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CLASS 1.1. AUDIENCES (arts and creative industries) - Coggle Diagram
CLASS 1.1. AUDIENCES (arts and creative industries)
CULTURAL POLICY
Area of public policy (governance)
that relates to culture and the arts
Local, national, international governments +
private institutions
(banks, charity foundations, university)
Subsidies, investment in infrastructure, education, accessibility of culture for different groups (participation) and tax deductions
Ideology : why is it important to support culture?
Both
‘left’ (democratization and participation) and ‘right’ (individual expression, creative entrepreneurial self and city development)
CULTURE & CREATIVITY
CULTURE: art in the strict sense, cultural heritage (canon), creative industries (entertainement), socio-cultural work (bond), amateur arts (everyday life)
CREATIVITY: innate for humans, buzzword since 1990s, neo-liberalism and triumph of the middle-class (creative class), governmentality (Faucault, people have to aspire towards creativity and become the entrepreneur of their own life)
Dave o’Brien. Whose Culture?
CONTEMPORARY WESTERN SOCIETY (UK)
Post-Fordist capitalism
> "creative economy"
: emphasis on
intangible goods (ideas, concepts) and services (experience economy)
social democracy
> neo-liberalism
:
minimal state intervention, privatization
of public functions >>
Individualism & self-expression
Digital culture and ‘prosumer’ (convergence culture)
>> production & consumption
local traditions vs. globalization
CREATIVE CLASS
Urban studies/cultural economics
Richard Florida The Rise of the Creative Class (2002)
Creative environment attracts more creative people and finally also business and capital
Creative class:
heterogeneous group of bohemians
: artists, designers, scientists, programmers, gay community… BUT Cannot be understood in terms of older distinctions (class, age, gender, ethnicity…)
creative class
‘disposition’:
Open and diverse
Individualistic
Meritocratic
The
CULTURAL CONSUMPTION of the creative class
Consumerism
as form of
self-expression
Openness to all forms of culture
-> bricolage (Hebdige): signs, symbols, objects and artefacts are blended +
spatial boundaries between leisure (culture) and work disappear
tolerance
: associating forms of culture with different groups is seen as snobbish
CREATIVE ENTERPRENEUR AS THE IDEAL WORKING SUBJECT
Work that is meaningful and fulfilling in itself (self-expression and self-realization) -> don’t need a lot of money
no boundaries between work and leisure
don’t want state intervention (independence)
THE SPIRIT OF NEO-LIBERAL CAPITALISM
Fluidity, mobility, freedom
Much less state intervention
BUT gentrification and problem of cultural labor -> lack of protection and precarity
Creative class as the triumph of the middle class
Pierre Bourdieu Distinction. A Social Critique of the Judgment of Taste (1979/1984)
Taste
= not disinterested (Kant) but
a marker of social stratification
class
: Upper class (elite), middle class, lower class (working class)
+ importance of education
(formal and informal)
TYPES OF CAPITAL
Social capital (network)
Cultural capital (skills and expertise)
Symbolic capital (prestige) determine individual’s position in society
Cultural capital ≠ economic capital (e.g., ‘nouveau riche’)
TYPES OF CULTURAL PRODUCTION
LARGE production (popular culture) : commercial (e.g., photography, popular literature) + easy, low and middle-brow
RESTRICTED (limited) production = avant-garde, l’art pour l’art, high culture. ‘autonomous’ but not self-sufficient + protected by the state (subsidized) because of its symbolic value
STRUGGLE as driving force of the cultural field
Those in power (elite) strive to maintain power, by presenting their taste as the norm
Doxa (common sense)
Habitus (disposition)
Cultural violence
The Cultural Omnivore
US:
Richard Peterson (1992)
:
consumers combine both high- and lowbrow cultural products
+
resembles that of the ‘creative class’: open, individualistic and meritocratic
BUT P. relates it to education > blue-collar, middle-class
4 axes determing cultural consumption
(Bennett)
Engagement or disengagement (
participation) >< class
Established forms of cultural consumption vs. commercial consumption (which type of culture?) >< age
(older people prefer museums and classical music, young people design and festivals)
inwardly vs. outwardly facing (where) >< gender
(sports vs. reading)
moderate vs. intense engagement (how much)
>< NO correlation
CHALLENGES FOR POLICY MAKERS
How to make culture accessible for (all) groups in a society determined by individualism?
Which culture must be subsidized, when the state can no longer be an arbiter of taste?
How and why support forms of culture that are not economically viable/autonomous?