Pub Date : 2023-11-03DOI: 10.1080/09548963.2023.2276945
Rostam J. Neuwirth
ABSTRACTThe UNESCO Underwater Cultural Heritage Convention was adopted in 2001 and entered into force in 2009. Since then, it has been ratified by a total of 72 parties, but Cambodia remains the only one of these parties located in Asia. Against this backdrop, this article presents the case of the Macao Special Administrative Region (SAR) of the People’s Republic of China (PRC) located on the shores of the South China Sea. The Macao SAR has a strong economy, which relies primarily on the gaming services and tourist industries, but is seeking to diversify its economy in order to make it more sustainable. To this end, the article assesses the role of underwater cultural heritage in diversifying its economy and stresses the need for greater policy coherence both between different cultural policies but also between cultural, commercial and other policy areas.KEYWORDS: Macao Special Administrative Region (SAR)People’s Republic of China (PRC)world cultural heritageIntangible Cultural HeritageUnderwater Cultural HeritageCreative economy Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 UNESCO, “List of States Parties to the 2001 Convention”, https://en.unesco.org/underwater-heritage/ratification.2 Convention Concerning the Protection of the World Cultural and Natural Heritage, 16 November 1972, 1037 U.N.T.S 151 [WCH Convention].3 Convention for the Safeguarding of the Intangible Cultural Heritage, 17 October 2003, 2368 U.N.T.S 1 [ICH Convention].4 Recital 7 of the Preamble of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 20 October 2005, 2440 U.N.T.S. 346 [CDCE].5 Art. 1 WHC, supra note 5.6 General Orders No. 100: Instructions for the Government of Armies of the United States in the Field (Apr. 24, 1863) [Lieber Code].7 Treaty on the Protection of Artistic and Scientific Institutions and Historic Monuments, Washington, April 15, 1935, http://www.roerich.org/nr.html?mid=pact [Roerich Pact].8 Convention for the Protection of Cultural Property in the Event of Armed Conflict, May 14, 1954, 249 U.N.T.S. 216.9 Article 4 UNESCO adopted the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 14 November 1970, 823 U.N.T.S 231; UNIDROIT Convention on Stolen or Illegal Exported Cultural Objects (Citation1996).10 Recital 6 of the Preamble of the WHC, supra note 5.11 Art. 1(1) Constitution of the United Nations Educational, Scientific and Cultural Organization, adopted in London, 16 November 1945, 4 U.N.T.S 275.12 Convention on the Protection of the Underwater Cultural Heritage, 2 November 2001, 41 I.L.M. 40 (2002).13 Article 303 of the United Nations Convention on the Law of the Sea, Montego Bay, 10 December 1982, 1833 U.N.T.S 397 [UNCLOS].14 Art. 2 ICH Convention, supra note 6.15 Recital 7 of the Preamble of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 20 October
{"title":"The UNESCO Underwater Cultural Heritage Convention in Asia: the case of the Macao Special Administrative Region of the People’s Republic of China","authors":"Rostam J. Neuwirth","doi":"10.1080/09548963.2023.2276945","DOIUrl":"https://doi.org/10.1080/09548963.2023.2276945","url":null,"abstract":"ABSTRACTThe UNESCO Underwater Cultural Heritage Convention was adopted in 2001 and entered into force in 2009. Since then, it has been ratified by a total of 72 parties, but Cambodia remains the only one of these parties located in Asia. Against this backdrop, this article presents the case of the Macao Special Administrative Region (SAR) of the People’s Republic of China (PRC) located on the shores of the South China Sea. The Macao SAR has a strong economy, which relies primarily on the gaming services and tourist industries, but is seeking to diversify its economy in order to make it more sustainable. To this end, the article assesses the role of underwater cultural heritage in diversifying its economy and stresses the need for greater policy coherence both between different cultural policies but also between cultural, commercial and other policy areas.KEYWORDS: Macao Special Administrative Region (SAR)People’s Republic of China (PRC)world cultural heritageIntangible Cultural HeritageUnderwater Cultural HeritageCreative economy Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 UNESCO, “List of States Parties to the 2001 Convention”, https://en.unesco.org/underwater-heritage/ratification.2 Convention Concerning the Protection of the World Cultural and Natural Heritage, 16 November 