科技助力非遗 带来无限可能

当今时代,科技迅猛发展,文化与科技的融合日益紧密。原本非遗传承给人们最直观的感觉是“老”和“旧”,但在科技手段的赋能之下,不少非遗秒变成为新风尚。为了让年轻人更多地了解非遗文化,一些非遗项目采用科技手法赋予传统技艺新国潮的内核,使其表达、记录和传播的方式更为现代和多元。     

The art museum in Africa – a utopia desired?

In this paper, I argue that museums in general are utopias, “no-places” in which categorisations of objects can be opened up for destabilisation. Following a discussion of the ways in which the categories “material culture” and “art” are reflected in museums, I argue that once the museum is transposed to Africa, its function as a space in which heritage is maintained through the conservation and preservation is thrown into disarray. I argue further that this is particularly the case with the most utopian of museums, the art museum. I argue that most African nation states do not have national art museums, and offer an argument about why they have museums of “arts and cultures” instead. I end with an analysis of the history and situation of art museums in South Africa and possibilities for alternative ways of conceiving the art museum as an inclusive rather than exclusive space.     

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.     

Maintenance work: Interrogating the sociology of art

The following article explores the different ways art sociologists investigate art that is based in the participatory arts. The aim is to shift the empirical focus to the art practice, which speaks for itself, and to place the work of the artist and all who cooperate or collaborate in the making of the artwork at the center of sociological analysis. By allowing the artist to speak fully about their work, art sociologists can uncover new social and cultural phenomena and better understand the different motivations underlying art-making. The following literature highlights the recent tendencies in the sociology of art, explores the “social turn” in art and presents different sociologists who focus on the art practice and the art’s voice. For further development of the field, I suggest the sociology of art needs to catch-up with the recent tendencies in art by placing the empirical focus on participatory art practices that will not only give us a better understanding about the intricate actions taking place in the art making, but it will also illuminate new layers of social life that are hidden. To conclude, I suggest that sociologists engage with participatory-based artists to enhance sociology through a public sociology of art.     

Sense‐making in Taiwan's tea art ritual

This paper analyzes Taiwan's contemporary public tea gatherings from the perspective of “sense-scape,” the cultural world of sensory experiences. Performing elegance by way of tea brewing, bodily gestures and movements, costumes, utensil arrangements, and spatial design represents what is innovative about Taiwan's tea art culture, often referred to as “literati tea.” As the fragrance and flavors of tea, light and shadows, sounds and music, visual presentations of utensils, and space, as well as the general atmosphere of these events are captured by the senses and organized by the emotions, they inform us about who we are and who the other is. Despite its Japanese cultural infusion and Chinese cultural legacy, which have always complicated claims of a truly Taiwanese origin, Taiwan's tea art has been eagerly adopted by mainland Chinese tea communities since the late 2000s. That a local practice and invented tradition strongly identified with Taiwan has been embraced as “traditional” cultural practice in contemporary China presents a paradox that deserves our attention.     

Surveillance as cultural practice

This special section of The Sociological Quarterly explores research on “surveillance as cultural practice,” which indicates an orientation to surveillance that views it as embedded within, brought about by, and generative of social practices in specific cultural contexts. Such an approach is more likely to include elements of popular culture, media, art, and narrative; it is also more likely to try to comprehend people's engagement with surveillance on their own terms, stressing the production of emic over etic forms of knowledge. This introduction sketches some key developments in this area and discusses their implications for the field of “surveillance studies” as a whole.     

