EMERGENT FORMS of LIFE: Anthropologies of Late Or Postmodernities

Total Page:16

File Type:pdf, Size:1020Kb

EMERGENT FORMS of LIFE: Anthropologies of Late Or Postmodernities Annu. Rev. Anthropol. 1999. 28:455–78 Copyright © 1999 by Annual Reviews. All rights reserved EMERGENT FORMS OF LIFE: Anthropologies of Late or Postmodernities Michael M.J. Fischer Science, Technology and Society Program, Massachusetts Institute of Technology, Cambridge, Massachusetts 02139; e-mail: [email protected] Key Words: social theory and ethnography, science institutions, film and cyberspace, reconstruction after social trauma n Abstract Anthropologies of late modernity (also called postmodernity, postindustrial society, knowledge society, or information society) provide a number of stimulating challenges for all levels of social, cultural, and psycho- logical theory, as well as for ethnographic and other genres of anthropological writing. Three key overlapping arenas of attention are the centrality of science and technology; decolonization, postcolonialism, and the reconstruction of so- cieties after social trauma; and the role of the new electronic and visual media. The most important challenges of contemporary ethnographic practice include more than merely (a) the techniques of multilocale or multisited ethnography for strategically accessing different points in broadly spread processes, (b) the techniques of multivocal or multiaudience-addressed texts for mapping and ac- knowledging with greater precision the situatedness of knowledge, (c) the re- working of traditional notions of comparative work for a world that is increas- ingly aware of difference, and (d) acknowledging that anthropological repre- sentations are interventions within a stream of representations, mediations, and unequally inflected discourses competing for hegemonic control. Of equal im- by HARVARD UNIVERSITY on 09/21/10. For personal use only. portance are the challenges of juxtaposing, complementing, or supplementing other genres of writing, working with historians, literary theorists, media critics, novelists, investigative or in-depth journalists, writers of insider accounts (e.g. Annu. Rev. Anthropol. 1999.28:455-478. Downloaded from www.annualreviews.org autobiographers, scientists writing for the public), photographers and film mak- ers, and others. CONTENTS Introduction: Challenges for Theory and Practice ..................... 456 Three Arenas of Focus in Late or Post-Modern Socio-Cultural Formations .... 457 Ethnographic Challenges Posed by These Three Arenas ................... 458 Metanarratives: Social Theory for Late or Postmodernities................. 458 Three Arenas in Late or Postmodern Socio-Cultural Formations ......... 459 0084-6570/99/1015-0455$12.00 455 456 FISCHER Working in Technoscientific Infrastructures and Imaginaries ............... 459 Beyond Perception, Filmic Judgment, and Worlding Cyberspace ............ 468 Starting Over: Beyond Social Control and Social Conflict.................. 470 Conclusions................................................... 472 INTRODUCTION: CHALLENGES FOR THEORY AND PRACTICE “Emergent forms of life” acknowledges an ethnographic datum, a social theoretic heuristic, and a philosophical stance regarding ethics. The ethnographic datum is the pervasive claim (or native model) by practitioners in many contemporary are- nas of life (law, the sciences, political economy, computer technologies, etc) that traditional concepts and ways of doing things no longer work, that life is outrun- ning the pedagogies in which we have been trained. The social theoretic heuristic is that complex societies, including the globalized regimes under which late and post-modernities operate, are always compromise formations among—in Ray- mond Williams’ salutary formulation—emergent, dominant, and fading histori- cal horizons. The philosophical stance toward ethics is that “giving grounds” for belief comes to an end somewhere and that “the end is not an ungrounded pre- supposition; it is an ungrounded way of acting” (Wittgenstein 1969:17e) or a “form of life,” a sociality of action, that always contains within it ethical dilem- mas or, in the idiom of Emmanuel Levinas, the face of the other. Take, for example, the university. Universities—where much, if neither all nor even most, anthropology is written and debated—are being set adrift from their past modernist moorings in cultural projects of maintaining their respective nation-states. Instead, it is argued they are becoming transnational bureaucratic corporations regulated under administrative metrics of “excellence” and produc- tivity (Readings 1996). The late Bill Readings argues further that feminism and race/ethnic scholarship, symptomatically, are targets of so much rancor and moral fervor precisely because they remind so forcefully, through the fact that bodies by HARVARD UNIVERSITY on 09/21/10. For personal use only. are differentially marked, that it is no longer possible for universities to create unmarked, universalistic, subjects of reason, culture, and republican politics in the metonymic way envisioned by JG Fichte and Wilhelm von Humboldt, the Annu. Rev. Anthropol. 