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The Production of Regime Culture and Instrumentalized Art in a Globalizing State
Globalizations
Abstract
The argument of this paper is that, in the age of globalization, culture, in the generic/anthropological sense, is produced, and varies by group, subject, and time. In the United States today the leaders of the state produce a specific kind of culture, here called regime culture, which reinforces the power of the existing regime. It features patriotism, values financial success, espouses a narrow definition of family values, promotes a culture of fear limiting civil liberties, reinterprets the past, legitimates the status quo, and tolerates racism. The handling of the International Freedom Center at the World Trade Center site is a striking example. Culture, in the humanist/arts sense, has been increasingly used to press culture in a specific direction, here called instrumentalized culture. It is promoted as a contributor to economic development, as fostering the growth of an economically productive creative class. In the process, its critical and transcendent potential has been eviscerated. While such instrumentalization may help artists in the short run, it also poses a danger to the ultimate social role of the arts. The policies generated around the concept of a Creative Class, and the use of the arts as a tool of economic development, are striking examples. Globalization accentuates each of these tendencies.
... The development and promotion of arts and culture are increasingly crucial to drive economic growth and social development [6,19]. Cities are bidding to be Global Cities that foster innovation and creativity across different fields, such as arts, culture, technology, and economics [4,16]. ...
The Art Places/Places of Interest (POI) are increasingly important for Singapore and Hong Kong in their bid to be Global Cities. The design and operation of such Art Places are often led by the museum owners, city government and panel of experts from a top down approach, as well as funded by national governments for public benefit as part of long-term planning. The inputs from the actual users are often neglected. Public participation in Art Places/POI is often limited by individual visits and interactions. The diverse views and feedback on the design and operation of Art Places are difficult to capture accurately. In order to understand the perceptions of the users, extensive and expensive surveys and interviews need to be undertaken. Despite this, there is still a challenge of selection bias and interpretation bias. This paper explores the use of technology and big data to understand the similarities and differences between well-liked and disappointing areas of Art Places/POI in Singapore and Hong Kong. Public reviews on Art Places/POI in Singapore and Hong Kong will be examined using Natural Language Processing tools including the prevalent topic modelling method, namely Latent Dirichlet Allocation. The study revealed common strengths and weaknesses among artistic venues in Singapore and Hong Kong. “Place and experience” emerged as a common strength, while “price and content” were identified as a shared weakness. Singapore’s Art Places were distinguished by a unique strength in their “kid-friendly element,” whereas Hong Kong excelled in “food and shopping.” However, Singapore faced a unique weakness in “racial enclaves,” whereas Hong Kong’s distinctive weakness lay in “service.” These insights can aid urban planners and operators in comprehending and addressing areas of improvement highlighted by negative reviews, thereby enhancing overall performance.
... He adds that "[w]hile such instrumentalization may help artists in the short run, it also poses a danger to the ultimate social role of the arts". 30 Singapore provides one sad example of the new cynical reality that thus emerges: on the one hand, this city-state has initiated an extensive investment programme for contemporary art in view of the new prerogatives of the post-fordist economy. On the other hand, it clamps down on any counter-hegemonic, critical project that artists might initiate because of political control. ...
This is the English version of an introduction to the book 'Common Dissent: Art and Politics in the Age of Radical Appropriation, which was published in 2021 by the inappropriate BOOK CLUB.
... The innate and fundamental human capability to come up with novel and meaningful ideas is thereby instrumentalized for economic purposes. As a consequence it is increasingly withdrawn from other spheres of social life (Marcuse 2007). To wrap up, from the left political wing, Florida is accused to deliver a justification for neoliberal urban policies. ...
According to the American economist and urbanist Richard Florida, the “creative class” form a new elite. Creative class members show a strong entrepreneurial capability. They are able to create their own jobs, if necessary. In the age of the creative class people no longer follow jobs; jobs follow people. Cities increasingly compete to attract and retain the creative class. Creative class members value diversity, tolerance, and inspiration and thus show a strong affinity for culturally diverse and open‐minded urban environments. This has given rise to creative urban policies that seek to make the city more attractive for the purposes and preferences of the creative class.
... The instrumentalisation of culture, meaning the deployment of aspects of local culture for achieving economic and social goals, has been a conspicuous policy trend worldwide in the last few decades (Belfiore 2012;Gray 2007;Marcuse 2007). Recently, this has often involved culture being partnered with, and occasionally substituted by, 'creativity'. ...