1972, 1037 U.N.T.S 151 [WCH Convention].3 Convention for the Safeguarding of the Intangible Cultural Heritage, 17 October 2003, 2368 U.N.T.S 1 [ICH Convention].4 Recital 7 of the Preamble of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 20 October 2005, 2440 U.N.T.S. 346 [CDCE].5 Art. 1 WHC, supra note 5.6 General Orders No. 100: Instructions for the Government of Armies of the United States in the Field (Apr. 24, 1863) [Lieber Code].7 Treaty on the Protection of Artistic and Scientific Institutions and Historic Monuments, Washington, April 15, 1935, http://www.roerich.org/nr.html?mid=pact [Roerich Pact].8 Convention for the Protection of Cultural Property in the Event of Armed Conflict, May 14, 1954, 249 U.N.T.S. 216.9 Article 4 UNESCO adopted the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 14 November 1970, 823 U.N.T.S 231; UNIDROIT Convention on Stolen or Illegal Exported Cultural Objects (Citation1996).10 Recital 6 of the Preamble of the WHC, supra note 5.11 Art. 1(1) Constitution of the United Nations Educational, Scientific and Cultural Organization, adopted in London, 16 November 1945, 4 U.N.T.S 275.12 Convention on the Protection of the Underwater Cultural Heritage, 2 November 2001, 41 I.L.M. 40 (2002).13 Article 303 of the United Nations Convention on the Law of the Sea, Montego Bay, 10 December 1982, 1833 U.N.T.S 397 [UNCLOS].14 Art. 2 ICH Convention, supra note 6.15 Recital 7 of the Preamble of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 20 October","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"38 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135868750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1080/09548963.2023.2276946
Nicolas Heimendinger
ABSTRACTThe “Works of Art in Public Places” programme was established by the National Endowment for the Arts right after its creation in 1965. It first subsidized modernist sculptures from well-known artists. But in the 1970s, it began to support more recent and experimental trends, breaking with modernism, which was then criticized for producing an art disconnected from its social environment. Therefore, public officials attributed to postmodernist site-specific artworks the power to reintegrate art into social life and thus to disseminate it to a wider audience. This aesthetic was favoured less for its observable effects than because it made it possible to (superficially) resolve a fundamental contradiction faced by any arts policy in a liberal-democratic regime, between the recognition of the autonomy of the artist and the will to improve access to the arts.KEYWORDS: National Endowment for the artsdemocratization of artpublic artsite-specific artpostmodernismBrian O’Doherty Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 In Bourdieu’s sense of the term. See Gisèle Sapiro (Citation2019). See also Victoria D. Alexander (Citation2018).2 I will rely here mainly (in addition to more occasional references to the field theory of Bourdieu) on the conceptual framework for the sociology of culture proposed by Jean-Claude Passeron: see (Citation2006).3 A fair number of studies has been dedicated to the history of the National Endowment for the Arts and I will refer to several of them in the following pages. However, these studies rarely analyze the type of works and artists supported by the NEA’s programmes, or they do so in a normative way, to denounce or defend their artistic value, thus taking part in the many controversies that have marked the agency’s troubled history.4 Examples of the puritan condemnation of art in the 17th century can be found in Burns and Davis (Citation2009, pp. 9–14)5 Burns & Davis (ed.), op. cit., 359–367.6 As an 1871 Congressional report on the arts regrets: “The prejudice excited against these pictures [of John Trumbull] had a damaging effect on American Art. It served to defeat all attempts to afford its government patronage, or even to call in the aid of American artists to decorate the Capitol.” Cited by Gérard Selbach (Citation2007).7 Ibid., 150.8 See on this Gary Larson (Citation2017).9 Ibid., 15-18; Mary McCombie (Citation1992, pp. 84–113).10 These were the first four WAPP commands (ibid., 252-254). I indicate in brackets the date of the commission and the date of completion of the work.11 In the words of Giles Scott-Smith (Citation2016).12 Reacting to this revisionist historiography, several authors sought in the 1990s to reassess the subversive dimension of Abstract Expressionism and to give a more nuanced image of its ideological uses in Cold War America. See Erika Doss (Citation1995), David Craven (Citation1999), Jachec (Citation2000).13 For a transnational analysis on thi
