Articoli taggati con ‘cultural institutions’
Price management. Working on the supply could be our chance
It is not easy to establish the admission price to museums and monuments. Different cultures suggest singular methods at this matter. Although the global scenario tends to allocate to goods a specific price which is directly commensurate to its value, both dimensional and qualitative, this concept is inapplicable in the economy of culture. This subject takes care of assets of immeasurable value, which represent a heritage of humanity. However, people do not think that this patrimony could in some way generate a profit. Cultural institutions stand as the richest and poorest at the same time. In fact is clearly evident the deep gap they have between the value of their heritage and their disposal money. The majority of the countries charges visitors with a fixed entrance fee, but the price of the ticket is just a lump sum.
Do the arts dream of society? The secret war of languages
Whenever I think, speak or write about the arts the crucial knot of my analysis is knowledge. Of course emotion is important, as well as some intellectual pride, but knowledge gives the flavour to the whole system. It is well rooted in the dramatic urgency that leads single creative artists to craft their works: if they were able to display their sentiments and views in an ordinary way – through plain spoken language, for example – they would not need any kind of expressive substitution, and their discourse should not need to rely upon powerful semantic channels able to convey it to its potential (even not desired) recipients. Knowledge is also important in the growth of creative tendencies, artistic and cultural groups, and all the social clusters advocating the rise and the consolidation of views, styles, techniques and all the methodological tools that can define creative waves. This normally occurs as a response to an insufficient conventional knowledge, in any case to push the threshold of language ahead. Whether it is only innovation (along the path) or revolution (against the path itself) its language wants to show, not without some surprise or even some repugnance, that the world needs new words, new concepts, possibly new truths.
An overview of the art sector
The art sector has a network structure, where actors operate in relationship with each other. But one must points out the fact that one individual can act in different roles or perform the tasks of various actor types.
How web presence strategy can help museums to be a digital breeding ground for innovative communication
This article aims to understand if an efficient museums’ online presence can strategically impact on and improve their promotion and the way they are perceived by potential visitors. Visitors can engage and support a museum more if they feel like they had a part in providing feedback or have ownership in something because the feedback they gave was implemented. Through digital strategies, used as a bridge to get in touch with people from all over the world, cultural institutions can engage the audience in a deeper emotional way.
The challenging walk to digitization
The massive use of digital tools and technological devices requests a serious reflection upon the role played by culture in our society. Obviously, the black and white scheme does not work any more in a context where the long-established opposition between the comfort of the well-known processes and the uncertainty of the future scenarios has been knocked down by the notion of complexity. The so-called “digital revolution” represents a multi faceted phenomenon that has enemies and supporters who fight a daily battle over culture’s value. The former is used to predict the end of traditional newspapers, books, movies, music and so on, describing a desolate landscape of ignorance with no space for cultural and creative products and practitioners. The latter imagines the coming of the golden age of cultural contents which finally will be open and accessible to all for free. In between these two extremes, a wide range of intermediate points of view make possible those small and big changes that – considered as a whole – contribute to the contemporary structure of our analogical and virtual communities.
Children and cultural policies in Europe
Today, children are a main target for many cultural institutions. There is no museum that does not devote space and activities for children and, more recently, also concert halls, orchestras and opera houses have opened their doors to the young public and to families.The paper intends to explore how cultural policies are dealing with young citizens and attempts to trace an overview of cultural policies and tools in Europe targeting children.
Does Culture Need New Audiences? Absolutely Yes!
In a time of austerity, audience development represents a fundamental aspect which should be taken into account. In the traditional business sectors, the demand side has always played a key role in order to predict and satisfy a huge range of needs – sometimes real, but more often market-oriented. On the contrary, in the Italian cultural realm we are witnessing a growing gap between the supply of products and services and the demand side. An excessive self-referential cultural system, together with a low attention to cultural audience’s requests and desirers, are at the same time cause and effect of a static perception of cultural phenomena. As Lyn Gardner noted in a recent Guardian blog, cultural organisations are afraid of asking people what they really want, transforming the relationship with the audience into a boring marriage of convenience. In this respect, if cultural institutions will continue perceiving themselves as locked places specifically dedicated to the upper classes of society, they will be doomed to forget their primary functions such as education and research.