Culture and creativity have been increasingly instrumentalised in policy programmes worldwide in recent decades. This has been associated with the rapid development of techniques for quantifying and measuring the sector. This paper argues that the development of these techniques has been central to the mobility of policies and policy concepts that instrumentalise culture and creativity. Using Ong and Collier's notion of global assemblage, it is argued that culture and creativity have been rendered technical in relation to the invention and circulation of a number of interlinked global forms, such as the ‘creative industries’ and the ‘creative class’, which are embedded in abstract, placeless, technical systems that provide them with an apparent universality. How this is achieved is examined in detail through a discussion of the work of a London-based consultancy specialising in cultural knowledge. The consultancy helps to produce this assemblage by doing the work of producing technical, calculative measures of culture and creativity that translate a messy social world into a set of ordered, rationalised representations that can be compared to similarly produced representations from elsewhere. Their work helps to convert topographical connections between places into topological relations across which appropriate global forms can move with relative ease.
Responding to Open Philosophy’s call ‘Does public art have to be bad art?’, in this paper we argue that this discussion should pay attention to the consequences of structural transformations that guide the production and presentation of public art in today’s increasingly private city. While entrepreneurial governance and corporate branding strategies generate new opportunities, they might also result in increased risk averseness and control over the content of public art, thus putting its critical potential at risk. That observation ushers in urgent questions about control, complicity and criticality. We aim to reflect on those questions through two public art projects in Hong Kong: Antony Gormley’s Event Horizon (2015) and Our 60-second friendship begins now (2016) by Sampson Wong Yu-hin and Jason Lam Chi-fai. After drawing conclusions on the justification of public funding for co-productions, the legitimacy for artists to sometimes not ‘follow the rules’, and the problematic nature of a narrow definition of professionalism as a means to discredit artists, our analysis underlines the urgent need to develop a framework that can guide discussions on the consequences of control and complicity for the critical potential of public art.
The chapter examines the rationale and imbrication of Japan and Tokyo’s cultural branding for—and beyond—the Tokyo 2020 Olympic and Paralympic Games. In doing so, it analyses Tokyo’s cultural branding through the lens of the “Tokyo Vision for Arts and Culture” (2015–2025), the most recent agenda unveiled by the Tokyo Metropolitan Government. Notwithstanding Tokyo Metropolitan Government’s cultural and urban branding is an ongoing endeavor, the analysis of its rationale, dynamics, and scope in early phases aims to contribute to the empirical debate in both academic and policy circles. The chapter uses the mobility/asemblage approach in policy knowledge to assess the urban and cultural branding of Tokyo from a regional (East Asia) and global perspective. Rather than solely focusing on the transfer of ‘best practices’, the chapter seeks to balance the specificity and generality aspects of contemporary policy knowledge by paying attention to ‘embedded institutional legacies and imperatives’ and in-situ politically feasible policy assemblage (McCann. Ann Assoc Am Geogr 2011:109; Flyvbjerg. Rationality and power. The Chicago University Press, Chicago, 1998). Lastly, the primary data for this study overwhelmingly suggest Japan/Tokyo’s cultural policy and cultural diplomacy to be unidirectional, particularly vis-à-vis their Asian neighbors.
SCHOOL SHOWS AS EXTRACURRICULAR PROGRAM: TEACHER AND STUDENT VIEWS
Abstract
Teaching activities that are framed by curricula are not sufficient in terms
of the holistic development of children. Regular curriculum is supported by
planned, social, cultural, artistic and sports activities, which are called as extracurricular
activities and which focus on all living areas of children, especially affective,
social, moral, cultural and aesthetic. In this respect, shows prepared at the end
of the school year and on specific days and weeks are considered as extracurricular
activities.
In this study, semi-structured interviews with teachers and students were
conducted to reveal the feelings and thoughts about the demonstrations prepared at
the schools. Findings have shown that teachers who are mandated in the preparation
of school demonstrations did not receive any education in the arts, aesthetics
or sports, and that most of the school demonstrations do not have artistic and aesthetic
value. In addition to positive emotions, students feel negative emotions in the
shows.
It is hoped that the results of the study will present a different perspective
to educators, learners and educational policy makers in evaluating sports, arts and
cultural events as innovative ways to develop individuals in a holistic way and give
them multiple perspectives.
Keywords: Extra curriculum, school shows, specific days and weeks, artistic,
sporting and cultural events in schools.