这就是McCombie对20世纪70年代WAPP所青睐的新趋势的描述:一种“趋向于功能性、建筑性、互动性和对社会需求作出反应的艺术”(同上，226)出处同上,171 - 181;如果后现代主义在美国被同化到前卫主义的末尾，在这个意义上，这个术语已经接受了形式主义的艺术批评(最明显的是在克莱门特·格林伯格的文本中)，安德烈亚斯·休森则相反地展示了后现代主义如何，至少在20世纪60年代至70年代开始，与历史前卫的破坏性和颠覆性冲动重新联系在一起(Citation1984);参见尼古拉斯·海门丁格(Citation2022).50皮埃尔-米歇尔·门格尔(Pierre-Michel Menger)在《引文2001》(Citation2001)中对这种类比作了一个有趣的分析——他称之为先锋派的“三段论”。皮埃尔·布迪厄(Pierre Bourdieu)也谈到了艺术和政治革命之间的“同源性”(Citation2013, p. 213)对这一立场的一个有影响力的说明可以在Peter b<s:1> rger的(Citation1984)中找到韦斯特海姆同城，536年。另见罗杰·布隆格伦(Citation2012, 11月)。这项工作得到了当代艺术中心、里尔大学和Terra美国艺术基金会的支持。
{"title":"Avant-garde or democracy? Transformations and Dilemmas of the U.S. public art programme in the 1970s","authors":"Nicolas Heimendinger","doi":"10.1080/09548963.2023.2276946","DOIUrl":"https://doi.org/10.1080/09548963.2023.2276946","url":null,"abstract":"ABSTRACTThe “Works of Art in Public Places” programme was established by the National Endowment for the Arts right after its creation in 1965. It first subsidized modernist sculptures from well-known artists. But in the 1970s, it began to support more recent and experimental trends, breaking with modernism, which was then criticized for producing an art disconnected from its social environment. Therefore, public officials attributed to postmodernist site-specific artworks the power to reintegrate art into social life and thus to disseminate it to a wider audience. This aesthetic was favoured less for its observable effects than because it made it possible to (superficially) resolve a fundamental contradiction faced by any arts policy in a liberal-democratic regime, between the recognition of the autonomy of the artist and the will to improve access to the arts.KEYWORDS: National Endowment for the artsdemocratization of artpublic artsite-specific artpostmodernismBrian O’Doherty Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 In Bourdieu’s sense of the term. See Gisèle Sapiro (Citation2019). See also Victoria D. Alexander (Citation2018).2 I will rely here mainly (in addition to more occasional references to the field theory of Bourdieu) on the conceptual framework for the sociology of culture proposed by Jean-Claude Passeron: see (Citation2006).3 A fair number of studies has been dedicated to the history of the National Endowment for the Arts and I will refer to several of them in the following pages. However, these studies rarely analyze the type of works and artists supported by the NEA’s programmes, or they do so in a normative way, to denounce or defend their artistic value, thus taking part in the many controversies that have marked the agency’s troubled history.4 Examples of the puritan condemnation of art in the 17th century can be found in Burns and Davis (Citation2009, pp. 9–14)5 Burns & Davis (ed.), op. cit., 359–367.6 As an 1871 Congressional report on the arts regrets: “The prejudice excited against these pictures [of John Trumbull] had a damaging effect on American Art. It served to defeat all attempts to afford its government patronage, or even to call in the aid of American artists to decorate the Capitol.” Cited by Gérard Selbach (Citation2007).7 Ibid., 150.8 See on this Gary Larson (Citation2017).9 Ibid., 15-18; Mary McCombie (Citation1992, pp. 84–113).10 These were the first four WAPP commands (ibid., 252-254). I indicate in brackets the date of the commission and the date of completion of the work.11 In the words of Giles Scott-Smith (Citation2016).12 Reacting to this revisionist historiography, several authors sought in the 1990s to reassess the subversive dimension of Abstract Expressionism and to give a more nuanced image of its ideological uses in Cold War America. See Erika Doss (Citation1995), David Craven (Citation1999), Jachec (Citation2000).13 For a transnational analysis on thi","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"42 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135271188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-19DOI: 10.1080/09548963.2023.2258815
Eleanor Lybeck
