longo das décadas de 1950/1960. No que concerne especialmente aos museus de arte moderna, observou-se um fortalecimento institucional em torno do qual o sistema artístico brasileiro se estruturou. Para se chegar a essa conclusão foram analisados os aspectos estruturais (econômicos e políticos) centrados no eixo Rio de Janeiro São Paulo, e conjunturais, a partir das particularidades do fenômeno da arte da vanguarda construtiva brasileira. Foram consideradas as visões dos artistas nacionais em relação tanto à questão da arte de vanguarda como na sua relação com o museu. Consideramos, também, a Bienal como instituição, seu vínculo com os artistas e com o próprio MAM/SP no processo de divulgação da arte. Avaliamos a ação artística, peculiar pela presença das vanguardas construtivas, que envolvia grande participação dos artistas no cotidiano museológico. Além disso, consideramos o estreito diálogo que havia com os críticos que atuavam em veículos de comunicação. Como parte fundamental do estabelecimento de um sistema profissional de produção cultural, avaliamos a consolidação de um mercado de arte com base na atuação de marchands e na criação de galerias privadas em uma ação ainda não muito distinta daquela dos museus. Os movimentos concreto e neoconcreto, na medida em que se caracterizam como vanguardas artísticas e sua atuação permitiu a mobilização do suposto sistema em torno das discussões sobre suas novas propostas éticas e estéticas, foram considerados pontualmente.<br>This thesis raises issues on some specific ways of structuring a professional system of cultural production for the arts in the circuit Rio de Janeiro São Paulo coincident to a moment of political and economical emergence that gets stronger from the middle of the 1940s and during the 1950/1960 decades. Regarding in special the museums of modern art, it was observed an institutional strengthening around which the Brazilian artistic system was structured. To reach that conclusion structural aspects the economics and politics in the circuit Rio de Janeiro São Paulo as well as situational ones were considered on the specificities of the phenomenon of the Brazilian constructive vanguard art. We also considered the vision of the national artists on the art of vanguard and its relation to the museum. Also, we considered the Bienal and its relation with the artists and with the Museum of Modern Art of São Paulo itself in the process of divulging the art. We evaluate the artistic action, peculiar because of the presence of the constructive vanguards, and that involved a great participation of the artists on the museum day-to-day. Besides that we consider as well the close dialogue with the critics who worked on the vehicles of mass communication. As a fundamental part of the establishing of a professional system of cultural production, we evaluate the consolidation of an art market based on the activities of the dealers and the creation of private galleries in one action not yet very much distinct from that of the museums. The concrete and neoconcrete movements were specially considered because as artistic vanguard, their performances enabled the mobilization of the supposed system around the discussions on its new ethical and aesthetic proposals.
Books on the topic "Cultural and art institutions"
1
B, Spagnole Amy, Herbert Peter A, and Massachusetts Continuing Legal Education, Inc. (1982- ), eds. Representing artists and cultural institutions. MCLE, 2009.
Find full text
2
Snell, John N. Operating funds for cultural institutions: Trends and prospects. Baltimore Regional Council of Governments, Economic Research and Information Systems Division, 1991.
Find full text
3
Yongping, Hong, Gao Shuxun, Li Bin, Zhou Qingchang, and Chen Qiuping, eds. Chinese cultural laws, regulations and institutions. Culture and Art Publishing House, 1999.
Find full text
4
Smiraglia, Richard P. Cultural synergy in information institutions. Springer, 2014.
Find full text
5
Jemai, Slim. Les arts plastiques à Nice dans l'entre-deux-guerres: Fondements et institutions. Serre éditeur, 2017.
Find full text
6
Mendell, Pierre. L' art pour art: Design for cultural institutions : poster design by Pierre Mendell and the studio Mendell & Oberer. L. Müller, 1996.
Find full text
7
Regional, Planning Council Task Force on Regional Arts Cultural &. Science Institutions. Report of the Regional Planning Council Task Force on financial support by member local governments for arts, cultural & science institutions of regional significance. The Task Force, 1989.
Find full text
8
Regional Planning Council Task Force on Regional Arts, Cultural & Science Institutions. Report of the Regional Planning Council task force on financial support by member local governments for arts, cultural, and science institutions of regional significance. The Task Force, 1989.
Find full text
9
(Organization), Heritage Preservation, United States. Federal Emergency Management Agency., and National Endowment for the Arts., eds. Before and after disasters: Federal funding for cultural institutions. Heritage Preservation, 2005.
Find full text
10
Bertrand, Ina. Media research methods: Audiences, institutions, texts. Palgrave Macmillan, 2005.