İLAVE EĞİTİM PROGRAMI OLARAK OKUL GÖSTERİLERİ: ÖĞRETMEN VE ÖĞRENCİ GÖRÜŞLERİ
Özet
Resmi eğitim programları aracılığıyla çerçevesi belirlenen öğretim etkinlikleri, çocukların bütünsel gelişimleri açısından tek başına yeterli değildir. Resmi eğitim programı, ilave program olarak adlandırılan ve çocukların özellikle duyuş-sal, sosyal, ahlaki, kültürel ve estetik gibi tüm yaşam alanlarına odaklanan; planlı, sosyal, kültürel, sanatsal ve sportif etkinliklerle desteklenmektedir. Bu bakımdan, okullarda her yıl belirli gün ve haftalarda ve eğitim öğretim yılı sonunda hazırlanan gösteriler ilave program etkinlikleri olarak ele alınmıştır. Bu çalışmada okullarda hazırlanan gösteriler hakkındaki duygu ve düşüncelerini ortaya çıkarmak amacıyla öğretmen ve öğrencilerle yarı-yapılandırılmış görüşmeler yapılmıştır. Bulgular, okul gösterilerinin hazırlanmasında zorunlu ola-rak görevlendirilen öğretmenlerin sanat, estetik ya da spor konusunda herhangi bir eğitim almadıklarını ve okul gösterilerinin çoğunun sanatsal ve estetik değer taşımadığını düşündüklerini göstermiştir. Öğrenciler gösterilerde olumlu duyguların yanı sıra, gösterilerdeki aksaklıklar nedeniyle olumsuz duygular da hissettiklerini belirtmektedir. Çalışmanın sonuçlarının, bireyleri bütüncül geliştirmek ve onlara çoklu bakış açıları kazandırmak için sporu, sanatı ve kültürel etkinlikleri yenilikçi yollar olarak değerlendirmeleri konusunda eğitimci, öğrenen ve eğitim politikacılarına farklı bir bakış açısı sunması umulmaktadır.
Anahtar Kelimeler: İlave eğitim programı, okul gösterileri, belirli gün ve haftalar, okullarda sanatsal, sportif ve kültürel etkinlikler.
Rhetorical practices warrant analysis amid contemporary globalization, as discourses frame international museum and science-styled exhibit display practices by drawing attention toward idealized human global unity and away from concern for respecting differences between westerners and Chinese persons. Among such international practices, recent displays of deceased human bodies, cleaned and entertainingly posed, have appeared in museums and other exhibition centers in major cities around the world. These displays have given rise to significant ethical questions regarding the use of undocumented Chinese bodies. In this analysis of Bodies... The Exhibition', which has been central to those ethical questions, we examine how rhetorical strategies of realist discourse and identification through commonality invoke a rhetoric of globalization that reinforces western international privilege by situating plasticized Chinese bodies within truth claims about human similarity that eschew intercultural understandings and issues of intercultural respect.
In this paper, I make a critical assessment of the ways that issues relating to the 'gentrification' of inner-city neighbourhoods have been conceptualised, especially in North America, in both positivist and extant marxist work. I aim to rethink the processes generating 'gentrification' and 'gentrifiers' and our 'ways of seeing' the results of these processes. First, I address epistemological problems of neoclassical and marxist approaches to this subject. Second, I critically appraise the probl‚matique of marxist work on gentrification, emphasising its lack of attention to the interrelationships of employment restructuring and changes in the reproduction of labour power. From this, I argue that gentrification is a 'chaotic concept' and that the processes and elements it comprises need to be thought through again. I begin this task by attempting to disaggregate the concept with empirical reference to North American metropolitan inner cities. I hypothesise that the upsurge of renovation activity by and for moderate-income households and those with so-called alternative life-styles is produced by the interaction of changes in production and reproduction. Further research is needed in this area. Finally, I explore the possibility that such 'marginal gentrifiers' and those they now displace may have similar needs that could be met by different kinds of neighbourhood revitalisation.
This article develops a critique of the recently popularized concepts of the 'creative class' and 'creative cities'. The geographic reach and policy salience of these discourses is explained not in terms of their intrinsic merits, which can be challenged on a number of grounds, but as a function of the profoundly neoliberalized urban landscapes across which they have been traveling. For all their performative display of liberal cultural innovation, creativity strategies barely disrupt extant urban-policy orthodoxies, based on interlocal competition, place marketing, property- and market-led development, gentrification and normalized socio-spatial inequality. More than this, these increasingly prevalent strategies extend and recodify entrenched tendencies in neoliberal urban politics, seductively repackaging them in the soft-focus terms of cultural policy. This has the effect of elevating creativity to the status of a new urban imperative - defining new sites, validating new strategies, placing new subjects and establishing new stakes in the realm of competitive interurban relations.