This article acknowledges for the first time in an academic context the significant role played by social circus in conflict transformation across Northern Ireland and, more specifically, urban regeneration in Belfast after the signing of the Good Friday Agreement. The focus is on the Belfast Community Circus School (BCCS) and the annual Festival of Fools, which emerged from the social mission and practical delivery of BCCS activities. BCCS was founded in the mid-1980s to offer children and young people in Belfast an alternative, creative outlet for their feelings and to establish “common ground” between communities amid conflict. This essay takes its lead initially from BCCS founders, reconsidering their motivations and the fundamental tenets of the School – as expressed by teachers and former pupils – alongside other studies of social circus in action around the world throughout a similar period. It also theorises the political intent and impact of BCCS through reference to the performance philosophy of Alan Read. Evidence in support of the argument is drawn from a range of available sources including policy and strategy documents, annual reports, performance evaluations, and interviews with key figures within the organisation. From this body of evidence, it becomes clear that, in the move towards what we might term (after Read) a Republic of Play, a change in BCCS, its own sense of identity and purpose within society was inevitable, as Northern Ireland continues the process of reconciliation and post-conflict transformation. Finally, then, the article attends to the recent transformation within BCCS itself, which in 2021 became Circusful: an organization with its own set of social and economic goals.
{"title":"Beyond reconciliation, towards regeneration: social circus in Northern Ireland","authors":"Eleanor Lybeck","doi":"10.1080/09548963.2023.2258815","DOIUrl":"https://doi.org/10.1080/09548963.2023.2258815","url":null,"abstract":"This article acknowledges for the first time in an academic context the significant role played by social circus in conflict transformation across Northern Ireland and, more specifically, urban regeneration in Belfast after the signing of the Good Friday Agreement. The focus is on the Belfast Community Circus School (BCCS) and the annual Festival of Fools, which emerged from the social mission and practical delivery of BCCS activities. BCCS was founded in the mid-1980s to offer children and young people in Belfast an alternative, creative outlet for their feelings and to establish “common ground” between communities amid conflict. This essay takes its lead initially from BCCS founders, reconsidering their motivations and the fundamental tenets of the School – as expressed by teachers and former pupils – alongside other studies of social circus in action around the world throughout a similar period. It also theorises the political intent and impact of BCCS through reference to the performance philosophy of Alan Read. Evidence in support of the argument is drawn from a range of available sources including policy and strategy documents, annual reports, performance evaluations, and interviews with key figures within the organisation. From this body of evidence, it becomes clear that, in the move towards what we might term (after Read) a Republic of Play, a change in BCCS, its own sense of identity and purpose within society was inevitable, as Northern Ireland continues the process of reconciliation and post-conflict transformation. Finally, then, the article attends to the recent transformation within BCCS itself, which in 2021 became Circusful: an organization with its own set of social and economic goals.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-06DOI: 10.1080/09548963.2023.2263378
Suzanne R. Black, Rosa Filgueira, Lesley McAra, Brendan Miles, Mark Parsons, Melissa Terras
This article investigates the potential for novel research utilising data generated by the Creative and Cultural Industries (CCI) in the UK, focussing on the long tail of metadata associated with the UK’s rich cultural events landscape. We conducted semi-structured interviews with 29 researchers and related domain experts to ascertain: (1) How cultural data is valued; (2) The landscape of cultural data; (3) How UK research can make better use of cultural events data; (4) The benefits and pitfalls of an evidence-based approach to cultural policy; and (5) The repercussions of the Covid-19 pandemic on how data-led work is positioned within the CCI. We advocate for the potential value of cultural events data to academic research, policy and industry, and also for a humanities-led approach. We suggest that a centralised cultural events data service for use in research, industry and policy is one way of supporting this.