1999.28:455-478. Downloaded from www.annualreviews.org architects of the modern university in Berlin. Similarly, Readings argues, teach- ing attracts much current rancor because of the “simple contradiction between the time it takes to teach and an administrative logic that privileges the efficient [measurable] transmission of information.... The transgressive force of teaching doesn’t lie so much in matters of content as in the way pedagogy can hold open the temporality of questioning” (Readings 1996:19). Readings argues that although the modernist ideal of the university as a model rational community, a pure public sphere, still exerts power on the imagination, the university is becom- ing, and should be celebrated as, “rather a place where the impossibility of such models can be thought—practically thought, rather than thought under ideal con- ditions...one site among others where the question of being-together is raised, raised with an urgency...” (Readings 1996:20). EMERGENT FORMS OF LIFE 457 Certainly many anthropologists are being challenged to teach outside anthro- pology, social science, or humanities departments, to situate our pedagogies within other worlds of students we seek to engage, not simply to teach them “where they live” but to puzzle out together with them, with their often sophisti- cated and engaged professional experiences, the new indeterminate emergent worlds within which we all now live. This is particularly true for anthropologists who teach in engineering and medical schools, who attempt to forge the emergent field of science studies in conversation and mutual evaluation with practitioners, scientists, engineers, or clinicians, and who wish to raise human rights issues in ways other than as distant objects of contemplation (Downey 1998; Fischer 1999a,b; Yoe 1998; Fortun 1999; Fortun & Bernstein 1998). These are spaces in which disciplinary assumptions are always subject to question, where tools of analysis from different disciplines are brought together, sometimes smoothly, more often, in a kind of practical, creolized urgency to solve real world problems. For example, in a course—taught in cooperation between MIT and the Harvard Law School—Law and Ethics on the Electronic Frontier, lawyers and engineers are facilitated to teach each other ways to think about alternatives through design- ing differently organized legal, technical, social-normative, and market “architec- tures” (http://swiss-ai. mit.edu/6905). If universities are undergoing structural change of the sort Readings suggests, so too are almost every other social institution and cultural form. With its empiri- cal ethnographic methods, anthropology remains, arguably, among the most use- ful of checks on theorizing becoming parochial, ethnocentric, generally uncomparative, uncosmopolitan, and sociologically ungrounded. Three Arenas of Focus in Late or Post-Modern Socio- Cultural Formations Anthropologies of late modernity (also called postmodernity, postindustrial soci- ety, knowledge society, or information society) provide challenges for all levels of social, cultural, and psychological theory, as well as for ethnographic field meth- by HARVARD UNIVERSITY on 09/21/10. For personal use only. ods and genres of writing. There are three key overlapping arenas of attention. 1. The continuing transformation of modernities by science and technology, Annu. Rev. Anthropol. 1999.28:455-478. Downloaded from www.annualreviews.org themselves understood to be mutating social and cultural institutions rather than eternal Platonic “invisible colleges” of reason (Galison 1997; Haraway 1997; Marcus 1995; Martin 1987, 1994; Rabinow 1995; Traweek 1988). 2. The reconfiguration of perception and understanding, of the human and so- cial sensorium, by computer-mediated and visual technologies and prosthe- ses. This is often called the third industrial revolution, with implications as profound as those of the first two industrial revolutions for interaction at all levels, from the personal-psychological to the global political economy, ecology, and human rights (Dumit 1995; Fischer 1995b, 1998; Marcus 1996, 1997; Turkle 1995; Turner 1992). 3. The reconstruction of society in the wake of social trauma caused by world war and civil and ethnic wars; collapse of command economies; massive 458 FISCHER demographic migrations and diasporas; and postcolonial and globalizing re- structurings of the world economy, including the production of toxics and new modalities of long-term risk. All of these call into question the premises
Recommended publications
  • Understanding the Value of Arts & Culture | the AHRC Cultural Value
    Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8.