Find full textBook chapters on the topic "Cultural and art institutions"
1
Caust, Josephine. "National Cultural Institutions." In Art and Politics. Routledge, 2023. http://dx.doi.org/10.4324/9781003190424-6.
Full text
2
Çelen, Miyase. "Rethinking art institutions." In Decolonial Cultural Practices Towards Pluriversal Cultural Institutions and Policies. Routledge, 2024. https://doi.org/10.4324/9781003489597-8.
Full text
3
Steele, Janeé M., and Charmeka S. Newton. "Cultural Institutions." In Black Lives Are Beautiful. Routledge, 2023. http://dx.doi.org/10.4324/9781003221357-46.
Full text
4
Holtaway, Jessica. "Cultural Institutions and ‘Co-appearing’." In World-Forming and Contemporary Art. Routledge, 2020. http://dx.doi.org/10.4324/9781003111023-6.
Full text
5
Tosel, Natascia. "Modelling Institutions, Instituting Models." In Cultural Inquiry. ICI Berlin Press, 2025. https://doi.org/10.37050/ci-33_10.
Full textAbstract:
Starting from Deleuze’s claim that institutions perform a social activity of creating and imposing models of conduct, the chapter analyses the various ways in which this modelling activity has been conceptualized in political theory. It identifies three main paradigms of the performativity of institutions available in the literature: the sovereign, the subversive, and properly instituting performativity. The chapter argues that the latter, wherein models are construed as previsions of the world, enables a better understanding of the current juridification of politics.
6
Santos, Luísa. "Planetary-plotting (with) art institutions." In Contemporary Cultural Tools for Identities in the Making. Routledge, 2025. https://doi.org/10.4324/9781032679952-6.
Full text
7
von Beyme, Klaus. "Institutions and Political Culture in Post-Soviet Russia." In On Political Culture, Cultural Policy, Art and Politics. Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01559-0_5.
Full text
8
DeMario, Mark, and John Balestrieri. "Cultural Institutions Security (Art, Museums, Libraries, National Monuments)." In Encyclopedia of Security and Emergency Management. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69891-5_36-1.
Full text
9
Smiraglia, Richard P. "What is (are) Information Studies?" In Cultural Synergy in Information Institutions. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-1249-0_3.
Full text
10
Anderson, Rhonda, Larry Spotted, Crow Mann, Jonathan P. Eburne, Stacy Klein, and Carlos Uriona. "Where's Decolonization? The Ohketeau Cultural Center, Indigenous Sovereignty, and Arts Institutions." In The Routledge Companion to Decolonizing Art History. Routledge, 2023. http://dx.doi.org/10.4324/9781003152262-16.
Full textConference papers on the topic "Cultural and art institutions"
1
Chernenko, Oleksandr, Oksana Filonenko, Tetiana Babenko, Viktoriia Chetaikina, Anton Butkevych, and Vlada Bilohur. "ENVIRONMENTAL EDUCATION AS A HOLISTIC CULTURAL PHENOMENON IN THE PROFESSIONAL TRAINING OF FUTURE TEACHERS." In 24th SGEM International Multidisciplinary Scientific GeoConference 2024. STEF92 Technology, 2024. https://doi.org/10.5593/sgem2024v/4.2/s19.36.
Full textAbstract:
This article is dedicated to the topical issue of environmental education as a holistic cultural phenomenon in the context of the professional training of future teachers. Environmental education is considered as a multifaceted process that integrates ecological knowledge with cultural, social, and ethical aspects of the interaction between man and nature. The methodological basis of the study was based on the integration of three scientific approaches to the consideration of environmental education as a holistic cultural phenomenon in the professional training of future teachers, namely: cultural approach, which allowed to consider environmental education as a holistic cultural phenomenon and its impact on the formation of the general pedagogical culture of the future teacher; systemic approach, which provided a comprehensive study of environmental education, taking into account the interrelationships between the various components of the educational process; competency-based approach, which focuses on the formation of professional competencies of future teachers, guaranteeing a practical orientation in training specialists capable of solving environmental problems in their professional activities. The article presents the author's definitions of the concepts of " environmental education as a holistic cultural phenomenon", " environmental culture of the future teacher" and " environmental educational project". Descriptions are provided for the concepts of innovative projects for the development of environmental education and culture, implemented in pedagogical educational institutions of the Kirovograd region: "Green Campus," "Virtual Ecological Laboratory," "Eco-locations of the City of Kropyvnytskyi," "EcoArt," "Mini-farm." Recommendations are formulated for improving environmental education within the framework of the professional training of future teachers, including: compiling an "ecological portfolio of a young teacher", creating a virtual information space of ecological didactics, introducing ecological mentoring and introducing a special course "Ecological Culture". Conclusions have been drawn that hold theoretical and practical significance for the development of environmental education and culture of future teachers in the context of European integration processes in Ukraine.
