#culturaldemocracy — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #culturaldemocracy, aggregated by home.social.
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4/6
"New Deal Art" aims to do more than chronicle the art of the past. In keeping with the resolve of Federal Art Project director Holger Cahill to "bridge the gap between the American artist and the American public", the book is aimed at revitalizing cultural democracy in the USA, setting the art of this American past to work in creating a future where a a publicly resourced and accessible commons of art and culture will allow all in America to flourish in the fullest sense.
That's an ambition that every progressive in the USA should nourish, an ambition that might be inspired by works like the exuberant 1938 Stuart Davis "Swing Landscape" :
https://livingnewdeal.org/sites/swing-landscape-mural-bloomington-in/
Nevertheless, this understanding of cultural democracy past and future comes, as political projects always do, with problems.
In the final two posts of this thread, I will touch on two sets of challenges.
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4/6
"New Deal Art" aims to do more than chronicle the art of the past. In keeping with the resolve of Federal Art Project director Holger Cahill to "bridge the gap between the American artist and the American public", the book is aimed at revitalizing cultural democracy in the USA, setting the art of this American past to work in creating a future where a a publicly resourced and accessible commons of art and culture will allow all in America to flourish in the fullest sense.
That's an ambition that every progressive in the USA should nourish, an ambition that might be inspired by works like the exuberant 1938 Stuart Davis "Swing Landscape" :
https://livingnewdeal.org/sites/swing-landscape-mural-bloomington-in/
Nevertheless, this understanding of cultural democracy past and future comes, as political projects always do, with problems.
In the final two posts of this thread, I will touch on two sets of challenges.
-
4/6
"New Deal Art" aims to do more than chronicle the art of the past. In keeping with the resolve of Federal Art Project director Holger Cahill to "bridge the gap between the American artist and the American public", the book is aimed at revitalizing cultural democracy in the USA, setting the art of this American past to work in creating a future where a a publicly resourced and accessible commons of art and culture will allow all in America to flourish in the fullest sense.
That's an ambition that every progressive in the USA should nourish, an ambition that might be inspired by works like the exuberant 1938 Stuart Davis "Swing Landscape" :
https://livingnewdeal.org/sites/swing-landscape-mural-bloomington-in/
Nevertheless, this understanding of cultural democracy past and future comes, as political projects always do, with problems.
In the final two posts of this thread, I will touch on two sets of challenges.
-
4/6
"New Deal Art" aims to do more than chronicle the art of the past. In keeping with the resolve of Federal Art Project director Holger Cahill to "bridge the gap between the American artist and the American public", the book is aimed at revitalizing cultural democracy in the USA, setting the art of this American past to work in creating a future where a a publicly resourced and accessible commons of art and culture will allow all in America to flourish in the fullest sense.
That's an ambition that every progressive in the USA should nourish, an ambition that might be inspired by works like the exuberant 1938 Stuart Davis "Swing Landscape" :
https://livingnewdeal.org/sites/swing-landscape-mural-bloomington-in/
Nevertheless, this understanding of cultural democracy past and future comes, as political projects always do, with problems.
In the final two posts of this thread, I will touch on two sets of challenges.
-
4/6
"New Deal Art" aims to do more than chronicle the art of the past. In keeping with the resolve of Federal Art Project director Holger Cahill to "bridge the gap between the American artist and the American public", the book is aimed at revitalizing cultural democracy in the USA, setting the art of this American past to work in creating a future where a a publicly resourced and accessible commons of art and culture will allow all in America to flourish in the fullest sense.
That's an ambition that every progressive in the USA should nourish, an ambition that might be inspired by works like the exuberant 1938 Stuart Davis "Swing Landscape" :
https://livingnewdeal.org/sites/swing-landscape-mural-bloomington-in/
Nevertheless, this understanding of cultural democracy past and future comes, as political projects always do, with problems.
In the final two posts of this thread, I will touch on two sets of challenges.
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On https://miaaw.net today (and for the next week) sound artist and composer Simon James reflects on his recent project with young people in Whitehawk, initiated as part of the Class Divide campaign – fighting against the educational attainment gap in East Brighton.
