DOCSLIB.ORG

Cannabis@Fests Forum Sponsor Deck @Festforums @Festforums OVERVIEW @Festforums @Festforums @Festforums16® @Festforums

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cannabis@Fests Forum Sponsor Deck @Festforums @Festforums OVERVIEW @Festforums @Festforums @Festforums16® @Festforums WHERE FESTIVALS CONVERGE Cannabis@Fests Forum Sponsor Deck @festforums @festforums OVERVIEW @FestForums @FestForums @FestForums16® @FestForums FESTFORUMS SantaBarbara 2016 NYC 2017 750 350 Attendees 120 60 Speakers Robert Richards (Glastonbury Music Festival) & Michael Lang (Woodstock) 90 40 FestForums® Santa Barbara (Nov 16-18, 2017) Sponsors is an interactive conference and networking event for music, film, food + beverage festival organizers. Addressing cutting-edge technology, 60 20 sponsorships, talent,ticketing, scheduling, Exhibitors merchandising, operations, sustainability, charitable work, innovation and safety, FestForums® brings together festivals and events of all sizes for collaboration and professional development. FestForums® in Santa Barbara culminates with "Best of the Fests," an annual festival award ceremony recognizing North America’s innovative festivals and industry leaders. festforums.com 2 Program: Weeding out what works at Festivals Mainstream events and festivals have now jumped into the cannabis world and incorporated marijuana into their “gardens,” infused their meals, as well as activated in other creative ways. Given the uncertain state of the law, the decision does not come without risks. Let’s hear how it played out in real time. Legal & logistical considerations when incorporating cannabis into your festival Permitting, ticketing, accepting funds, and where cannabis use and/or sampling can occur are all front and center when making the decision to bring cannabis into your festival. Our experts dissect and lay out the steps necessary to take in establishing a “risk- proof” cannabis event. Sponsorship - Show me the CANNABIS Money! The sponsorship money is flowing into the cannabis world, but for events there are many complicating factors: competing sponsors, how to receive sponsorship dollars, appropriate marketing, compliant activations and so much more… What do the Brands want from you? We assemble the top cannabis brands to give you the 411 on 420 sponsorships. You won’t want to miss this! Networking roundtables We want you to meet each other, network with our exhibitors and make your time with us worth your while! Where are we headed-playing it safe/taking risks! The industry is young (although the history of cannabis and festivals is not) and so we have assembled our team of experts to give insights into the best practices to incorporate cannabis into your event or festival in 2018. Keynote @festforums SPONSORSHIP OPPORTUNITIES @FestForums ® @FestForums SAN FRANCISCO OPPORTUNITIES • Official Registration Sponsor • $3500 Cannabis Panel (includes speaking slot andpass) • Opening Night Cocktail Party • $3000 Branded Cannabis Panel Sponsor • Sponsor Category Exclusivity (only applicable to certain categories) • $1500 Exhibitor Hall Space (comes w/ table + 2 chairs power & internet extra) • Welcome ReceptionLunch • Charging Station • Green Room Sponsor • AttendeeBags Sponsor + Bags • RFID Sponsor • Attendee BagInserts • AppSponsor • Email Marketing • Coffee/Tea Beverage Snack Break • Banner Ad onFestForums.com • Conference Chair one room all day • Keynote Sponsor • LanyardSponsor • BadgeSponsor • Custom proposals available • All sponsorships include 2 passes, logo & description on website festforums.com 5 @festforums @FestForums ATTENDING FESTIVALS / PRODUCERS ® *Partial List @FestForums MUSIC FOOD & BEVERAGE FILM Way Home Music & Arts (AC Entertainment) Pebble Beach & Los Angeles Food & Wine Festivals Sundance BottleRock Napa Valley Hawaii Food & Wine Festival San Francisco Int'l Film Fest Burning Man Atlanta Food & Wine Festival HOLLYWOOD SHORTS Austin City Limits Music Festival (C3 Presents) Austin Food + Wine Festival (C3 Present) Animaze Lollapalooza (C3 Presents) Music City Food + Wine Festival (C3 Present) San