Jews in Belorussia's judicial system, 1944–1953

The relationship and cultural transfer between Jews and Belorussians are still rather unexplored topics. This article aims at analysing a historical process neglected by the historians of both the Jewish people and the Soviet Union: the “Belorussianisation” of the Jewish people in the interwar period. It proposes to scrutinise the impact of the nationalities policy on the crystallisation of a Belorussian‐Jewish identity. On the one hand, it is obvious that Belorussian leading political figures, influenced by Jewish intellectuals, proved to be very favourable to the development of the Jewish culture and to a Jewish‐Belorussian rapprochement. On the other hand, this study suggests that the achievements of the Soviet nationalities policy with regard to the “Belorussianisation” of Jews were ambiguous. In the three fields studied – education, scholarship and art – the results appeared to be mitigated and paradoxical. The “indigenisation” policy led to a separation of the Jewish and Belorussian educational system but stimulated the flourishing of a joined Belorussian‐Jewish scholarship. In contrast, the most profound and fruitful encounter between the Jewish and Belorussian cultures occurred in a domain, the visual arts, where the Belorussian government did not set a clear policy of rapprochement.     

Negotiating and Practicing Performance: An Ethnographic Study of a Musical Open Mic in Brooklyn,New York

This qualitative study explores amateur musicians and their performance negotiations at a weekly “open mic” in Brooklyn, New York. These musicians and their performance negotiations are juxtaposed against the larger cultural structures of musical scenes and musical art worlds. Opportunities and pathways are few for amateur musicians to practice and negotiate the craft of performance. This study examines the negotiation of the presumed boundaries between musical practice and performance within an open mic scene constructed by and for amateur musicians who are marginal to the larger musical art world.     

“Changing the world”: epistemic communities,and the democratizing power of science

This paper puts forward the argument that science can not only “save the world” but also “change the world.” While much has been written about the evident power of science to bring politicians to change their policies in order to “save the world,” e.g. the environment, less attention has been drawn on the hidden power of science to “change the world,” i.e. to frame and shape political orders and constituencies so that they get more democratic in the deliberative sense of the term, both at international and domestic scales. The paper sheds light on how science can induce democratizing effects in domestic constituencies. It can do that by the intermediary of three distinct enumerative mechanisms: “teaching,” “empowering,” and “taming.” These mechanisms, it is argued, are especially likely to become effective in those transnational institutional settings linking scientists and technical experts on the one side, with political and societal actors, on the other side, or in what Haas calls “epistemic communities.”     

Building alliances: Defending immigrant rights in rural Oregon

Political participation in the rural United States has often been narrowly defined within the confines of electoral politics. Increasingly, participants in rural US social movements have highlighted the shortcomings of democracy defined purely in terms of electoral politics in favour of a more participatory model of politics that focuses on the social and cultural rights of those who are often formally or informally excluded from the liberal definition of citizenship. This article highlights the process of claiming rights as cultural citizens in a political context where there are efforts through the formal political system—usually in the form of ballot referendums at the state or local level—to further limit the rights of specific constituencies such as gay, lesbian and transgendered individuals or immigrants. A second focus of this article is on the dynamics of solidarity and alliance building between different kinds of social movements acting in concert to push for cultural rights and then formal rights for each other's constituencies. The article specifically seeks to illustrate how two organizations that share quite different constituencies and agendas can effectively collaborate in regional and state-wide campaigns in the rural state of Oregon, while also honestly discussing their differences and difficulties in working together.     

Vygotsky's Stage Theory: The Psychology of Art and the Actor under the Direction of Perezhivanie

This article reviews Vygotsky's writings on arts (particularly logocentric art including the theater) and emotions, drawing on his initial exploration in The Psychology of Art and his final considerations set forth in a set of essays, treatises, and lectures produced in the last years of his life. The review of The Psychology of Art includes attention to the limits of his analysis, the mixed Marxist legacy that is evident in the book, the cultural blinders that affect his vision of the relative value of different artistic productions, the content of what he elsewhere refers to his “tedious investigations” into extant views, and the gist of what he considers to be the essence of art. Attention to his late work falls into two areas: Emotion in formal drama and emotion in everyday drama, each of which involves perezhivanie, roughly but incompletely characterized as emotional experience. The article concludes with an effort to situate Vygotsky's writing on art and emotion both within his broader effort to articulate a comprehensive developmental psychology of socially, culturally, and historically grounded individuals and social groups, and within scholarship that has extended and questioned his work as his influence has expanded beyond the clinics of Soviet Moscow.     