{"title":"Cultural analytics in the UK: events data potential for the creative and cultural industries","authors":"Suzanne R. Black, Rosa Filgueira, Lesley McAra, Brendan Miles, Mark Parsons, Melissa Terras","doi":"10.1080/09548963.2023.2263378","DOIUrl":"https://doi.org/10.1080/09548963.2023.2263378","url":null,"abstract":"This article investigates the potential for novel research utilising data generated by the Creative and Cultural Industries (CCI) in the UK, focussing on the long tail of metadata associated with the UK’s rich cultural events landscape. We conducted semi-structured interviews with 29 researchers and related domain experts to ascertain: (1) How cultural data is valued; (2) The landscape of cultural data; (3) How UK research can make better use of cultural events data; (4) The benefits and pitfalls of an evidence-based approach to cultural policy; and (5) The repercussions of the Covid-19 pandemic on how data-led work is positioned within the CCI. We advocate for the potential value of cultural events data to academic research, policy and industry, and also for a humanities-led approach. We suggest that a centralised cultural events data service for use in research, industry and policy is one way of supporting this.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1080/09548963.2023.2255849
Rick Everts
Drawing on a dataset following the careers of 214 early-career popular music acts in the Dutch live music industry over a period of eight years, this paper maps trends in the number of live shows early-career acts play and the fees they receive. In addition, it investigates factors that may explain success in live music. Descriptive statistics indicate that a small number of acts manage to perform a lot of shows and receive high fees. However, most acts are only able to play a few shows per year for a relatively low fee, indicating a winner-takes-all market mechanism. A multilevel analysis showed that critical recognition and popular recognition are positively related to the number of shows acts performed. Furthermore, label and booker representation and attending a pop academy has a positive effect on success in live music, adding insights to our conceptualization of the structural dynamics of live music industries.
{"title":"Making it big in live music: a multilevel analysis of careers in live music","authors":"Rick Everts","doi":"10.1080/09548963.2023.2255849","DOIUrl":"https://doi.org/10.1080/09548963.2023.2255849","url":null,"abstract":"Drawing on a dataset following the careers of 214 early-career popular music acts in the Dutch live music industry over a period of eight years, this paper maps trends in the number of live shows early-career acts play and the fees they receive. In addition, it investigates factors that may explain success in live music. Descriptive statistics indicate that a small number of acts manage to perform a lot of shows and receive high fees. However, most acts are only able to play a few shows per year for a relatively low fee, indicating a winner-takes-all market mechanism. A multilevel analysis showed that critical recognition and popular recognition are positively related to the number of shows acts performed. Furthermore, label and booker representation and attending a pop academy has a positive effect on success in live music, adding insights to our conceptualization of the structural dynamics of live music industries.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135395298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1080/09548963.2023.2255836
Ana-María Casado-Molina, Pilar Alarcón-Urbistondo, Cees B. M. van Riel
ABSTRACTThis paper proposes a theoretical model for the holistic description of the conditions to be met for a mutually beneficial relationship between museums and sponsoring corporations, from the perspectives of both parties. Based on interviews of sponsorship managers in top Dutch museums and their sponsoring corporations, and the application of Grounded Theory, the categories and relationships that describe the model are identified. We conclude that for a successful sponsorship, both the commercial and cultural drivers behind this relationship must be considered, and the organisational performance, management and joint cooperation should be deemed satisfactory. Moreover, such sponsorships should be aligned with the demands and requirements of society.KEYWORDS: Museum sponsorshipinter-organisational relationshipssuccessful sponsorshipcultural sponsorshipreputation risksalliances Disclosure statementNo potential conflict of interest was reported by the author(s).
