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This open access book examines how and why the UK's approach towards increasing cultural participation has largely failed to address inequality and inequity in the subsidised cultural sector despite long-standing international policy discourse on this issue. It further examines why meaningful change in cultural policy has not been more forthcoming in the face of this apparent failure. This work examines how a culture of mistrust, blame, and fear between policymakers, practitioners, and participants has resulted in a policy environment that engenders overstated aims, accepts mediocre quality evaluations, encourages narratives of success, and lacks meaningful critical reflection. It shows through extensive field work with cultural professionals and participants how the absence of criticality, transparency, and honesty limits the potential for policy learning, which the authors argue is a precondition to any radical policy change and is necessary for developing a greater understanding of the social construction of policy problems. The book presents a new framework that encourages more open and honest conversations about failure in the cultural sector to support learning strategies that can help avoid these failures in the future.
This collection of original essays takes a multi-disciplinary approach to explore the theme of failure through the broad spectrum of public art and social practice. The anthology brings together practicing artists, curators, activists, art writers, administrators, planners, and educators from around the world to offer differing perspectives on the many facets of failure in commissioning, planning, producing, evaluating, and engaging communities in the continually evolving field of art in the public realm. As such, this book offers a survey of currently unexplored and interconnected thinking, and provides a much-needed critical voice to the commissioning of public and participatory arts. The volume includes case studies from the UK, the US, China, Cuba, and Denmark, as well as discussions of digital public art collections. The Failures of Public Art and Participation will be of interest for students and scholars of visual arts, design and architecture interested in how art in the public realm fits within social and political contexts.
This book concerns the values and practices of participation in municipal public parks, and the connections they have with cultural policy, urbanism, and social life. Adopting a critical cultural policy lens, it identifies the park as a mundane but extraordinarily treasured place for the production and exchange of cultural values, regulation, resistance, and the practising of citizenship. Drawing on extensive mixed-methods research on everyday participation in diverse local cultural ecosystems in England and Scotland, the book examines the social lives of parks and their users, and the important public values that are generated through their common stewardship and usership. It presents case studies of parks and co-located museums as cultural public spheres, which promote both commoning and commodification. These are contextualized by histories of municipal parkmaking from the nineteenth century to the present and related to the making of local government and to other civic and cultural institutions. The book highlights contemporary issues of austerity, marketisation and de-municipalisation within local government in the context of urban development. It positions the public park as fundamental to democratic cultural governance and makes the case for the primacy of public trust, ownership, and park equity in safeguarding the right to the city.
This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands. Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing a record of their intricate tensions and transformations.
Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema” that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why 'failures' occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.
Democracy and Education Reconsidered highlights the continued relevance of John Dewey’s Democracy and Education while also examining the need to reconstruct and re-contextualize Dewey’s educational philosophy for our time. The authors propose ways of revising Dewey’s thought in light of the challenges facing contemporary education and society, and address other themes not touched upon heavily in Dewey’s work, such as racism, feminism, post-industrial capitalism, and liquid modernity. As a final component, the authors integrate Dewey’s philosophy with more recent trends in scholarship, including pragmatism, post-structuralism, and the works of other key philosophers and scholars.
A great deal of research has recently been completed on behavior and the organization of work, most of which has viewed it from an ethnocentric perspective. In this work, Erez and Earley show how this is insufficient to develop a global theory of work behavior--it necessitates the inclusion of a cultural perspective. Solidly grounding their work in the fields of psychology, management, and anthropology, the authors propose a new theoretical framework utilizing individual's self-concept as a means of linking cultural beliefs and social interaction to emergent work behavior. The book includes specific recommendations for structuring work environments and managerial processes to match cultural practices and enhance productivity in the workplace, making it an essential reference for scholars, students, and professionals.
Examines the unique role of the library media specialist in a time of rapid change. The authors draw on the day-to-day experiences of media specialists and supervisors to highlight the best practices in library media services and show how these practices will fit into the context of the future of education.
Provides a set of normative measure sto assess the value of nature and proposes the new discipline of foundational ecology as a response to environmental crisis.
The transformative role of culture, its ability to create value for the benefit of current and future generations, is widely recognized by academics of many disciplines, professionals and policymakers. Notwithstanding, how culture can be a driving force for economic growth, a source of welfare and tools for social inclusion, still deserves to be investigated at various levels, starting with local communities. This book attempts to explain the relevance of accounting knowledge for managing cultural heritage by sustainable, resilient, accountable organizations, regardless of their public or private institutional form. This book aims at understanding the role of cultural heritage in the economy, in society and in facing the new challenges deriving from the enactment of the UN Sustainable Development agenda, as well as the pandemic emergency from COVID-19. It adopts a managerial accounting studies approach to provide answers that can be applied in any organizational context. The results achieved from the field research are critically discussed under the theoretical frameworks referring to the theory of value and its creation. From the findings and their discussion, a conceptual model based on empiricism is proposed for managing cultural heritage of communities under sustainable perspective, even in times of crisis. It will be essential reading for academics and students of cultural heritage management, sustainability and crisis management in organisations.