Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/31611
Type of publication: Straipsnis kitose duomenų bazėse / Article in other databases (S4)
Field of Science: Menotyra / Artwork (H003)
Author(s): Klivis, Edgaras
Title: Kultūros institucijų komunikacija : atviro kodo modelis ir vartotojas kaip gamintojas
Other Title: The communication of cultural institutions: open source and consumer as producer
Is part of: Meno istorija ir kritika = Art history & criticism. Kaunas : Vytauto Didžiojo universiteto leidykla, 2013, [T.] 9 : Sacrum et publicum
Extent: p. 142-151
Date: 2013
Keywords: Meno komunikacija;Meno institucijos;Atviras kodas;Interaktyvumas;Publika;Dalyvavimas;Aparatas;Technologija;Teatras;Art communication;Art institutions;Open source;Interactivity;Audience participation;Technology;Apparatus;Theatre
Abstract: The Italian economist Pier Luigi Sacco, a representative of the European Expert Network on Culture, in his presentation “Culture 3.0: A new perspective for the EU 2014-2020 structural funds programming” claims that contemporary situation in European culture is marked by the transition towards a new stage in the historical development. Characteristic to this new stage is the expansion of the possibilities of the production as opposite to the expansion of the demand and audiences in the previous stage, called Culture 2.0. New digital technologies make the professional tools for producing, treating and communicating texts, still and moving images, sound and multimedia available to almost everyone. Eventually, it is getting impossible to make a distinction between cultural producer and consumer. Such situation, as well as many other modern practices and grounding theories, that emphasize a changing consumer’s position in the field of economy, computer software, politics, media, institutions and finally in the cultural and creative spheres, is described by the term “prosumer” proposed by Alvin Toffler in 1980’s. Both Sacco and other theorists of the new developments in contemporary culture point out that the new possibilities came up mostly due to the technological factors such as ICT, Internet, Cellular Network, etc. For example, such prevailing concepts for productive participation as open source or interactivity are used to pinpoint alternative cultural practices (open access, free content, creative commons, crowdsourcing, open research, peer-to-peer, co-creation, free culture, etc.) retaining however the undertone of their prior technological context. However, the article argues, that by putting too much stress on the technological factors we risk to underestimate other, namely, political, economic and above all institutional contexts and their significance for real cultural change. [...]
Internet: https://eltalpykla.vdu.lt/1/31611
https://www.vdu.lt/cris/bitstream/20.500.12259/31611/1/ISSN1822-4547_2013_N_9.PG_142-151.pdf
https://hdl.handle.net/20.500.12259/31611
Affiliation(s): Menų fakultetas
Teatrologijos katedra
Vytauto Didžiojo universitetas
Appears in Collections:Meno istorija ir kritika / Art History & Criticism 2013, nr. 9
Universiteto mokslo publikacijos / University Research Publications

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