Ai Weiwei’s Fairytale: a unique social engagement

Abstract

Art as a social engagement in the West can be dated back to the history of avant-garde art starting from the end of nineteenth century. Rooted in his own cultural background, Chinese artist Ai Weiwei’s socially engaged art project “Fairytale is more complex than the avant-garde strategy. The work Fairytale established a structure – “1=1,001”. That means on the one hand, the participants can be easily regarded everywhere in Kassel as 1,001 mobile works of art. All of them contribute to an entire work. In other words, the 1,001 people consist of one work. On the other hand, everyone is dealing with their personal issues independent of art. In this sense, the entire work can be divided into 1,001 personal experiences. This structure is based on three principles of Chinese philosophy Taoism – the duality between Yin and Yang, the dynamism between Yin and Yang, and the concept of “uselessness”. Positioning Fairytale within both Western theoretical as well as Chinese philosophical contexts, this essay is to analyze how Chinese philosophy shaped Ai’s strategy of social engagement and his cultural identity – Chineseness.     

Beyond the “Toolkit Approach”: Arts Impact Evaluation Research and the Realities of Cultural Policy‐Making

This article presents a reflection on the possibility and potential advantages of the development of a humanities‐based approach to assessing the impact of the arts, which attempts to move away from a paradigm of evaluation based on a one‐size‐fits‐all model usually reliant on empirical methodologies borrowed from the social sciences. A “toolkit approach” to arts impact assessment, as the article argues, demands excessive simplifications, and its popularity is linked to its perceived advocacy potential rather than to any demonstrable contribution it may make to a genuine understanding of the nature and potential effects of artistic engagement. The article also explores the relationship between research, advocacy and the actual realities of policy‐making with a view to proposing a critical research agenda for impact evaluation based on Carol Weiss’s notion of the “enlightenment” function of policy‐oriented research. In particular, the article attempts to highlight the contribution that cultural policy scholars working within the humanities could make to this area of policy research.     

Cultural Hegemony of Singapore among ASEAN Countries: Globalization and Cultural Policy

Abstract: Singapore had been called a Cultural Desert since its independence in 1965, but from the beginning of 1990s, there has been a significant change. The Singapore Government started to call their city a “Global City for the Arts”, making numerous cultural policy changes. They also worked on various cultural experiments to establish their cultural leadership or hegemony among Association of South East Asian Nations (ASEAN) countries. The development of arts policies, cultural industries and people's positive commitment towards cultural exchanges are examples of this change. Singapore therefore is now playing the role of the cultural hub among the ASEAN countries. As an example of this, the present study discusses “Esplanade”, which opened as a huge cultural complex in October 2002. Then the paper will also discuss both bright and dark sides of the cultural development in Singapore. As a conclusion, this paper discusses the possibility of the cultural contribution of Singapore to ASEAN countries, in spite of having serious epistemological discontinuity among ASEAN.     

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Although the U.S. population is becoming more racially and ethnically diverse, research indicates that minority participation in the arts continues to decline. This article addresses the racial disparity of public art museum attendance by examining the role of the art museum curator and the process by which concepts of race are reproduced within the space of the public art museum. Utilizing Bourdieu's theories of cultural reproduction, social space, and symbolic power as a preliminary framework of inquiry, we examine the concept of whiteness as privileged social construct. Through face‐to‐face in‐depth interviews with museum curators, we investigate the means by which the dominant cultural narrative of whiteness is maintained through the preferences, decisions, and social interactions of curators. We draw upon critical white studies, a part of critical race theory, to underline the manner in which whiteness presents itself as a position of dominance. Our findings show that whiteness is maintained through the process of exclusion by presenting the white cultural narrative as both ordinary and invisible.     