Bringing together leading planning and urban scholars, and including fascinating international case studies, this unique book investigates urban planning across the world and in different cultures.
Cities and Cultures is a critical account of the relations between contemporary cities and the cultures they produce and which in turn shape them. The book questions received ideas of what constitutes a city's culture through case studies in which different kinds of culture - the arts, cultural institutions and heritage, distinctive ways of life - are seen to be differently used in or affected by the development of particular cities. The book does not mask the complexity of this, but explains it in ways accessible for undergraduates. The book begins with introductory chapters on the concepts of a city and a culture (the latter in the anthropological sense as well as denoting the arts), citing cases from modern literature. The book then moves from a critical account of cultural production in a metropolitan setting to the idea that a city, too, is produced through the characteristic ways of life of its inhabitants. The cultural industries are scrutinised for their relation to such cultures as well as to city marketing, and attention is given to the European Cities of Culture initiative, and to the hybridity of contemporary urban cultures in a period of globalisation and migration. In its penultimate chapter the book looks at incidental cultural forms and cultural means to identify formation; and in its final chapter, examines the permeability of urban cultures and cultural forms. Sources are introduced, positions clarified and contrasted, and notes given for selective further reading.
Glossy globalization is the picture of globalization as a benign and inevitable process sweeping unstoppably over the world, with here and there an unwanted side effect that sensible policies arrived at by the exchange of ideas among sensible decision-makers can avoid. Glossy globalization is glossy both in its glossing over of the shadows in the Panglossian picture of globalization it presents and in its concealment of the sources of those shadows. The contrast between the glossy globalization and the existing globalization or the real globalization is striking. This chapter presents a good example of the loaded discourse of the glossy globalization that is taken from the brochure of a recent Organization of Economic Cooperation and Development (OECD) conference in Melbourne. The contrast between it and a realistic view of globalization―trying to unpack that term and see what it is really made of―is illuminating. Such a contrast also illuminates the distance between the existing globalization and what might be called “potential globalization”; globalization in the form that it might be envisaged if it were in fact to improve the living conditions of the vast majority of humankind.
Restrictions on the everyday use of public space; restrictions on access to public buildings; restrictions on political expression and assembly for political purposes; restrictions on the freedom of immigrants to use public facilities and services in the city; increased segregation, exclusion, and concentrated decentralization of residences and economic activities are all key examples of the way the false threat of terrorism has been used to restrict rights to the city. The Right to the City has never been fully recognized in modern times. The false response to the threat of terrorism has made its realization even more remote.
This paper uses several events in New York in the late 1990s to launch two central arguments about the changing relationship between neoliberal urbanism and so–called globalization. First, much as the neoliberal state becomes a consummate agent of—rather than a regulator of—the market, the new revanchist urbanism that replaces liberal urban policy in cities of the advanced capitalist world increasingly expresses the impulses of capitalist production rather than social reproduction. As globalization bespeaks a rescaling of the global, the scale of the urban is recast. The true global cities may be the rapidly growing metropolitan economies of Asia, Latin America, and (to a lesser extent) Africa, as much as the command centers of Europe, North America and Japan. Second, the process of gentrification, which initially emerged as a sporadic, quaint, and local anomaly in the housing markets of some command–center cities, is now thoroughly generalized as an urban strategy that takes over from liberal urban policy. No longer isolated or restricted to Europe, North America, or Oceania, the impulse behind gentrification is now generalized; its incidence is global, and it is densely connected into the circuits of global capital and cultural circulation. What connects these two arguments is the shift from an urban scale defined according to the conditions of social reproduction to one in which the investment of productive capital holds definitive precedence.
