Cultural democracy: an ecological and capabilities approach

Gross, Jonathan; Wilson, Nick

doi:10.1080/10286632.2018.1538363

Cited by 52 publications

(25 citation statements)

References 38 publications

(30 reference statements)

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“…Cultural participation has recently caught the renewed attention of both scholars and practitioners (Gross & Wilson, 2020;Stevenson, Balling, & Kann-Rasmussen, 2017). Their interest is connected with the participatory turn (Knudsen, 2016;Noy, 2017;Hetland & Schrøder, 2020), where museums are called upon to change their model of interaction with the public and, more generally, with stakeholders.…”

Section: Cultural Participation and Social Mediamentioning

confidence: 99%

Italian state museums during the COVID-19 crisis: from onsite closure to online openness

Agostino

Arnaboldi

Lampis

2020

Museum Management and Curatorship

174

125

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This study investigates the reaction of Italian state museums to the closure of their physical sites caused by the COVID-19 pandemic, taking the perspective of their online activity on social media. The study explores the type and amount of content published by museums on their social media webpages, as well as the level of online engagement that is generated by their activity. Empirically, this study investigated the 100 largest Italian state museums, showing that, during the weeks of lockdown, their cultural initiatives did not come to a stop but, on the contrary, there has been a sharp rise in online cultural material and initiatives taking place through social media, with museums doubling their online activity. This online evidence has stimulated further reflections on the future direction of digitally enabled approaches to culture and its enjoyment.

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Section: Cultural Participation and Social Mediamentioning

confidence: 99%

Italian state museums during the COVID-19 crisis: from onsite closure to online openness

Agostino

Arnaboldi

Lampis

2020

Museum Management and Curatorship

174

125

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“…For example, a significant body of recent work has sought to highlight the prevalence of 'everyday participation' (Miles and Ebrey, 2017;Miles and Gibson, 2017;Taylor, 2016;Belfiore et al, 2011) making the argument that "there is no problem if we adopt a notion of cultural participation that extends beyond the arts into spheres of everyday creativity and participation" (Belfiore, 2016, p.209). Such research has lead to a resurgent call for policies that would redistribute resource so as to better support the creation of a 'cultural democracy' (Jeffers and Moriarty, 2018;Gross and Wilson, 2018;Evrard, 1997). Yet despite the overwhelming evidence of just how much 'everyday participation' goes on, the cultural policy status quo remains stubbornly hard to change and the "public's chosen forms of cultural expression and engagement" are still not seen as valid (Jancovich, 2011, p.273).…”

Section: Background To the Researchmentioning

confidence: 99%

The cultural non-participant: critical logics and discursive subject identities

Stevenson

2019

AAM

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Purpose The existence of so-called non-participants is a cultural policy problem in the UK and beyond. Yet, the very notion of a cultural non-participant seems nonsensical against the palpable evidence of lived experience. The purpose of this paper is to understand “who” a cultural non-participant is by first comprehending “what” the cultural non-participant is and why it exists. Design/methodology/approach Drawing on primary data generated in the form of 40 in-depth qualitative interviews, this paper employs a discursive methodology to explore the critical logics (Howarth, 2010) that underlie the problem representation (Bacchi, 2009) of cultural non-participation and in particular the discursive subject identity of the cultural non-participant. Findings Beginning with a discussion about how cultural non-participants are represented as socially deprived and hard to reach, the paper moves on to highlight how they are also presumed to lack knowledge and understanding about what they are rejecting. Their supposed flawed subjectivity is then contrasted with the desirable model of agency claimed by the cultural professionals who seek to change the cultural participation patterns of others. The paper concludes with a consideration of how the existence of the cultural non-participant subject identity limits the extent to which those labelled as such can meaningfully contribute to the field of cultural policy and obscures the extent to which such individuals are culturally disenfranchised. Research limitations/implications Because of the chosen research approach and the geographical limitations to the data generation, the research makes no claim to generalisability. Therefore, researchers are encouraged to test the discursive logics identified at alternative discursive sites. Practical implications This paper proposes a change in the language used by cultural professionals accompanied by changes in practice that abandoning the identity of the cultural non-participant would demand. Originality/value This paper challenges a taken for granted assumption that cultural non-participants exist “in the real”.

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“…The cultural values of risk and creativity, and indeed of cult television as an oppositional form, are built into the democratic model for the broadcaster. When Channel 4 cancelled the series this was a signal of how commercial logics took precedence over a more cultural democratic policy (Gross and Wilson, 2018). Such a policy, which draws on a capabilities approach in the creative industries, uses opportunity, hope, and the imagination to offer a counter-formulation of neoliberal policy agendas, something that would enable creative and risk-taking drama production in the television industry (Bennett and Strange, 2015), and at the same time contribute to a ‘critical future studies playbook’ (Powers, 2020).…”

Section: Resultsmentioning

confidence: 99%

Who killed Utopia? Cult conspiracy drama and a television imaginary

Hill

2020

International Journal of Cultural Studies

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This article focuses on the production and reception of television drama, specifically the case study of conspiracy thriller Utopia. The empirical research is based on 21 production interviews with the makers of the drama and 56 interviews with audience members and fans of the drama. The concept of the television imaginary is used as an analytical lens for investigating the various ways television itself, and audiences and fans, are imagined and implicated in the cancellation of a cult drama series. In particular, Barthes’ early writing on a cultural imaginary is used to underscore the contrariness, the contra positions which creative producers, audiences and fans take, in the conspiracies and judgements surrounding the cancellation. Utopia conspiracies within and outside the television industry serve to legitimise and penalise the drama as a cult form; these conspiracies energise the subjective processes that shape an future imaginary for Utopia and drive its afterlife.

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Cultural democracy: an ecological and capabilities approach

Cited by 52 publications

References 38 publications

Italian state museums during the COVID-19 crisis: from onsite closure to online openness

Italian state museums during the COVID-19 crisis: from onsite closure to online openness

The cultural non-participant: critical logics and discursive subject identities

Who killed Utopia? Cult conspiracy drama and a television imaginary

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