Cultural journalism—Journalism about culture

This article is an introduction to “cultural journalism,” a specialised type of professional journalism that covers and debates the broad field of arts and culture. The article points to some of the research traditions that have engaged with the news media's coverage of arts and culture and inspired contemporary cultural journalism research, among them cultural sociology and the sociology of journalism. Furthermore, the article outlines the institutional roles and epistemology of cultural journalism, which in several respects differ from dominating normative conceptions of Western journalism. At the same time, the article shows that contemporary journalism shares many similarities with the approaches found in culural journalism, such as interpretation, emotionality, and subjectivity. Finally, the article points to important future paths for cultural journalism research, including comparative perspectives and the political dimensions and potentialities of cultural journalism.     

Participatory art within,against and beyond financialization: benign pessimism,tactical parasitics and the encrypted common

This essay examines three critical artists who orchestrate participatory spectacles and experiences as a means of challenging neoliberal financialization, an overarching paradigm and process that is reshaping economics, politics, society and culture. Critical art, I argue, can offer us a particularly insightful vantage point on these transformations. This is not, as it is usually supposed, because art has some lofty transcendental perspective above society; rather, it is precisely because art is already so deeply integrated into finance and financialization. Not coincidentally, “participation” appears as a keyword for the restructuring of both art and finance today, which I argue is key to understanding the challenges, limits and potentials of even avowedly critical participatory art, with lessons for cultural production more broadly. In order to analyse and draw broader lessons from the three artworks in question, I identify each with a strategic paradigm: benign pessimism, tactical parasitism and the encrypted common. These strategies, I argue, emerge within, against and beyond financialization and can help complicate our approach to its complex cultural politics.     

Max Weber's Science of Composition

Starting from the recently translated biography of Max Weber by Joachim Radkau, this essay re‐evaluates Weber's “science of reality” in relation to his personality, the cultural context of the early twentieth century, and the position of Weber's thought in the sociological canon. The argument progresses through sequentially enlarged analyses, which propose that Weber's general style of thinking is a type of dissonant composition that places emphasis on the many relationships between cultural reality and the concepts derived from it, and not as much on its content. The logic of such a compositional approach to reality is based on similar principles found in sound and music, which Weber in fact uses in a more latent as well as more active form, to pursue his aim of a style of thinking as “aesthetics of dissonance”. The latter is a sort of “methodological wedge” that pries open the many layers of reality. As such, Weber's “science of reality” is an early “classical” example of a recent and much needed call for a social science as the “art of listening”.     

The Mechanisms Influencing Active Arts Participation: An Analysis of the Visual Arts,Music, and the Performing Arts

The aim of this article is to gain insight into the factors correlated with active arts participation. Drawing on the cultural reproduction theory and the cultural mobility model, we assess the relative effects of level of education and art education versus social background and focus on possible interaction effects between them. We thereby query if and to what extent art education programs and parental milieu can account for differences in participation according to level of education. Results based on stepwise logistic regression analyses on representative population data for Flanders (N = 3,146) offer a mixed picture. Although we find clear effects of social background on the odds of active arts participation, net effects of art education prove more substantial. However, the context of art education clearly matters: for most of the art forms considered, only out‐of‐school art education shows net effects, while in‐school art education has no net effects. Furthermore, we find how the effects of level of education on active art participation are equally attributable to parental milieu and to art education programs. Finally, four significant interaction effects are found corroborating the cultural mobility model. Results are discussed in the light of both theorems and routes for further research are suggested.     

Rainbow days

Rainbow Days, Inc., an organization providing curriculum-based support groups for children and youth, discovered early that visual and performing arts are highly effective mediums for reaching out to children. Visual and performing art expression is a safe way for children to release tension, anxiety, and feelings, instead of engaging in negative or self-defeating behaviors. In addition, visual and performing arts are a universal language, providing an alternate way for children to express themselves and ultimately helping them grow up healthy, principled, and caring. The original form of the article “Rainbow Days” was previously published in Resiliency in Action magazine. Winter 1998. For more information on the Family Connection Program, contact Charles Eldridge at (214) 887–0726.