{"title":"Building mutual rewarding sponsor relationships between museums and corporations","authors":"Ana-María Casado-Molina, Pilar Alarcón-Urbistondo, Cees B. M. van Riel","doi":"10.1080/09548963.2023.2255836","DOIUrl":"https://doi.org/10.1080/09548963.2023.2255836","url":null,"abstract":"ABSTRACTThis paper proposes a theoretical model for the holistic description of the conditions to be met for a mutually beneficial relationship between museums and sponsoring corporations, from the perspectives of both parties. Based on interviews of sponsorship managers in top Dutch museums and their sponsoring corporations, and the application of Grounded Theory, the categories and relationships that describe the model are identified. We conclude that for a successful sponsorship, both the commercial and cultural drivers behind this relationship must be considered, and the organisational performance, management and joint cooperation should be deemed satisfactory. Moreover, such sponsorships should be aligned with the demands and requirements of society.KEYWORDS: Museum sponsorshipinter-organisational relationshipssuccessful sponsorshipcultural sponsorshipreputation risksalliances Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135395117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.1080/09548963.2023.2255832
Allan Watson, Andrew Leyshon, George Windsor
Over the past 25 years, the music industry has been radically transformed through the entry of venture capital funded digital platforms. This process continues, but whereas previous generations of tech companies successfully disrupted the industry, a new wave of MusicTech companies now seek to gain entry through collaboration and cooperation, reflecting a stabilisation of economic power in large record companies and platforms. In this paper we examine the business dynamics behind the evolving role of technology in the music industry. More specifically, we reveal the ways in which distinctive features of the music industry set considerable challenges to contemporary MusicTech entrepreneurs in relation to capitalisation and investor reluctance. Through a critical examination of MusicTech as a platform political economy, we draw attention to key business dynamics underpinning wider processes of platform reintermediation and capitalisation that are crucial in the contemporary restructuring of a wide range of economic sectors.
{"title":"Tech start-up capitalisation in an oligopolistic copyright industry: the case of the contemporary music industry","authors":"Allan Watson, Andrew Leyshon, George Windsor","doi":"10.1080/09548963.2023.2255832","DOIUrl":"https://doi.org/10.1080/09548963.2023.2255832","url":null,"abstract":"Over the past 25 years, the music industry has been radically transformed through the entry of venture capital funded digital platforms. This process continues, but whereas previous generations of tech companies successfully disrupted the industry, a new wave of MusicTech companies now seek to gain entry through collaboration and cooperation, reflecting a stabilisation of economic power in large record companies and platforms. In this paper we examine the business dynamics behind the evolving role of technology in the music industry. More specifically, we reveal the ways in which distinctive features of the music industry set considerable challenges to contemporary MusicTech entrepreneurs in relation to capitalisation and investor reluctance. Through a critical examination of MusicTech as a platform political economy, we draw attention to key business dynamics underpinning wider processes of platform reintermediation and capitalisation that are crucial in the contemporary restructuring of a wide range of economic sectors.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135937830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.1080/09548963.2023.2255835
Claire Dedieu, Félix Dupin-Meynard, Eszter Gyorgy, Emmanuel Négrier, Gábor Oláh, Gábor Sonkoly