Francisco IndieFest Firefly (Red Frog Events) South Beach and New York City Wine & Food Festivals Catalina Film Festival Coachella (Goldenvoice/AEG) Charleston Food + Wine Going Green Film Festival EDC (Insomniac) Austin Food + Wine Festival New York Festivals Lockn’ Music Festival Music City Food + Wine Festival Tribeca Voodoo (LiveNation) Chicago Food + Wine Festival TIFF The Meadows Music & Arts Festival San Diego Bay Wine and Food Festival DOC NYC Ultra Music Festival Chicago Beer Classic (Red Frog Events) Eat Drink Films Woodstock ShamrockFest (Red Frog Events) California Film Institute Brooklyn Bowl Zinfandel Experience Bentonville Film Festival Dayglo Ventures America on Tap Beer Festival Seattle International Film Festival ESSENCE Festival Brew Ha Ha Beer Festival Mill Valley Film Festival Vans Warped Tour Santa Fe Wine & Chile Fiesta and the Taos Winter Wine Festival Austin Film Festival Brooklyn Hip Hop Festival Newport Beach Food & Wine Festival Maui Film Festival Outside Lands (Superfly) Mallea Food & Wine Newport Beach Film Festival Gathering Of The Vibes Festival Rocky Mountain Wine Festival Bay Area Drone Film Festival Okeechobee Music Festival Salinas Valley Food and Wine Festival Idaho Horror Film Festival SXSW Telluride Wine Festival Desert Rocks Film And Music Event Summerfest Rocky Mountain Wine Festival Hip Hop Film Festival NYC LA Pride Festival Mohegan Sun Wine Fest New Orleans Film Festival Camp Bisco Festival LUCKYRICE FestPicks SnowGlobe FOOD & WINE Classic in Aspen WOODSTOCK FILM FESTIVAL And many more… And many more… Hip Hop Film Festival And many more… festforums.com 6 @festforums BOARD OF ADVISORS @FestForums ® @FestForums “The diversity of the attendees is the key to the success of Festforums. It seems the attendees are as well curated as the panels..“ -Kevin Lyman Founder CEO VansWarped Tour festforums.com 7 @festforums @FestForums PAST SPEAKERS ® @FestForums Best of the Fests Awards Ceremony at FestForums Santa Barbara 2015, 2016, 2017 festforums.com 8 @festforums CONTACT @FestForums ® @FestForums For more information about FestForums contact: Stuart MacNaught, Co-Founder 401.835.8813 [email protected] Laurie Kirby, Co-Founder 310.993.4114 [email protected] festforums.com 11.
Load more

Recommended publications
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Taken by an Unknown 17-Year-Old Photography Student – Published Posthumously for the First Time in a New Limited Edition Publication, Woodstock Experience
    UNSEEN ARCHIVE OF WOODSTOCK IMAGES UNEARTHED Taken by an unknown 17-year-old photography student – published posthumously for the first time in a new limited edition publication, Woodstock Experience. London August 2009: A forgotten archive of photographs, taken at the Woodstock Music & Art Fair 40 years ago has been unearthed by UK-based limited edition publishers Genesis Publications. Taken by 17-year-old high school student Dan Garson, the archive has spent the last four decades in a basement, stored in a cardboard box. As well as images of the mud, rain, trampled fences, drugs, skinny dippers and eccentric festival goers that have made Woodstock so iconic, the archive features previously unseen shots of Jimi Hendrix, Joan Baez, Ravi Shankar, Arlo Guthrie and The Band in performance. Rona Elliot, the former entertainment correspondent for NBC!s Today Show, worked at Woodstock as a community relations officer and helped track down Dan Garson!s archive and researched his story. RONA ELLIOT: Dan!s remarkable photographs reveal an exceptional talent, fully formed at 17 years of age. His pictures provide a cohesive narrative of his own Woodstock experience. They demonstrate that he understood, perfectly, both where he was at that moment in time, and the culturally shifting spectacle he was recording. While Dan worked in the photo pit, shooting the musicians onstage, he separated himself from the other photographers. Rather than huddle together with the group, Dan stationed himself adjacent to the film crew. As a result, his images are both unfamiliar and fresh to the eye nearly 40 years after they were taken.