Sounds recorded during workshops, both on the Whitehawk housing estate and on an adjacent archaeological site, formed part of the exhibition Neolithic Cannibals: Deep Listening to the Unheard. Neolithic Cannibals recreated the Neolithic Camp – a place of communion, celebration, and ritual – as a compassionate listening space inviting audiences to discover Whitehawk’s richness, joy, playfulness, and hope, empowering local voices through rarely explored sonic expressions.
Simon discusses the process of the project with Hannah Kemp-Welch, and describes how listening played a central part throughout it. That's because it forms part of the Ways of Listening series :blobcheeky:
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On https://miaaw.net today (and for the next week) sound artist and composer Simon James reflects on his recent project with young people in Whitehawk, initiated as part of the Class Divide campaign – fighting against the educational attainment gap in East Brighton.
Sounds recorded during workshops, both on the Whitehawk housing estate and on an adjacent archaeological site, formed part of the exhibition Neolithic Cannibals: Deep Listening to the Unheard. Neolithic Cannibals recreated the Neolithic Camp – a place of communion, celebration, and ritual – as a compassionate listening space inviting audiences to discover Whitehawk’s richness, joy, playfulness, and hope, empowering local voices through rarely explored sonic expressions.
Simon discusses the process of the project with Hannah Kemp-Welch, and describes how listening played a central part throughout it. That's because it forms part of the Ways of Listening series :blobcheeky:
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On https://miaaw.net today (and for the next week) sound artist and composer Simon James reflects on his recent project with young people in Whitehawk, initiated as part of the Class Divide campaign – fighting against the educational attainment gap in East Brighton.
Sounds recorded during workshops, both on the Whitehawk housing estate and on an adjacent archaeological site, formed part of the exhibition Neolithic Cannibals: Deep Listening to the Unheard. Neolithic Cannibals recreated the Neolithic Camp – a place of communion, celebration, and ritual – as a compassionate listening space inviting audiences to discover Whitehawk’s richness, joy, playfulness, and hope, empowering local voices through rarely explored sonic expressions.
Simon discusses the process of the project with Hannah Kemp-Welch, and describes how listening played a central part throughout it. That's because it forms part of the Ways of Listening series :blobcheeky:
-
On https://miaaw.net today (and for the next week) sound artist and composer Simon James reflects on his recent project with young people in Whitehawk, initiated as part of the Class Divide campaign – fighting against the educational attainment gap in East Brighton.
Sounds recorded during workshops, both on the Whitehawk housing estate and on an adjacent archaeological site, formed part of the exhibition Neolithic Cannibals: Deep Listening to the Unheard. Neolithic Cannibals recreated the Neolithic Camp – a place of communion, celebration, and ritual – as a compassionate listening space inviting audiences to discover Whitehawk’s richness, joy, playfulness, and hope, empowering local voices through rarely explored sonic expressions.
Simon discusses the process of the project with Hannah Kemp-Welch, and describes how listening played a central part throughout it. That's because it forms part of the Ways of Listening series :blobcheeky:
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In approximately one hour Owen Kelly & Ken Worpole will look at cults and sects: at how we can define these, why they spread, and what this means for cultural democracy.
On Genuine Inquiry at https://miaaw.net
or wherever you get your podcasts -
https://miaaw.net
presents
A Genuine InquiryEpisode 20 is OUT NOW:
Did you think Second Life had gone away? Sorry: nothing ever really leaves. “Virtual worlds” have morphed into The Metaverse - or they will if Big Money has its way.
Owen Kelly inquires into the nature of the metaverse and asks what Meta actually has in mind for us.
#CulturalDemocracy #politics #virtuality #Facebook #philosophy #Meta
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Tomorrow at 12:34 UTC!!!
David Teevan Part 2: a look at some of the people, places & events from the history of collaborative arts in Ireland.
With @alicemellings & @OwenKelly
#culturaldemocracy #irisharts #ireland #participation #collaboration
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Tomorrow!!!
David Teevan, an Irish cultural producer, discusses his take on the complex history of collaborative and participatory arts in Ireland.
Sophie & Owen join in.
Friday July 3 @ 12:34UTC
#culturaldemocracy #irisharts #ireland #participation #collaboration