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Środa 11 Październik 2006 2:02:40 pm What changes?
Yes, you are right: there have definitely been some changes in "cultural co-operation" processes due to the impact of Internet and other communication tools. Question is, what happened exactly? Let's not forget: the establishment of many important European networks in the cultural field such as EFAH, IETM or CIRCLE happened in times were electronic communication was not existing or at least not commonly used - for example, the origins of CIRCLE date back to 1980! What we can see now is, that the “networking” exercises of the 1980s and early 1990s may have been a necessary interim phase where a notion of basic trust had to be created and potential partners for trans-national activities could be identified. However, these networking practises were, for the most part, less successful when it came to actually carry out concrete projects and programmes in practice (which contributes to the crisis, some of the networks face today). To achieve this goal, more firm structures, new transnational institutions and even contracts were needed, on the one hand, and also the new communication tools, on the other. The latter enabled individuals - crucial for artists or researchers - to set up trans-national project groups and professional bodies for specific purposes on their own in a fast and economical way, thus passing by national authorities and other "official" or traditional gatekeepeers as well as networks. By the way, this circumvention of gatekeepers is one of the reasons why women have been able, within just a decade, to finally mark their place in professional life and in European cultural co-operation (cf. recent studies of ERICarts such as "Culture-Gates" and "Culture-Biz" |
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Piątek 13 Październik 2006 5:35:22 pm Re: What changes?
Good remark Andreas: "the establishment of many important European networks in the cultural field... happened in times were electronic communication was not existing or at least not commonly used"... But today, due to the impact of "information society" and Internet, situation is quite different. By using online communication tools we have possibility to overcome socio-political borders and to hack the "Official" gatekeepers. Thus a lot of the artistic practice - research - transborder cooperation happens trough informal networks/ or project based task groups where communication/cooperation is more vivid and efficient (since it's based on the intrinsic cultural significance of the values that are circulating within the group). |
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LabforCulture to
inicjatywa partnerska
z Europejska Fundacja Kultury.
Jesteśmy wdzięczni za wsparcie udzielone naszej organizacji przez jej
fundatorów.
. Of course, all of this does not diminish the value of activities carried out in more restricted territories, particularly as concerns the local and regional levels or special constituencies, but it puts them, almost automatically, into a wider framework and thus potentially contributes to enhancing transborder dialogue.
for developement of transdisciplinary practice and research; and some networks have information "poor" web sites which are not connected - linked to other sites, etc.). According to the "power low" (Barabasi), "Web structure is dominated by a few, highly connected sites", those "hubs" has a large number of connections and tend to become even more connected - so it's said that the rich (sites) get richer / poor (sites) get poorer