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Books > Reference & Interdisciplinary > Museums & museology
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The Politics of Cultural Programming in Public Spaces (Hardcover, Unabridged edition)
Loot Price: R1,725
Discovery Miles 17 250
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The Politics of Cultural Programming in Public Spaces (Hardcover, Unabridged edition)
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In our digital media saturated lives, where we spend increasing
amounts of time in "virtual worlds" such as Second Life or online
on blogs and video sites, it can be easy to forget about public
spaces. Unlike content in virtual worlds, cultural programs in
public spaces are events that are lived and experienced bodily and
sensuously. Museum exhibits, public music performances, sports, art
festivals - these events and spaces are truly immediate, which is
to say that they are lived bodily by those that participate in and
produce them. While media might be involved, these phenomena are
wholly different from broadcast mass media objects. This book, The
Politics of Cultural Programming in Public Spaces, interrogates
these events and spaces in order to discover - and recover - the
ways in which they affect subjectivity. We offer this not in lieu
of interrogations of our heavily mediated world, but as a reminder
that public spaces and public events still matter to millions of
people worldwide. To this end, this collection groups together two
seemingly different objects: events and institutions. Cultural
events, such as festivals, protests, and concerts, are often
considered one-time phenomena. Even events that are annual are seen
as relegated to a brief period of time. Institutions, such as
museums, are seen as more permanent, even timeless. Yet both are
caught in complex political and economic webs, and both mutate
through time as various constituencies struggle over their uses and
meanings. Short-term events persist in cultural memory through news
reports, eyewitness accounts, and documentaries. Museums and
exhibits, for all their persistence, often undergo turnover in
personnel and subsequently are sites of shifting political and
cultural mores. Moreover, since this book deals with cultural
programming in public spaces, all of the objects considered here
are seen as intimately tied to heterogeneous geographical/political
spaces. Seen in this light, the distinction between, say a book
festival and a sculpture garden, is more arbitrary than helpful. In
the final analysis, no object is free of the web of determinations,
and the essays in the book explore the ramifications of this fact.
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