2
Srdić, Nataša. "Značaj proučavanja jezičke vitalnosti češke manjinske zajednice u Srbiji." In Současná česká a srbská slavistická bádání. Masaryk University Press, 2025. https://doi.org/10.5817/cz.muni.p280-0684-2024-12.
Full textAbstract:
According to the original 1977 theory of ethnolinguistic vitality, the vitality of a specific ethnolinguistic community is what enables a group to assert itself as a distinctive and active entity within an intergroup context. This study seeks to investigate specific demographic factors, as proposed by the theory, in the context of the Czech national minority in the Republic of Serbia. These factors are analyzed in relation to institutional support mechanisms, with the goal of offering a comprehensive assessment of the demographic trends – both favorable and unfavorable – that influence the use of the Czech language and the ethnonational identification of the Czech minority in Serbia. It is suggested that a thorough examination of these factors will provide valuable insight into the areas where greater involvement from both individuals and institutions is essential to safeguarding the Czech language, identity, and cultural heritage in Serbia.
3
Bufina, N. E. "FEATURES OF THE CORPORATE CULTURE OF ORGANIZATIONS IN THE SPHERE OF CULTURE IN KEMEROVO ON THE EXAMPLE OF THE STATE AUTONOMOUS PROFESSIONAL EDUCATIONAL INSTITUTION KUZBASS ART COLLEGE AND THE STATE AUTONOMOUS INSTITUTION OF CULTURE "KUZBASSKINO"." In The Fourteenth Baikal Socio-Humanitarian Readings; The Region In The Country And The World – Trends And Dynamics Of Political Development; Siberia In The XVII–XXI Centuries: History, Geography, Economics, Cultural Studies, Museology; Peter's Philosophical Readings. Publishing House of Irkutsk State University, 2021. http://dx.doi.org/10.26516/978-5-9624-1987-9.2021.7.
Full textAbstract:
The article examines the features of the corporate culture of cultural institutions, analyzes the corporate styles of the Kuzbass Art College and the state autonomous cultural institution “Kuzbasskino”. Particular attention is paid to the specifics of the corporate organization of the team in the work on conferences and festivals.
4
Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
Full textAbstract:
Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
5
Mytnyk, A. A., and I. Nosa. "Current problems of activities of cultural institutions in a decentralized environment." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-91.
Full text
6
Ibrisimbegovic, Senka. "The Art (Of) Museums: Creating Contemporary Spaces of Identity." In On Architecture — Shaping the City through Architecture. STRAND, 2024. https://doi.org/10.60152/f2mw9d20.
Full textAbstract:
The book The Art (of) Museums: Creating Contemporary Spaces of Identity; Ars Aevi Sarajevo, authored by Associate Professor Senka Ibrišimbegović PhD, represents the culmination of her many years of work in culture, education, and research. It emphasizes the importance of museums, architecture, and art in promoting social development. It discusses the transformation of the cultural landscape—from being a survival element during the siege of Sarajevo to becoming a key component of sustainable development over the past three decades. The book explores the architecture of contemporary art museums within various social contexts, highlighting their role in fostering cultural diversity and urban development. It concludes by advocating for socially responsible architecture in contemporary art museums, presenting a vision for the future of museum architecture, and emphasizing the need to construct the Ars Aevi Museum of Contemporary Art in Sarajevo, Bosnia and Herzegovina. This research offers a deep reflection on the intersection of culture, history, and architecture, providing insights into how cultural institutions can contribute to both the preservation of identity and the advancement of society. Case study in Bosnia and Herzegovina: Ars Aevi Museum of Contemporary Art in Sarajevo, Bosnia and Herzegovina.
7
Hofmann, Yannick. "Towards an Intelligent IoT System for the Data-Informed Museum of the Future." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-64-full-hofmann-iot-system.
Full textAbstract:
This article describes the ongoing prototypical development of an intelligent IoT system for art and cultural institutions as part of the intelligent.museum project. Partial development steps that have already taken place are described and the system is conceptually framed. The system will be used to condense data from various IoT sensors in the exhibition space and the building complex, along with data from the Internet, into intelligent data analytics. The goal is to provide human decision-makers with intelligent analytics as well as machine recommendations for action to enhance museum intelligence. This initiative, which can be tracked transparently and comprehensively via a code repository on the Internet, will enable art and cultural institutions to adapt museum experiences to the needs of visitors. In addition, a technological framework is created for artists to create computer-based works and develop interactive art experiences using this system.