    [Show full text]
  • Cultural Mapping
    Cultural Planning in The City of L’viv: Cultural Mapping 1 Centre for Cultural Management European Cultural Foundation (ECF) P. O. Box 5620 Jan van Goyenkade 5 Lviv 79067 1075 HN Amsterdam Ukraine The Netherlands www.kultura.org.ua www.eurocult.org Copyright 2008 Centre for Cultural Management 2 Contents Section I I. Forward 4 II. Acknowledgements 7 Section II III. Executive Summary 8 Section III IV. Introduction 10 V.The L’viv Context 11 VI. Information Collection 11 VII. Participants 13 VIII. The Cultural Map of L’viv 14 IX. Key Issues 19 X. Recommendations/conclusions 20 Section IV XI. Appendices 21 3 Cultural Planning in The City of L’viv: Cultural Mapping I. Foreward L’viv has great cultural potential to work within Europe. Philipp Dietachmair When beginning an initiative such as this one, the first dilemma is identifying a place to start. Usually one chooses an arbitrary commencement point that makes sense within the context. Our starting point was based in our individual experience, the interests of our funder, the interests of our City officials and the current reality of L’viv’s cultural community. These constitute a lot of variables, and we can rest assured that all of the designers of the project did not bring to the task the same set of assumptions around these variables or the same set of motivations. In the hope that transparency can support more effective communication with you, the reader, we would like to take a moment to explore and explain a few issues that frame what we have done and might impact your appreciation of this report, of our process and of our recommendations.
    [Show full text]
  • Cultural Mapping Findings
    Creative Together: A Cultural Plan for the City of Vaughan Cultural Mapping Findings Cultural mapping is a systematic approach to defining and recording a community’s cultural assets. In Ontario, municipalities having made commitments to building cultural mapping systems include Oakville, Hamilton, Vaughan and Durham Region. The City of Toronto has partnered with the Martin Prosperity Institute to establish Placing Creativity a group that brings together individuals from academic, government and community organizations to advance thinking and practice in cultural mapping. In August 2009, the Province of Ontario launched the Creative Community Prosperity Fund, a $9 million funding commitment with cultural mapping and municipal cultural planning forming key funding priorities. Cultural mapping as it is understood and practiced in Ontario has two dimensions – one tangible (or quantitative) the other intangible (or qualitative). 1. Resource Mapping – identifying and recording tangible cultural resources usually making use of Geographic Information Systems (GIS) tools and platforms; and, 2. Community Identity Mapping – exploring a community’s ‘intangible cultural resources’ – the unique stories and traditions that define a community’s identity and sense of place. 1. Cultural Resource Mapping Vaughan has established itself as a leading municipality nationally in entrenching a formal commitment to cultural mapping in the Official Plan. “Cultural mapping is a systematic approach to identifying and recording cultural resources. It can identify and record tangible cultural resources using GIS tools, but can also use community identity mapping to explore intangible cultural resources, such as unique histories, values, traditions and stories that combine to define a community’s identity and sense of place. Through multimedia enriched web-based maps, cultural mapping enhances access to information on local cultural resources for residents and visitors and provides a platform for marketing and promoting these resources.
    [Show full text]
  • Defining Cultural Mapping
    1 Appendix I: Cultural Mapping Summary Report Introduction Cultural mapping was an essential step in the development of the Niagara Culture Plan. The cultural mapping work undertaken during the Culture Plan process built on the strong mapping work completed by the Cultural Asset Mapping Working Group struck by the Niagara Region Culture Committee in 2006 to begin a systematic process of identifying cultural assets in Niagara. Niagara was one of the earliest municipalities in Ontario to commit to undertaking cultural mapping work. Cultural mapping is a defining feature and foundation of municipal cultural planning approaches to local and regional cultural development. Both cultural mapping and municipal cultural planning are priorities for the Province of Ontario as evidenced by the launch in August 2009 of the Creative Community Prosperity Fund, a $9 million funding commitment in which cultural mapping and municipal cultural planning are key funding priorities. Municipalities in Ontario join leading municipalities across Canada in embracing cultural mapping as an essential planning and economic development tool. In Ontario, municipalities building cultural mapping systems include Oakville, Hamilton, Vaughan and Durham Region. The City of Toronto has partnered with the Martin Prosperity Institute to establish Placing Creativity. The group brings together individuals from academic, government and community organizations to advance thinking and practice in cultural mapping. This report summarizes the process and findings of the cultural mapping work of the Culture Plan and sets out a series of potential next steps in further developing cultural mapping systems and capabilities in Niagara. Defining Cultural Mapping Types of Mapping Cultural mapping as it is being understood and implemented in Ontario has two dimensions - one tangible (or quantitative), the other intangible (or qualitative).
