1,720,970 research outputs found
Towards post-growth creative economies: building sustainable cultural production in Argentina
Full text linkThe ecological crisis and the continued downturn in capitalist economies mean that there is now an urgent need for the creative and cultural industries to offer more genuinely alternative and sustainable models of organising and production. In this chapter, we highlight the existence and emergence of some incipient ‘ecological’, ‘alternative’ or ‘post-growth’ forms of cultural industries production that appear to offer different ways of thinking and doing the creative economy. First, we discuss the current state of cultural policy in relation to the ecological crisis, and argue for ‘post-growth’ as an avenue for rethinking and restructuring cultural economies. We then draw on empirical work undertaken by one of us (Serafini) in Argentina, to illustrate how in a post-crisis context, post-growth or post-extractivist and ecological imaginaries are already underpinning new forms of socially aggregating and sustainable cultural production. We conclude by arguing that the creative economy must be made more genuinely sustainable in all locations in order to help counter any further intensification of an already established set of economic and ecological problems and crises
The Art Biennial’s Dilemma: Political Activism as Spectacle in Aesthetic Capitalism
No full textIn recent decades, the biennial has become the most widespread mode of
showcasing contemporary art. Rather than acting as mere aesthetic containers, these
shows aspire to be socially relevant by raising questions about capitalism, colonialism,
inequality, environmental devastation, and gender imbalances. In this chapter,
we draw from ethnographic observation of the 7th Berlin Biennale (2012) that took
place in the context of a rising anti-capitalist discourse reflected in the Occupy
movement and the movement of the squares. We explore the outcome of curators’
attempts to disrupt existing practices by introducing the logic of activism. Drawing
from empirical vignettes, we identify three institutional rationales that coexisted,
clashed, and mutually displaced this logic, reaffirming rather than disrupting the idea
that art has to preserve some distance from social reality, that neo-anarchist activism
should prefigure social reality in the here and now, and that the configuration of the
above through the organization’s politics of visibility that promotes the spectacle of
the Berlin Biennale and itself as a brand. These three rationales concomitantly and
decisively structured the event’s public performance and turned the idea of linking
art to activism into the spectacle of a human zoo. We discuss our findings and link
the micro-institutional logics to broader macro-level logics of aesthetic capitalism
and spectacle
Production of Cultural Policy in Russia : Authority and Intellectual Leadership
No full textThe paper discusses different frameworks of knowledge production within the discourses and practices of Russian cultural policy. Russian cultural policy as an administrative sector has been developed in line with two distinctive governmental regimes, more precisely during the period of liberal decentralisation of the 1990s and the conservative centralisation from 2011 up until today. The study focuses on the main changes that have occurred in the framework of policy design and participation in policy-making. An attempt is made to combine Foucauldian analytical frameworks of power and discourse with a Gramscian hegemonic approach to political studies that was mainly advocated by the Essex scholars—Ernesto Laclau, Chantal Mouffe and David Howarth. Such a perspective opens up a possibility of considering the institutional rearrangements of intellectual leadership through which the post-2012 establishment has endeavoured to advance its sovereignty and planning capacities in both the symbolic and normative dimension of culture. Thus examined, Russian state cultural policy turns out to be intrinsically subordinated to the sovereignty of the presidential apparatus that privileges the conservative stance of the ‘Russian World’ project and neglects human rights and cultural diversity.peerReviewe
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Politics of Contemporary Art Biennials
Full text linkContemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
The Politics of Contemporary Art Biennials
Full text linkContemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Alieni del mediterraneo: pesci motruosi e l’affinità (im)possibile con gli altri non-umani
No full textIl Lagocephalus Sceleratus è un pesce migrato dal Mar Rosso attraverso il canale di Suez fino alle coste della Grecia, con grave danno per la fauna e l’economia locale. Esaminando la storia del pesce e le reazioni della comunità locale con cui l’animale ora convive, Panos Kompatsiaris affronta criticamente la difficile tematica della coesistenza tra specie diverse, soprattutto quando una non riesce a sopraffare e sfruttare l’altra a proprio vantaggio
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