8
Anderson, David. "E-ARK Legal Issues Report: European Cultural Preservation in a Changing Legislative Landscape." In INFuture2015: e-Institutions – Openness, Accessibility, and Preservation. Department of Information and Communication Sciences, Faculty of Humanities and Social Sciences, Zagreb, Croatia, 2015. http://dx.doi.org/10.17234/infuture.2015.14.
Full text
9
Koriakin, O. О. "Substantiation of pedagogical conditions of sound engineering training of students of higher education institutions of specialty 025 musical art." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-87.
Full text
10
Russo, Angelina, and Jerry Watkins. "NEW LITERACY NEW AUDIENCES: SOCIAL MEDIA AND CULTURAL INSTITUTIONS." In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.26.
Full textReports on the topic "Cultural and art institutions"
1
Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
Full textAbstract:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
2
Brison, Jeffrey, Sarah Smith, Elyse Bell, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.
Full textAbstract:
The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
3
Burov, O. Yu, Svitlana Lytvynova, Yu G. Nosenko, and Alisa Sukhih. Analytical materials on the use of immersive technologies in secondary education institutions. Institute for Digitalisation of Education of the NAES of Ukraіne, 2024. https://doi.org/10.33407/lib.naes.id/eprint/743838.
Full textAbstract:
The analytical materials analyze the state of use of immersive technologies in international space (scientific interest of foreign researchers in the problem, dynamics of the market of immersive technologies in education in the global context). An analysis of the state of use of immersive technologies in general secondary education of Ukraine is proposed (current immersive developments, educational activities of UNICEF and Ukrainian educational hubs, cultural and educational activities with immersive technologies), the results of a survey of Ukrainian teachers on the use of immersive technologies in educational activities are presented. Challenges, trends and prospects for the implementation of immersive technologies in general secondary education institutions are identified. The presented materials can be used by scientists, postgraduate students, doctoral students, lecturers, researchers, teachers of general secondary education institutions.
4
Fedorchuk, Liudmyla. Культура в ефірі Суспільного: телевізійний контент і перспективи розвитку. Ivan Franko National University of Lviv, 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11729.
Full textAbstract:
Main objectives of this article are changes in the programming principles of the “Suspilne Culture” TV channel, the peculiarities of the program content in the period 2020-2022, as well as potential for further channel development from the content perspective. Methodology of the analysis includes processing primary sources of information, synthesis, induction and deduction, problem-thematic analysis of television programs. Results. During 2017-2021, the specialized public channel about culture increased the number of its own programs, and the ratings of the channel increased. “UA: Culture” produced their own daily information program and several analytical programs about various types of art. Although even now, a significant part of the channel content consists of not relevant and not adapted for the Ukrainian audience purchased serials and educational cycles. After analyzing “Suspilne Culture” TV channel program grid for October 3-7, 2022, significant part of not typical for declared program policy content was discovered. During the present period only 2 programs corresponded to the specifics of the channel and were developed by “Suspilne” production. Conclusions. In general, thematic blocks such as cultural policy of Ukraine and institutions, religious practices, economy of creative industries and representation of Ukrainian culture in the world are not broadcasted. Significance. The conducted research allowed us to actualize the need for a scientific approach to the content and programming policy of the “Suspilne Culture” TV channel. The collected material gives reasons to testify that the mission of the public channel and the declared program principles are implemented only partially. The channel lacks in-depth analytics on a whole range of current cultural issues. The share of self-produced programs is minimal. Instead, purchased content often does not represent the specifics of the channel and does not fulfill the mission of the public broadcaster. The channel program managers should focus on the change in cultural discourse that has been taking place since the beginning of the full-scale war of the Russian Federation against Ukraine. In battles, our army and people defend, first of all, our right to own identity, our right on culture and own voice to tell the world about ourselves. The air of the TV channel “Suspilne Culture” should be filled with exactly such ideas. Keywords: culture; public television; television content; journalism of the culture.
5
Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
Full textAbstract:
The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
6
Muraeva, Polina, and Mehmet Recai Uygur. Exploring Inclusivity in Higher Education: Perceptions, Experiences, and Barriers Among Students. Vilnius Business College, 2024. https://doi.org/10.57005/ab.2024.4.12.
