Saturday, June 16, 2007
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photo Greetings from the Norwegian Arctic
Hi Road Traveling With
for sending me - and others - information for cultural affairs in Valparaiso. I hope you continue to do so.
Greetings from the Norwegian Arctic
Nedberg, Audhild 
Hi Road Traveling With
for sending me - and others - information for cultural affairs in Valparaiso. I hope you continue to do so.
Greetings from the Norwegian Arctic
Nedberg, Audhild
64.941*(yg Zc-16.4)/(wa Xt Yg Zc)
impertinence of the State's relationship with cultural * Mural painting policy
By Richard Muñoz Ojeda
Recent history tells us that before the issue of cultural dictatorship flowed more naturally, theaters filled, there was no VAT on books, direct appropriations, and even there the state through Quimantú editorial distributed books everywhere and a very low cost.
During the 17 years of darkness, speak of the culture was like talking of Labour rights for employers. It canceled all manifestations, whether by the death of artists, for their persecution or that they left the country seeking to save their lives and continue their artistic and cultural development.
The only expressions clearly validated were those of traditional sense, country or, on the other hand, the cultivation of an artistic elite. Only in the second half of the '80s, began to appear signs of culture under the umbrella of fighting against the dictatorship and where it was much harder to silence these voices.
With the advent of the Coalition to power in the '90s, born timidly National Development Fund for the Arts, Fondart, who worked for 10 long years plagued by criticism and reluctance on the part of artists and cultural managers, who vilified the funding mechanism, arguing that always rested with them, that resources were scarce and were not ready to embrace the creative process to a rational form, the project (see box).
In this sense, Justo Pastor Mellado said that "the model of the form installs an implicit conceptualization ritualized subordination to the project design. This may be more or less serious according to the areas in which you are applying. The state only from the power forms management, defines the limits of creation, establishing the triangle proponent of Goals-Fundamentals-Overview. "
However, over the years by artists and not therefore have been fashioned after this system and have taken unusual preconceived experts value projects, which boast saying that a coherent project is an approved project.
The bottom
since 2004 is established in Chile's new cultural institutions that had initially maintained the same ominous acronym of funding, Fondart, but in the short go, the picture became clear to the authorities and decided to include the whole cultural package under the concept of "cultural backgrounds" that brings together all the scaffolding of possible applications and areas of cultural expression.
However, fundamental problems still remain and are related to the insistence of speaking of "cultural industry", which although they want to apply to music, film and book, these parameters would not be comparable to regions.
Cultural Industry The concept was born in the 40s in a critical text of the Frankfurt School, Adorno and Horkheimer, who railed against what he wanted to think of culture as a commodity. "Why humanity instead of reaching a truly human state, is sinking into a new form of barbarism " [1] .
While these cases may appear to some prejudice, the fact is that if we speak of Industry, follow a series of steps for the product, artwork or other expression, have a legitimate route, ie, must be respected a particular value chain and to not respect it, you break the chain that is ultimately what happens today.
Well, first is funding the development, but not put on the same scale distribution or "circulation" as he likes to call this process Ignacio Aliaga, one of the highest standards of the Council National Culture and today has a privileged place in the Cultural Center Cineteca Palacio de La Moneda. Timidly
has been introducing a media item when submitting a project but finally completed work does not "circulate" enough and how Vanessa Grimaldi said in his article "Who hit bottom?" Invisible No Town 16, the works appear until it pays the local theater, but from then on it is not known what happens to her. Moreover, the Board of Culture and authorities have been detected in the speech for a while this great fallacy, but in particular do little or nothing to solve it and, quite the contrary, encroach on the minimum gestures that were beginning to consolidate, I mean the abrupt end of the magazine "Pause" which dealt, in its format, to circulate the winning works by different cultural backgrounds.
more vehement, "the industry sets an exemplary cultural bankruptcy of the culture, the decline in the commodity. The transformation of the cultural act abolished its critical power value and dissolved in it traces of an authentic experience " [2] .
today that is outlined in the cultural field, should be the market to regulate financial flows, regulating and ordering relations, supply and demand.
All, of course, in the context of understanding the cultural product as a commodity to be traded on the market to the highest bidder. Cristian Galaz believes that guidance on the issue of resources, inefficient market has shown up to say what is better [3] .
In the same magazine "Pause", George Yúdice-one of the great ideologists of the "cultural industry", states that it should emphasize the key role of State in the promotion of cultural industries through subsidies, credits, incentives tax, bank accounts and other mechanisms satellite, in addition, to protect national culture and local trading For example, exceptions and / or cultural reserves in the World Trade Organization, free trade agreements. Does the Chilean government this concern? [4] .