    [Show full text]
  • Values in Heritage Management
    Values in Heritage Management Values in Heritage Management Emerging Approaches and Research Directions Edited by Erica Avrami, Susan Macdonald, Randall Mason, and David Myers THE GETTY CONSERVATION INSTITUTE, LOS ANGELES The Getty Conservation Institute Timothy P. Whalen, John E. and Louise Bryson Director Jeanne Marie Teutonico, Associate Director, Programs The Getty Conservation Institute (GCI) works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage. © 2019 J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data Names: Values in heritage management (2017 : Getty Conservation Institute), author. | Avrami, Erica C., editor. | Getty Conservation Institute, The text of this work is licensed under a Creative issuing body, host institution, organizer. Commons Attribution-NonCommercial- Title: Values in heritage management : emerging NoDerivatives 4.0 International License. To view a approaches and research directions / edited by copy of this license, visit https://creativecommons Erica Avrami, Susan Macdonald, Randall .org/licenses/by-nc-nd/4.0/. All images are Mason, and David Myers. reproduced with the permission of the rights Description: Los Angeles, California : The Getty holders acknowledged in captions and are Conservation Institute, [2019] | Includes expressly excluded from the CC BY-NC-ND license bibliographical references. covering the rest of this publication. These images Identifiers: LCCN 2019011992 (print) | LCCN may not be reproduced, copied, transmitted, or 2019013650 (ebook) | ISBN 9781606066201 manipulated without consent from the owners, (epub) | ISBN 9781606066188 (pbk.) who reserve all rights.
    [Show full text]
  • Introduction: Mapping Cultural Intangibles
    City, Culture and Society 7 (2016) 1e7 Contents lists available at ScienceDirect City, Culture and Society journal homepage: www.elsevier.com/locate/ccs Editorial Introduction: Mapping cultural intangibles Methodologically, if one accepts that the intangible, the sub- jective, and the immaterial are important to what culture is as an object of study, then quantitative methods alone are inade- Keywords: quate. This interest in making the intangible visible heightens Mapping culture the importance of drawing on cultural research traditions that Making the intangible visible are primarily qualitative in nature and, in some cases, drawing on ethnographic and artistic traditions of inquiry. (p. 18) As a mode of research that enables a clear organizing structure to hold together hybrid modes of information, cultural mapping has emerged as a useful tool in diverse research fields from artistic in- quiry to community governance. The map itself can embed spatial 1. Cultural mapping: an emerging interdisciplinary field and chronological information, description, narrative, sound, mov- ing and still images, and both quantitative and qualitative data Cultural mapping is a practical, participatory planning and through a visual interface that carries affective and stylistic quali- development tool and an emerging mode of research (Duxbury, ties as well as “basic” information. The process of mapping often re- Garrett-Petts & MacLennan, 2015). While cultural mapping has veals many unexpected resources and builds new cross-community come to be closely associated with professional cultural planning and cross-sector connections. practices,1 its recent adoption within a variety of disciplinary areas Cultural mapping methodologies hold great potential as a means that “traditional” approaches are being re-thought and bridging methodology for interdisciplinary projects, and in partic- expanded, with cultural mapping practices adopting new method- ular to bridge forms of artistic inquiry with research based in other ologies, perspectives, and objectives as they evolve.
    [Show full text]
  • Mapping Cultures: a Spatial Anthropology Les Roberts
    This file is to be used only for a purpose specified by Palgrave Macmillan, such as checking proofs, preparing an index, reviewing, endorsing or planning coursework/other institutional needs. You may store and print the file and share it with others helping you with the specified purpose, but under no circumstances may the file be distributed or otherwise made accessible to any other third parties without the express prior permission of Palgrave Macmillan. Please contact [email protected] if you have any queries regarding use of the file. PROOF 1 Mapping Cultures: A Spatial Anthropology Les Roberts Reclamations: lost highways, mapping and wayfinding A short video on YouTube called Google Maps1 provides an entertaining and gently subversive take on the much-hailed ‘democratization’ of map- ping practices and the Faustian nature of the social contract that delivers these technologies, so to speak, to our door. At his apartment Jeff is surf- ing away on his laptop. His flatmate comes into the room and asks him if he knows where he can buy pictures frames. ‘I don’t know but I can Google Map it,’ Jeff replies. The flatmate is new to the technology so a demonstration ensues. ‘Double click … and you’re at street view,’ he is shown. ‘There’s our apartment! … Let’s go in the courtyard,’ suggests the flatmate excitedly. ‘You can’t, it’s a picture from a moving car,’ Jeff informs him (unreliably as it turns out). They click and the stairway to their apart- ment flashes onto the screen. ‘That’s weird …’ They click some more.