Full textAbstract:
This study investigates the development of inclusive education and the social dynamics of inclusivity at SMK College of Applied Sciences and Vilnius Business College (VVK). With inclusivity becoming a critical aspect of modern education, this research explores students' perceptions, experiences, and perceived barriers to inclusivity within these institutions. A mixed-methods approach was employed, combining quantitative survey data with qualitative insights from open-ended responses. Findings indicate that familiarity with social inclusion, awareness of disability issues, and a supportive social environment contribute positively to students' perceptions of institutional inclusivity. However, personal experiences of bias, cultural isolation, and limited engagement with inclusive initiatives present notable barriers. The results underscore the need for comprehensive, multidimensional strategies that address both structural and social inclusivity, fostering an equitable and empathetic educational environment. These insights provide valuable guidance for policymakers and educators seeking to enhance inclusive practices in higher education institutions across Eastern Europe.
7
Shaba, Varteen Hannah. Translating North-Eastern Neo-Aramaic Idioms into English. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/creid.2023.002.
Full textAbstract:
North-eastern Neo-Aramaic (also known as NENA) languages and literature are a prosperous and encouraging field of research. They abound with oral traditions and expressions that incorporate various spoken forms including everyday language, tales, songs, chants, prayers, proverbs, and more. These are used to transfer culture, knowledge, and community values. Some types of oral forms are idioms and fixed expressions. Idioms are extremely problematic to translate for a number of reasons, including: cultural and linguistic differences between languages; their specific connection to cultural practices and interpretations, and the difficulty of transferring the same meanings and connotations into another language with accuracy. This paper explores how to define and classify idioms, and suggests specific strategies and procedures to translate idioms from the NENA dialect Bartella (a local Aramaic dialect in Nineveh Plain) into English – as proposed by Baker (1992: 63–78). Data collection is based on 15 idioms in Bartella dialect taken from the heritage play Khlola d baretle teqta (Wedding in the old Bartella). The findings revealed that only three strategies are helpful to transfer particular cultural conceptualisations: using an idiom of similar meaning and form; using an idiom of similar meaning but different form, and translation by paraphrasing. Based on the findings, the author provides individuals and institutions with suggestions on how to save endangered languages and dialects, particularly with regard to the religious minorities’ heritage. Key among these recommendations is encouraging researchers and scholars to direct translation projects and activities towards preserving minority languages with their oral heritage and cultural expressions, which are susceptible to extinction.
8
Ravikumar, Shalini, Savitha Babu, and Charu Mathi. Mapping Educational Innovations for Social and Ecological Justice. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf1106.2023.
Full textAbstract:
Mapping the academic, administrative and cultural design of two alternative educational institutions, this study offers a glimpse into what critical education in practice can mean in contemporary India. Based on interviews with learners and educators, and field-based observations at Baduku Centre for Livelihoods Learning, Samvada and Visthar Academy of Peace and Justice, the report tracks the nature of curriculum, pedagogies deployed, leisure spaces and times, and administrative features that foreground socio-ecological justice.
9
Chong, Alberto E. Does It Matter How People Speak? Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0010970.
Full textAbstract:
Language serves two key functions. It enables communication between agents, which allows for the establishment and operation of formal and informal institutions. It also serves a less obvious function, a reassuring quality more closely related to issues linked with trust, social capital, and cultural identification. While research on the role of language as a learning process is widespread, there is no evidence on the role of language as a signal of cultural affinity. I pursue this latter avenue of research and show that subtle language affinity is positively linked with change in earnings when using English-speaking data for cities in the Golden Horseshoe area in Southern Ontario during the period 1991 to 2001. The results are robust to changes in specification, a broad number of empirical tests, and a diverse set of outcome variables.
10
Bermingham, Rowena. Society, community and COVID-19: What are experts concerned about? Parliamentary Office of Science and Technology, 2020. http://dx.doi.org/10.58248/hs12.
Full textAbstract:
Over 1,100 experts have shared with us their concerns about COVID-19 and COVID-impacted areas in the immediate and longer term future. This report outlines social and community concerns. Experts are concerned about social inequalities beyond health. They note that in the long term groups may have different access to opportunities. This could be particularly true for those with protected characteristics such as women, members of the BAME community, and members of the LGBTQ+ community. Experts are also concerned about how changes in Government measures may lead to negative responses from the UK public. These could range from the public becoming less motivated to follow guidance, to public resistance of contact tracing for fears of increased surveillance. Experts also note risks to social cohesion; From an increase in racist or xenophobic behaviour, to an erosion of trust in democracy and democratic institutions. However they point out that COVID-19 could also present an opportunity for positive cultural change.