Digital environments have expanded the forms of cultural participation. This paper has two aims: first, to elucidate the changing definitions of cultural participation in relation to digital environments; second, to examine the ways in which cultural policies respond to the new digital conditions of cultural participation. Focusing on Quebec (Canada), this paper is based on a critical review of grey literature in the public policy. We identified three main goals pursued by Quebec cultural policies regarding digital participation: 1) to produce and promote national cultural content; 2) to promote cultural equity; 3) to foster digital equity. The analysis shows that these goals partially exceed the scope of cultural policies to intersect with economic, educational, and youth policies. We also argue that policy frameworks and funding programs in support of cultural policies tend to legitimize an overlap of the social, economic, and political dimensions of cultural participation.
This chapter considers how the practice of design takes place in a city like
Montreal, where it has been widely promoted in the last decade. It focuses
on designers who create everyday-life objects and, more specifically, on the
visual environment that characterises the design boutiques in Montreal’s
Mile End district. It shows that the aesthetics of these spaces are developed
around a set of values, namely authenticity, materiality and hospitality.
These aesthetics are crucial to distinguish design products and signal to
potential clients that these products belong to an alternative version of
the market economy. Yet, the aesthetics of these boutiques contribute
to an aesthetics of gentrification, which raise questions about the local
culture, the history of the neighbourhood, and its population.
Gentrification is reshaping cities worldwide, resulting in seductive spaces and exclusive communities that aspire to innovation, creativity, sustainability, and technological sophistication. Gentrification is also contributing to growing social-spatial division and urban inequality and precarity. In a time of escalating housing crisis, unaffordable cities, and racial tension, scholars speak of eco-gentrification, techno-gentrification, super-gentrification, and planetary-gentrification to describe the different forms and scales of involuntary displacement occurring in vulnerable communities in response to current patterns of development and the hype-driven discourses of the creative city, smart city, millennial city, and sustainable city.
In this context, how do contemporary creative practices in art, architecture, and related fields help to produce or resist gentrification? What does gentrification look and feel like in specific sites and communities around the globe, and how is that appearance or feeling implicated in promoting stylized renewal to a privileged public? In what ways do the aesthetics of gentrification express contested conditions of migration and mobility? Addressing these questions, this book examines the relationship between aesthetics and gentrification in contemporary cities from multiple, comparative, global, and transnational perspectives.
Cet article étudie le caractère hybride d’organisations émergentes dans le monde de l’art. Basé sur cinq études de cas, l’article confronte les propos des responsables de ces organisations aux justifications courantes de la valeur de l’art. Il décrit trois logiques – créative, entrepreneuriale et sociale – qui structurent le développement des organisations étudiées. Ces logiques impliquent des objectifs stratégiques, des formes d’engagement et des marqueurs de succès différenciés qui peuvent mener à des conflits entre systèmes de valeur. L’article offre une analyse des tensions qui peuvent naître de la combinaison des logiques au sein de l’organisation artistique. Si la vision unificatrice portée par les dirigeants permet souvent de sublimer les tensions internes potentielles, celle-ci peut en revanche rendre plus difficile la reconnaissance de l’organisation par les institutions culturelles.
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