Self-criticism: "It should be noted that while the National Fund for Culture and the Arts, is essential for the allocation of public resources for culture and the arts, not enough to adequately discharge the duties of the State in this area " [5] . Carlos Cabezas
confirms what was mentioned by former presidential adviser on culture and states in relation to Fondart that "I see that many jobs have been saved and are not displayed anymore. I think the assignment on circulation of works should have a broader view " [6] .
finished with these words of former Minister of Culture José Weinstein: "I see that even in the case of disciplines that if you can keep as cultural industries need to keep a significant state support, or I do not think that the book or in the cinema or on disk can withdraw state support. I can not imagine any part of the arts and culture left to the market, you have to think that they must support themselves and do not think that is possible " [7] .
In short: How relevant is your relationship with state agents cultural, not knowing what happens to the resources and interact with other cultural agents only through this mechanism? [8] .
(insert)
Project as a mechanism of power
We note that the reality we live shows us that power in this globalized world is focused on who ultimately holds it.
In our "democracy" the power lies largely in the government, according to a survey of assessment made by the UNDP report in 2004 about this report, "persist in Chile institutional and cultural burdens that reduce the democratic capacity of society. Some are in favor of removal, and others are pending. Democracy is the result of self-determination and social power. There can be no social power, in that it requires human development without a solid democracy. "Do we have a strong democracy?
other hand, the state has installed this "device" (project) as Foucault would say, by way of interference have to apply, ultimately, power. Thus, the French philosopher, you see the truth as power, rather than as standard, ie, knowledge - in this case the dynamics of the project-has value. Jesús Martín Barbero
gives us signs of how in the world of power is made all coercive speech, and that in one way or another, produce and binding enforcement mechanisms (such as projects or forms thereof).
In this sense, Justo Pastor Mellado, has a very critical stance on the subject: "The efforts of the current administration of the agency to make more transparent the procedures for nomination, due to the perception that the authority has had about his growing lack credibility. Surprisingly, the online application set a range of demand that allowed the rationalization of the proposals and their attachment to a format that, strictly speaking, determined epistemologically effective tolerance of them. "
rope operates under the ideology of "social and cultural impact," which appears as an unwritten condition of their need, "says Mellor.
* This item may be defined as the presentation of the thesis work of Master in Cultural Management of the author, where he elaborates on the subject.
[1] Culture as a consumer industry, his criticism at the School of Frankfurt, Joseph A. Zamora.
[2] Industry (s) Cultural (s) Genesis of an idea. And Jean Marie Mattelart Piemme. Oscar Lucien translation. Humanitas. Thematic Portal Humanities.
[3] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[4] See Interview with George Yúdice. Pause Journal of the National Council for Culture and the Arts. Number 6 January 2006.
[5] See Squella Augustine. Rider in the rain, Culture in the Government of Lagos. Page 139.
[6] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[7] interview published in the Journal Culturarte, by Carlos Morales, the former minister.
[8] The same case can be replicated to other government departments where they provide funds and monitors are not the result, but see the example of Chiledeportes.
Recent history tells us that before the issue of cultural dictatorship flowed more naturally, theaters filled, there was no VAT on books, direct appropriations, and even there the state through Quimantú editorial distributed books everywhere and a very low cost.
During the 17 years of darkness, speak of the culture was like talking of Labour rights for employers. It canceled all manifestations, whether by the death of artists, for their persecution or that they left the country seeking to save their lives and continue their artistic and cultural development.
The only expressions clearly validated were those of traditional sense, country or, on the other hand, the cultivation of an artistic elite. Only in the second half of the '80s, began to appear signs of culture under the umbrella of fighting against the dictatorship and where it was much harder to silence these voices.
With the advent of the Coalition to power in the '90s, born timidly National Development Fund for the Arts, Fondart, who worked for 10 long years plagued by criticism and reluctance on the part of artists and cultural managers, who vilified the funding mechanism, arguing that always rested with them, that resources were scarce and were not ready to embrace the creative process to a rational form, the project (see box).
In this sense, Justo Pastor Mellado said that "the model of the form installs an implicit conceptualization ritualized subordination to the project design. This may be more or less serious according to the areas in which you are applying. The state only from the power forms management, defines the limits of creation, establishing the triangle proponent of Goals-Fundamentals-Overview. "
However, over the years by artists and not therefore have been fashioned after this system and have taken unusual preconceived experts value projects, which boast saying that a coherent project is an approved project.
The bottom
since 2004 is established in Chile's new cultural institutions that had initially maintained the same ominous acronym of funding, Fondart, but in the short go, the picture became clear to the authorities and decided to include the whole cultural package under the concept of "cultural backgrounds" that brings together all the scaffolding of possible applications and areas of cultural expression.
However, fundamental problems still remain and are related to the insistence of speaking of "cultural industry", which although they want to apply to music, film and book, these parameters would not be comparable to regions.
Cultural Industry The concept was born in the 40s in a critical text of the Frankfurt School, Adorno and Horkheimer, who railed against what he wanted to think of culture as a commodity. "Why humanity instead of reaching a truly human state, is sinking into a new form of barbarism " [1] .