    [Show full text]
  • For Immediate Release
    FOR IMMEDIATE RELEASE presents A TESTAMENT TO THE SHEER JOY OF LIVING A LIFE OF SERVICE TO HUMANKIND AND OUR PLANET THE WAVY GRAVY MOVIE: SAINT MISBEHAVIN' RELEASES NOVEMBER 15 ON DIGITAL AND DVD An unforgettable trip through the extraordinary life of a poet, clown, activist and FUNdraiser “’Saint Misbehavin’’ is an unabashed love letter to the world that defies the cynicism of our age.” – The New York Times September 19, 2011 – “Some people tell me I’m a saint, I tell them I’m Saint Misbehavin’.” Poet, activist, entertainer, clown. These are a few ways to describe Wavy Gravy, an activist and prominent figure during the Woodstock era who continues to spread a message that we can make a difference in the world and have fun doing it! THE WAVY GRAVY MOVIE paints a moving and surprising portrait of his lifelong passion for peace, justice and understanding. The film features extensive verité footage and interviews with Wavy telling his own stories: from communal life with The Hog Farm, to his circus and performing arts camp, Camp Winnarainbow, to the epic cross-continent bus trip through Europe and South Asia that led to the founding of the Seva Foundation. Award-winning director Michelle Esrick weaves together this compelling film with rare footage from key events: Greenwich Village beat poets and folk music, Woodstock, non- violent protests, and many seminal moments of the ‘60s and ‘70s, and Wavy’s present day life. The Gaslight Café The year was 1958. The Vietnam War had just begun. Born as Hugh Romney, Wavy commanded the stage as a poet, comedian “tongue dancer,” and MC at The Gaslight Café in New York City’s Greenwich Village.
    [Show full text]
  • Wavelength (June 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
    [Show full text]
  • Woodstock Festival ´69
    Woodstock Festival ´69 The Woodstock Music and Art Festival was a rock music festival at Max Yasgur´s 600 acre (2.4km2) dairy farm in town of Bethel, New York between 15 August and 18 August 1969. It might be the most famous rock concert and festival ever held. For many, it showed the counterculture of the 1960´s and the “Hippie movement”. Many of the most famous musicians at the time showed up during the weekend, as can be seen in a 1970 movie called Woodstock. Joni Mitchell´s song “Woodstock”, about the event, also became a major hit song for Crosby, Stills, and Nash & Young. In recent years, a number of attempts were made to recreate it, but the original Woodstock´69 has proven to be legendary. The Festival was Called “Woodstock”, because “Woodstock Ventures” an investment company had put money into the concert, it was supposed to be in the town of Wallkill, in Ulster County; but the town would not give a place for such a large event, because they thought that over a million people would come. A place was found in the town of Bethel, Max Yasgur let the concert happen on the family´s dairy farm. Although the show was planned for as many as 200.000 fans, over 400.000 came; most of these did not pay to get in. The roads to the concert were jammed with traffic. People left their cars and walked for miles to get the concert area. The weekend was rainy and overcrowded, and fans shared food, alcoholic drinks, and drugs.
    [Show full text]
  • Whats That Sound 06-09 5.0 1/23/06 9:55 AM Page 297
    Whats That Sound 06-09_5.0 1/25/06 2:28 PM Page 296 Woodstock The Woodstock Music and man, and Artie Kornfeld, and aggressive promotion, Art Festival was more than financed by John Roberts. It Woodstock mushroomed in just the largest and most was held in Bethel, New York, size, drawing a peak crowd of important of the open-air about forty miles away from between 300,000 and music festivals of the late Woodstock, the famous idyllic 600,000 people. 1960s. Woodstock was a artists’ colony where Bob In 1969 the counterculture defining cultural moment, a Dylan had retired in 1967. By was frequently demonized by confluence of powerful social using the name “Woodstock” the mainstream. As a result movements that were chang- and putting the Band on the the unprecedented gathering ing mainstream attitudes bill, the festival organizers of hundreds of thousands of about music, politics, race, subtly encouraged the mis- “hippies” in a single rain- the war in Vietnam, religion, taken idea that Dylan would soaked field, with insufficient socially acceptable behavior, perform. With the festival’s food, medical care, traffic live from ... the use of drugs, and the role proximity to New York City, a plans, and organization, of youth in American culture. lineup of major stars (includ- alarmed both the government The festival was organized ing the Who, Jimi Hendrix, and the media. Yet despite by Michael Lang, Joel Rosen- and Janis Joplin), and some the problems, Woodstock was Whats That Sound 06-09_5.0 1/23/06 9:55 AM Page 297 peaceful.