    [Show full text]
  • GUIDELINES for LEADING the CULTURAL MAPPING EXERCISE and DISCUSSION the Exercise Cultural Mapping Works Best When It Is Used Li
    GUIDELINES FOR LEADING THE CULTURAL MAPPING EXERCISE AND DISCUSSION The Exercise Cultural Mapping works best when it is used like a game. It is not intended to be an encounter-group kind of exercise, nor is it the kind of thing where people should feel under pressure to “perform.” It should be fun. As the leader, this is something you can communicate by the way you introduce the exercise. Simply tell your group that the purpose of the exercise is to help them get to know each other, to illuminate cultural identities, and to facilitate cross-cultural communication. Let them know it will be fun. Your job as leader is to keep this fun aspect intact and to make people feel comfortable while doing the exercise. There are no right or wrong answers to any of the questions. Your role is to simply facilitate and encourage the discoveries that will be made during the exercise—not to refute or debate any observations that are made. It is very important that you read the ground rules (below) to the groups before you run the exercise. Not only is this necessary for the exercise to work, but it will also make people feel more comfortable and willing to play. What normally happens with the Cultural Mapping is that the participants get caught up in the exercise very quickly. The group can get pretty rowdy and will often keep talking after the one-minute discussion time is up and when the sub-groups are reporting to the whole group. When this happens, call out “FOCUS!” This will generally stop the talking and focus the attention of the group.
    [Show full text]
  • Policy Roadmap / 10 1.4
    Urb Cultural Planning project is funded by the Interreg Baltic Sea Region (BSR) programme. It is a BSR flagship project running from January 2019 to June 2021 with the total funding of 2.528.385 euros. Coordination: Authors: Dorota Kamrowska-Załuska Hanna Obracht-Prondzyńska Krzysztof Stachura On behalf: Polish Society of Town Planners, b. Gdańsk Graphic design: Hanna Obracht-Prondzyńska ROADMAP NAVIGATOR 1. What is cultural planning? / 5 1.1. Introducing a new approach to urban planning / 5 1.2. Why cultural planning? / 7 1.3. Designing cultural planning policy roadmap / 10 1.4. Inspirations: overview of cultural planning policies and their theoretical background / 11 2. Organizing the process / 13 2.1. What should the roadmap help you achieve? / 13 2.2. Management and facilitation / 14 2.3. Mobilizing resources / 15 2.4. The role of leaders / 16 2.5. Communicate and engage / 17 3. Designing cultural planning policy / 20 3.1. Defining objectives and targets /20 3.2. Framing the implementation process / 21 3.3. Tools and resources applicable for each phase / 25 “A really helpful guide and clearly laid out – what more do you want? Cultural planning helps us to think, plan and act differently and focuses us all on what is distinctive and special about where we live. Going with the grain of a local culture helps us create better places” Charles Landry Author of the concept of the Creative City. POLICY ROADMAP 1. What is cultural planning? 1.1. Introducing a new approach to urban planning We are introducing a policy road map aiming to lead you through the process of cultural planning policy design from the very beginning up to the evaluation process.
    [Show full text]
  • A War for the Soul of America a History of the Culture Wars 1St Edition Download Free
    A WAR FOR THE SOUL OF AMERICA A HISTORY OF THE CULTURE WARS 1ST EDITION DOWNLOAD FREE Andrew Hartman | 9780226254500 | | | | | U.S. History and Historical Documents Washington, D. Further information: Ethnocultural politics in the United States. Can We Help with Your Assignment? In he described those who gathered there as "misguided". November 20, Bioculture Cross-cultural studies Cross-cultural communication Cross-cultural leadership Cross- cultural psychiatry Cross-cultural psychology Cultural analytics Cultural economics Cultural entomology Cultural history Cultural mapping Cultural mediation Cultural psychology Cultural values Culturomics Intercultural learning Intercultural relations Internet culture Philosophy of culture Popular culture studies Postcritique Semiotics of culture Sociology of culture Sound culture Theology of culture Transcultural nursing. However, this book touches on several different topics besides education such as gender, neoconservatism and how history is portrayed in America. His history begins in the s, with only brief references to previous decades, and thus fails to explain the already existing cultural debates within the conservative movement. The total number of worldwide confirmed cases of the virus passed 30 million on Friday. Want to Read Currently Reading Read. Hopkins have written about an asymmetry between the US's two major political parties, saying the Republican party should be understood as an ideological movement built to wage political conflict, and the Democratic party as a coalition of social groups with less ability impose ideological discipline on members. For better or worse, it will never run dry. Then there are those individuals who want to see cha This was a recommended read by one of my professors since I am interested in education in the United States.