While these cases may appear to some prejudice, the fact is that if we speak of Industry, follow a series of steps for the product, artwork or other expression, have a legitimate route, ie, must be respected a particular value chain and to not respect it, you break the chain that is ultimately what happens today.
Well, first is funding the development, but not put on the same scale distribution or "circulation" as he likes to call this process Ignacio Aliaga, one of the highest standards of the Council National Culture and today has a privileged place in the Cultural Center Cineteca Palacio de La Moneda. Timidly
has been introducing a media item when submitting a project but finally completed work does not "circulate" enough and how Vanessa Grimaldi said in his article "Who hit bottom?" Invisible No Town 16, the works appear until it pays the local theater, but from then on it is not known what happens to her. Moreover, the Board of Culture and authorities have been detected in the speech for a while this great fallacy, but in particular do little or nothing to solve it and, quite the contrary, encroach on the minimum gestures that were beginning to consolidate, I mean the abrupt end of the magazine "Pause" which dealt, in its format, to circulate the winning works by different cultural backgrounds.
more vehement, "the industry sets an exemplary cultural bankruptcy of the culture, the decline in the commodity. The transformation of the cultural act abolished its critical power value and dissolved in it traces of an authentic experience " [2] .
today that is outlined in the cultural field, should be the market to regulate financial flows, regulating and ordering relations, supply and demand.
All, of course, in the context of understanding the cultural product as a commodity to be traded on the market to the highest bidder. Cristian Galaz believes that guidance on the issue of resources, inefficient market has shown up to say what is better [3] .
In the same magazine "Pause", George Yúdice-one of the great ideologists of the "cultural industry", states that it should emphasize the key role of State in the promotion of cultural industries through subsidies, credits, incentives tax, bank accounts and other mechanisms satellite, in addition, to protect national culture and local trading For example, exceptions and / or cultural reserves in the World Trade Organization, free trade agreements. Does the Chilean government this concern? [4] .
Self-criticism: "It should be noted that while the National Fund for Culture and the Arts, is essential for the allocation of public resources for culture and the arts, not enough to adequately discharge the duties of the State in this area " [5] . Carlos Cabezas
confirms what was mentioned by former presidential adviser on culture and states in relation to Fondart that "I see that many jobs have been saved and are not displayed anymore. I think the assignment on circulation of works should have a broader view " [6] .
finished with these words of former Minister of Culture José Weinstein: "I see that even in the case of disciplines that if you can keep as cultural industries need to keep a significant state support, or I do not think that the book or in the cinema or on disk can withdraw state support. I can not imagine any part of the arts and culture left to the market, you have to think that they must support themselves and do not think that is possible " [7] .
In short: How relevant is your relationship with state agents cultural, not knowing what happens to the resources and interact with other cultural agents only through this mechanism? [8] .
(insert)
Project as a mechanism of power
We note that the reality we live shows us that power in this globalized world is focused on who ultimately holds it.
In our "democracy" the power lies largely in the government, according to a survey of assessment made by the UNDP report in 2004 about this report, "persist in Chile institutional and cultural burdens that reduce the democratic capacity of society. Some are in favor of removal, and others are pending. Democracy is the result of self-determination and social power. There can be no social power, in that it requires human development without a solid democracy. "Do we have a strong democracy?
other hand, the state has installed this "device" (project) as Foucault would say, by way of interference have to apply, ultimately, power. Thus, the French philosopher, you see the truth as power, rather than as standard, ie, knowledge - in this case the dynamics of the project-has value. Jesús Martín Barbero
gives us signs of how in the world of power is made all coercive speech, and that in one way or another, produce and binding enforcement mechanisms (such as projects or forms thereof).
In this sense, Justo Pastor Mellado, has a very critical stance on the subject: "The efforts of the current administration of the agency to make more transparent the procedures for nomination, due to the perception that the authority has had about his growing lack credibility. Surprisingly, the online application set a range of demand that allowed the rationalization of the proposals and their attachment to a format that, strictly speaking, determined epistemologically effective tolerance of them. "
rope operates under the ideology of "social and cultural impact," which appears as an unwritten condition of their need, "says Mellor.
* This item may be defined as the presentation of the thesis work of Master in Cultural Management of the author, where he elaborates on the subject.
[1] Culture as a consumer industry, his criticism at the School of Frankfurt, Joseph A. Zamora.
[2] Industry (s) Cultural (s) Genesis of an idea. And Jean Marie Mattelart Piemme. Oscar Lucien translation. Humanitas. Thematic Portal Humanities.
[3] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[4] See Interview with George Yúdice. Pause Journal of the National Council for Culture and the Arts. Number 6 January 2006.
[5] See Squella Augustine. Rider in the rain, Culture in the Government of Lagos. Page 139.
[6] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[7] interview published in the Journal Culturarte, by Carlos Morales, the former minister.
[8] The same case can be replicated to other government departments where they provide funds and monitors are not the result, but see the example of Chiledeportes.
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