    [Show full text]
  • The Last Bedraggled Fan Sloshed out of Max Yasgur's Muddy Pasture More Than 25 Years Ago. That's When the Debate Began About Woodstock's Historical Significance
    The last bedraggled fan sloshed out of Max Yasgur's muddy pasture more than 25 years ago. That's when the debate began about Woodstock's historical significance. True believers still call Woodstock the capstone of an era devoted to human advancement. Cynics say it was a fitting, ridiculous end to an era of naivete. Then there are those who say it was just a hell of a party. The Woodstock Music and Art Fair in 1969 drew more than 450,000 people to a pasture in Sullivan County. For four days, the site became a countercultural mini-nation in which minds were open, drugs were all but legal and love was "free". The music began Friday afternoon at 5:07pm August 15 and continued until mid-morning Monday August 18. The festival closed the New York State Thruway and created one of the nation's worst traffic jams. It also inspired a slew of local and state laws to ensure that nothing like it would ever happen again. Woodstock, like only a handful of historical events, has become part of the cultural lexicon. As Watergate is the codeword for a national crisis of confidence and Waterloo stands for ignominious defeat, Woodstock has become an instant adjective denoting youthful hedonism and 60's excess. "What we had here was a once-in-a-lifetime occurrence," said Bethel town historian Bert Feldman. "Dickens said it first: 'It was the best of times. It was the worst of times'. It's an amalgam that will never be reproduced again." Gathered that weekend in 1969 were liars and lovers, prophets and profiteers.
    [Show full text]
  • SM 144 No. 1.Indb
    Sacred Music Spring 2017 | Volume 144, Number 1 Editorial The Paradigm and the Practice | William Mahrt . 3 Articles Olivier Messiaen on the Metaphoricity of Music | Michael Potts . 8 Messiaen’s “Musical Theology ” | Jennifer Donelson . 19 A Critique of Contemporary Church Music in Light of the Characteristics of Sacred Music | Peter Kwasniewski . 28 Documents Address of the Holy Father Francis To Participants at the International Meeting on Sacred Music | Pope Francis . 40 A Statement on the Current Situation of Sacred Music . 42 Letters to the Editor Response to Wilfrid Jones | Edward Schaefer . 49 Daniel DiCenso’s Review of A Sense of the Sacred—A Response | James Monti . 51 News Gregorian Chant in Pastoral Ministry and Religious Education: Conference Summary | Mary Jane Ballou . 55 Gregorian Chant in Pastoral Ministry and Religious Education: Conference Welcome | Jennifer Donelson . 58 CMAA Announcements . 61 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: [email protected]; Website: www. musicasacra.com Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Ty pesetter Judy Thommesen Membership & Circulation: CMAA, P.O. Box 4344, Roswell, NM 88202 Church Music Association of America Officers and board of directors President William Mahrt Vice- president Horst Buchholz Secretary Mary Jane Ballou Treasurer Adam Wright Chaplain Father Robert Pasley Director of Publications Jeffrey Tucker Directors Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer, Jonathan Ryan Directors emeriti Rev.
    [Show full text]
  • Countercultures and Popular Music
    COUNTERCULTURES AND POPULAR MUSIC A translated and edited edition of a special issue of Volume! The French Journal of Popular Music Studies (Éditions Mélanie Seteun). Additional articles published in both ‘countercultures’ issues of Volume! can be found at: http://www.cairn.info/revue-volume.htm and http://volume.revues.org. Volume! is the only French peer-reviewed popular music studies journal. Created in 2002 by Marie-Pierre Bonniol, Samuel Étienne and Gérôme Guibert, it is published independently by the Éditions Mélanie Seteun, a publishing association specialising since 1998 in the cultural sociology of popular music. Biannual special issues deal with various topics in popular music studies, in a multidisciplinary perspective. It is also included on the online international academic portals Cairn.info and Revues.org. Volume! is classified by the French AERES and abstracted/indexed on the International Index to Music Periodicals, the Répertoire International de Littérature Musicale and the Music Index. This page has been left blank intentionally Countercultures and Popular Music Edited by SHEILA WHITELEY University of Salford, UK JEDEDIAH SKLOWER Université Sorbonne Nouvelle, Paris 3, France © Sheila Whiteley and Jedediah Sklower and the contributors 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Sheila Whiteley and Jedediah Sklower have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • Read the Story
    SHANNON FORD | TSO SAXOPHONE THE MAGAZINE OF THE TOLEDO SYMPHONY VOLUME 4, ISSUE 8 MAY & JUNE 2021 TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 1 2 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM O-I_community_ad_hz_8x10_new.indd 1 8/18/20 8:46 AM ai15753026505_TRUS239 Brian_10x8_68C.pdf 1 12/2/19 11:04 AM Peace of Mind It’s the most important gift you can give to your family. There is nothing in this world more valuable than the freedom to live life on your terms. Let us help give that gift to you and those you find most precious. BRIAN CRAIG CHIEF FIDUCIARY OFFICER To get the conversation started, call Brian personally at 419.491.1327. tcfona.com TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 3 TRUS-68C AWARD WINNING! COMMITTED TO SERVING THE COMMUNITY The Andersons grows enduring relationships through extraordinary service, a deep knowledge of the market, and a knack for finding new ways to add value as FROM WGTE PUBLIC MEDIA we have done for more than 70 years. A behind-the-scenes look at the world of classical music. Tune in to FM91 every Wednesday at 3:30PM! Ever have a question about music or the symphony but were always afraid to ask? Now’s your chance to shape the course of our weekly radio show and podcast! Call us at 419.418.0012 with your questions today! www.AndersonsInc.com 4 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM Enriching communities and transforming lives through musical performance – the Toledo Symphony. From classics to pops, Dana and its Charitable Foundation proudly support the Toledo Symphony’s diverse and outstanding array of performances.
