By J. P. Singh (eds.)
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Extra info for International Cultural Policies and Power
A notion of capital (in whatever form) as something that draws its value from truly shared rather than compelled evaluative frameworks can be traced in Robert Putnam’s work on social capital (2000; 2003). Social capital, according to Putnam, is an outcome of all sorts of associational activity. Members of country clubs and members of bowling leagues both build social capital. Different associations may result in different economic or social outcomes for individuals and groups. However, in making an argument about the importance of social capital to democracy, Putnam focuses on the aspects of social capital that have positive societal outcomes even when social capital is unevenly distributed.
Multiple forms of information processing may take place during a single art production process. Artistic production processes often emphasize non-linear rather than linear planning approaches, make outcomes less predictable statistically. And, increasingly, artworks should be treated as both goods and services. From the perspective of those involved with the arts, this shift in the nature of art–state relations joins other transformations of the functions of art in society, resulting from informatization, that include its growing importance from an economic perspective (Braman, 1996a), contributions to phase transitions of the state as a complex adaptive system (Braman, 1996b), and new types of both threats to the right to create (Braman, 1998) and policies to promote or shape art (Braman, 1994).
Habermas (1989) conceived the public sphere as an Carole Rosenstein 25 open commons for rational discourse and deliberation on key issues of civic concern and topics of enlightened interest. But analysts of cyberspace and mass media have shown that contemporary public spheres are restricted in a variety of ways: by communications and media policy, privatization and consolidation, lack of access to technology and education, dominant linguistic practices, nested networks of participants. Because these restricting policies and forces also affect culture, they have grown central to cultural policy studies.