This monograph "is a critical review of definitions and a general discussion of culture theory." Part I is a semantic history of the word "culture." Parts II and III list definitions and longer statements about culture, with the entries classified and with critical and interpretative discussion of the categories. Part IV presents an analysis of the definitions and a discussion of the theoretical significance of the concept of "culture." Personality theory and the culture concept are dealt with. 2 appendixes, by A. G. Meyer, discuss the concept of culture in Germany and Russia, and in Soviet Russia. 11-page bibliography. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
IntroductionThe Growth of the Security IndustryUrban Form I: Concentrated Decentralization in the MarketUrban Form II: Citadelization, Barricading, and Governmental DeplanningConclusion
IntroductionArchitectures of Annihilation: The “War Ideology of the Plan”“Planning” and Occupation as War on the Colonized CityModernism and Urban War I: Aerial Living as Response to Aerial WarModernism and Urban War II: Aerial Bombing as a “New Chance”Cold War Urban GeopoliticsPlanning as “Urbicide”: Postwar Urban “Renewal” and the Military--Industrial Complex in the USAUrban Ruination and the Politics of “Unbuilding”A Geopolitics of Urban Decay and Cybernetic Play: Urban Annihilation, Entertainment, and Military StrategyHomeland/Globe: War, “Security,” and the Global Geopolitics of Production and ConsumptionConclusion: Looking at Ruins
The QuestionThe HypothesisInfluences on the Spatial Order of CitiesSpatial Divisions in the New Spatial OrderFinal RemarksNotes
Following the break-up of privately rented flats in both England and Wales, and Scotland, two distinct property 'ownership' systems emerged. Each sought to provide individual 'ownership' of the flat and collective management of the block in which the flat was contained. Leasehold 'ownership' effectively retained the previous landlord tenant relationship because of a peculiarity in English law that only allows 'positive covenants' - such as maintenance obligations, to be enforced on the first purchaser of a flat, not subsequent purchasers. Although in Scotland outright individual ownership of a flat was legally possible, the management arrangements covering the common parts of the building have not proved satisfactory. Neither legal arrangement put in place an 'ownership' or 'governance' regime which matched popular cultural expectations of what individual home ownership should constitute. The scale of and scope of property law reform over the last 30 years illustrates how these popular cultural expectations have demanded due recognition within the British property system.
Aging is a universal process that began with the origination of life about 3.5 billion years ago. Accumulation of the diverse deleterious changes produced by aging throughout the cells and tissues progressively impairs function and can eventually cause death. Aging changes can be attributed to development, genetic defects, the environment, disease, and an inborn process--the aging process. The chance of death at a given age serves as a measure of the average number of aging changes accumulated by persons of that age, that is, of physiologic age, and the rate of change of this measure as the rate of aging. Chances for death are decreased by improvements in general living conditions. As a result, during the past two millennia average life expectancy at birth (ALE-B), determined by the chances for death, of humans has risen from 30 years, in ancient Rome, to almost 80 years today in the developed countries. Chances for death in the developed countries are now near limiting values and ALE-Bs are approaching plateau values that are 6-9 years less than the potential maximum of about 85 years. Chances for death are now largely determined by the inherent aging process after age 28. Only 1.1% of female cohorts in Sweden die before this age; the remainder die off at an exponentially increasing rate with advancing age. The inherent aging process limits ALE-B to around 85 years, and the maximum life span (MLS) to about 122 years. Past efforts to increase ALE-B did not require an understanding of aging. Such knowledge will be necessary in the future to significantly increase ALE-B and MLS, and to satisfactorily ameliorate the medical, economic, and social problems associated with advancing age. The many theories advanced to account for aging should be used, to the extent it is feasible, to help with these important practical problems, including applications of the free radical theory of aging. Past measures evolved by societies to ensure adequate care for older individuals are rapidly becoming inadequate because of changes in life style, the growing percentage of older people, declining fertility rates, and the diminishing size of the work forces to provide for the elderly. Measures are being advanced to help with this problem. Prospects are bright for further increases in the span of functional life and improvements in the lives of the elderly.
A great deal is at issue in the handling of the threat of terrorism in the United States today. Restrictions on the use of public space are a direct consequence, at the urban level, of what is happening. But beyond that, and beyond the various abuses of civil liberties and common sense that have been involved in the governmental misuse of the threat after 9/11, the most serious misuse may be the sale of the threat as a threat to existential security instead of as one danger among others to public safety. It has been manipulated for purposes having nothing to do with terrorism. The intended result has been to reinforce the positions of those in power, to displace the insecurity inherent in a capitalist free market system, and to limit further the freedom that is at the heart of the right to the city. The current treatment of public space illustrates the process. Copyright (c) 2006 The Author. Journal Compilation (c) 2006 Joint Editors and Blackwell Publishing Ltd..
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