    [Show full text]
  • MUSIC TRADES September 2019
    EDITORIAL had concerns about Woodstock, reportedly saying, “Sound for an event like yours doesn’t exist, but I think I can build Woodstock, it.” The pro audio industry as we know it today was in its infancy, and few had a clue about how to amplify a musical act, let alone an event on the scale of Woodstock. Apollo 11, And The readily available audio components we take for grant - ed today didn’t exist in 1969—the only commercially available p.a. system was the feeble 100-watt Shure Vocal The Music Industry Master. Thus, Hanley and his crew had to hand-build dozens of enclosures, using raw speaker components from he summer of 2019 marked the 50th anniversary JBL and Altec Lansing. The finished enclosures weighed of two historic but seemingly unrelated events: about 500 lbs. and were stacked on 16 70-foot towers The Apollo 11 moon landing, a triumph of tech - strategically placed throughout the field. Power amps from nology, and the Woodstock festival, a launching Crown and MacIntosh, designed for hi-fi applications, pad for musical careers and a seminal cultural event. Both delivered the 10,000 watts needed to drive the system. The Thave been exhaustively chronicled, and their significance audio was mixed on a hand-built 20-input console. continues to generate commentary. Less well known is Although crude by contemporary standards, Hanley’s sys - their impact on the music products industry. The digital tem enabled the 400,000 Woodstock attendees to actually technology spawned by the moonshot, and the audio inno - hear the performances.
    [Show full text]
  • Collaborative Culture at Roskilde Festival”
    Spring Semester Project 2012 International Basic Studies, 3.1.1. Roskilde University ”Collaborative Culture at Roskilde Festival” Supervisor: Oleg Kofoed By Group 10: Thomas Køster Madsen, Michalis Dilintas Nielsen, Allan Mutuku Kortbæk, Edoardo Dougie Kevin Bottalico & Anne-Margreth Ingeborg Löffler 1 2 Abstract This project attempts to unveil how events such as the cultural phenomenon Roskilde Festival promotes and contributes towards collaborative culture, mainly through the discipline of History & Culture, but also through a philosophical account. The project gives an account of the term of collaborative culture using theorists such as Dave Pollard and Emile Durkheim, and how events and collaborative culture historically leads back to the Dionysian mysteries, using Bakhtin, Nietzsche and Harsløv. Through Deleuze and Guattari, this project attempts to understand the event as a philosophical happening. Conclusively, this project sums up the importance of collaborative culture by analysing its' existence within the different elements of Roskilde Festival, and how it is the force that keeps all these elements together in a working structure. Danish Summary Dette projekt giver et bud på hvordan en begivenhed som det kulturelle fænomen Roskilde Festival, promoverer og bidrager til en såkaldt kollaborativ kultur, hvilket hovedsageligt bliver undersøgt gennem den historiske og kulturelle disciplin, men som også er filosofisk anlagt. Nemlig via en forklaring af termet kollaborativ kultur ved hjælp af teoretikere som Dave Pollard og Emile Durkheim, og hvordan visse begivenheder og kollaborativ kultur kan føre tilbage til de Dionysiske mysterier ved hjælp af Bakhtin, Nietzsche og Harsløv. Igennem Deleuze og Guattari forsøger dette projekt også at se på begivenheden som en filosofisk hændelse.
    [Show full text]