ABSTRACTThis paper questions the configurations in which contemporary European cultural policies attribute explicit positive values to culture. It begins with a reflection on the meaning of value, before identifying, through the analysis of a corpus of scientific articles, books and research reports as well as press articles, the numerous values identifiable in the history of cultural policies. From this collection, we propose a principle of classification into five major families of values: democracy, identity, well-being, aesthetics and economy. Finally, we describe the dynamics of emergence and transformation of the values attributed to culture in historical configurations, through three examples: the valuation of heritage, the conflicts over the values of democracy, and the values underpinning the concept of sustainable development. Our exploratory research shows that values already present in the twentieth century are becoming increasingly important in cultural policies, without taking precedence over values with which they can compete or, on the contrary, find a form of compatibility.KEYWORDS: ValuesEuropecultural policiesdemocracycultural heritagesustainable development Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This research focuses on the “explicit” values, as “promoted”, “attributed” to culture by cultural policies, in contexts of “democratic” regimes studied by the literature we have considered, thus necessarily “positive” in their formulations; we do not take this “positivity” for granted, but discuss it, on the one hand in itself, and on the other hand in interaction between a plurality of values (tensions).2 “Democracy” was chosen, rather than “politics”, as politics is an extremely broad “domain”, whereas “democracy” can be considered as a value containing particular normative orientations.3 “Economy” is understood here as the sphere of values related to power, competition and profit.
{"title":"Dynamics of cultural policy valuations in contemporary Europe","authors":"Claire Dedieu, Félix Dupin-Meynard, Eszter Gyorgy, Emmanuel Négrier, Gábor Oláh, Gábor Sonkoly","doi":"10.1080/09548963.2023.2255835","DOIUrl":"https://doi.org/10.1080/09548963.2023.2255835","url":null,"abstract":"ABSTRACTThis paper questions the configurations in which contemporary European cultural policies attribute explicit positive values to culture. It begins with a reflection on the meaning of value, before identifying, through the analysis of a corpus of scientific articles, books and research reports as well as press articles, the numerous values identifiable in the history of cultural policies. From this collection, we propose a principle of classification into five major families of values: democracy, identity, well-being, aesthetics and economy. Finally, we describe the dynamics of emergence and transformation of the values attributed to culture in historical configurations, through three examples: the valuation of heritage, the conflicts over the values of democracy, and the values underpinning the concept of sustainable development. Our exploratory research shows that values already present in the twentieth century are becoming increasingly important in cultural policies, without taking precedence over values with which they can compete or, on the contrary, find a form of compatibility.KEYWORDS: ValuesEuropecultural policiesdemocracycultural heritagesustainable development Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This research focuses on the “explicit” values, as “promoted”, “attributed” to culture by cultural policies, in contexts of “democratic” regimes studied by the literature we have considered, thus necessarily “positive” in their formulations; we do not take this “positivity” for granted, but discuss it, on the one hand in itself, and on the other hand in interaction between a plurality of values (tensions).2 “Democracy” was chosen, rather than “politics”, as politics is an extremely broad “domain”, whereas “democracy” can be considered as a value containing particular normative orientations.3 “Economy” is understood here as the sphere of values related to power, competition and profit.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"364 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135939267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1080/09548963.2023.2253169
Allan Watson
{"title":"Cultural “levelling up” through the music corporation? The case of EMI North","authors":"Allan Watson","doi":"10.1080/09548963.2023.2253169","DOIUrl":"https://doi.org/10.1080/09548963.2023.2253169","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46787464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1080/09548963.2023.2247375
J. Swords, J. Johns
{"title":"Deepening precarity – the impact of COVID-19 on freelancers in the UK television industry","authors":"J. Swords, J. Johns","doi":"10.1080/09548963.2023.2247375","DOIUrl":"https://doi.org/10.1080/09548963.2023.2247375","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48800898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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