    [Show full text]
  • Cultural Heritage and Identities of Europe's Future
    Deliverable 6.1 Date: 18th June 2019 CHIEF (Cultural Heritage and Identities of Europe’s Future) Grant Agreement no: 770464 WP: 6 Qualitative Research in Heritage Sites Deliverable: 6.1 Mapping Reports of Cultural Heritage Authors Croatia: Marko Mustapić, Benjamin Perasović, Dino Vukušić Georgia: Tamar Khoshtaria, Meagan Neal, Rati Shubladze, Kristina Vacharadze Germany: Christiane Stahl, Cornelia Sylla, Elina Marmer, Louis Henri Seukwa India: Shailendra Kharat, Suhas Palshikar, Rajeshwari Deshpande, Priya Gohad Latvia: Irēna Saleniece, Anita Stašulāne Slovakia: Attila Kovács, Dušan Deák Spain/Catalonia: Marta Rovira, Mariona Ferrer-Fons Turkey: Saim Buğra Kurban, Yıldırım Şentürk, Ayça Oral UK: Anton Popov, Eleni Stamou Editors Dušan Deák, Anita Stašulāne Version 1.1 Date 18th June 2019 Work Package 6 Deliverable 6.1 Dissemination level Public WP Leaders Dušan Deák, Anita Stašulāne Deliverable Date 30th April 2019 Document history Version Date Comments Modified by 1.0 18/06/2019 KM 1.1 18/06/2019 Amendment to authors names KM This project has received funding from the European Union's Horizon 2020 Research and Innovation programme under Grant Agreement No 770464. CHIEF: 770464 http://chiefproject.eu 1 Deliverable 6.1 Date: 18th June 2019 Contents Overview ....................................................................................................................................5 About CHIEF ........................................................................................................................5 Introduction ...........................................................................................................................6
    [Show full text]
  • MAPPING CULTURAL DIVERSITY Good Practices from Around the Globe
    MAPPING CULTURAL DIVERSITY Good PRactices fRom Around thE GLobE A Contribution to the Debate on the Implementation of the UNESCO Convention on the Diversity of Cultural Expressions Education | Sci E n c E | c u L t u R E | communication Mapping Cultural Diversity – Good Practices from Around the Globe A Contribution to the Debate on the Implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions – A Project of the U40-Programme „Cultural Diversity 2030“ – Published by: German Commission for UNESCO (DUK) Asia-Europe Foundation (ASEF) Colmantstr. 15, 53115 Bonn, Germany 31 Heng Mui Keng Terrace Tel. +49 (0) 228 6 04 97-0 Singapore 119595 Fax: +49 (0) 228 6 04 97-30 Tel. +65 6874 9700 [email protected] Fax: +65 6872 1135 www.unesco.de [email protected] www.asef.org Editors: Anupama Sekhar (ASEF) Anna Steinkamp (DUK) The editors reserve the right to select contributions and photos for inclusion in the publication and to edit the contributions submitted. Contributions by authors do not always reflect the opinion of the editors. Design: MediaCompany – Agentur für Kommunikation GmbH, Bonn, Germany Printing: Medienhaus Plump, Rheinbreitbach, Germany Print run: 2 000 Download from www.unesco.de and www.asef.org All rights reserved © German Commission for UNESCO / Asia-Europe Foundation, November 2010 Photos front cover: Amuneri Kuikuro filming the Kuikuro indigenous people watching a projection of old movies about their own ethnicity XIV Edition of the Biennale of Young Artists from Europe and the Mediterranean, Skopje, FYROM, 2009 Reconstruction of cultural facilities in Manyikeni, Mozambique: Students visiting the archaeological site WOMEX 2009 Audience Photo back cover: Living Culture, Teia 2010, Ponto de Cultura Floresta Criativa – Tambores da Floresta, São Luiz, Brazil Bibliographic Data of the German National Library The German Library registers this publication in the German National Bibliography.
    [Show full text]