US Cultural Diplomacy and Archaeology

Luke, Christina; Kersel, Morag M.

doi:10.4324/9780203078594

Cited by 83 publications

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“…But it is clear that references to heritage are even more pervasive today. Heritage has become both an industry and a catchword, itself commodified just like the things it is used to describe (Smith, 2006), with UNESCO's imprimatur sought after for touristic, geopolitical, and even therapeutic ends (Aykan, 2013;Luke and Kersel, 2013;Meskell, 2012Meskell, , 2018. It is a way of marketing experiences and authenticity (Churchill, 2006) that are at the same time sanitized, both in the sense of being unthreatening for the consumer (Meskell, 2000) as well as conforming to particular global standards of cleanliness and order expected in a successful tourist destination (Collins, 2008).…”

Section: Discourse and The Pragmatics Of Heritagementioning

confidence: 99%

Itineraries, iconoclasm, and the pragmatics of heritage

Bauer

2020

Journal of Social Archaeology

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Recent calls across the world for removing monuments to White supremacy have brought widespread attention to the power of images and the role of heritage in society. A more careful examination of heritage’s itineraries and pragmatics—its practical effects—is thus warranted. This paper interrogates the pragmatics of heritage in two ways. First, what are the discourses and rhetorics of heritage—how is heritage invoked and talked about, like a sign of history, in making statements about the world? Second, what does heritage do, as a sign in history, when it is invoked, encountered, and circulated? What does heritage activate, and what are the practical effects of its itineraries? Drawing on the examples of the return of the Euphronios krater to Italy and the removal of Confederate and racist monuments in the US and elsewhere, I argue that while operating in these two modes—as signs of and in history—heritage’s greatest potential for transformational change is when it ceases acting as a rhetorical device and instead becomes itself the center of experiential social action.

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Section: Discourse and The Pragmatics Of Heritagementioning

confidence: 99%

Itineraries, iconoclasm, and the pragmatics of heritage

Bauer

2020

Journal of Social Archaeology

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“…Archaeology and politics are often inextricably linked, a point explored at length recently by Luke and Kersel (2013). Community encounters with archaeology are not immune from this, not even where young people are concerned.…”

Section: Community Archaeology and Young Peoplementioning

confidence: 99%

Key Concepts in Public Archaeology

2017

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This publication was made possible by funding from Jisc as part of the 'Institution as e-textbook publisher' project: https://www.jisc.ac.uk/rd/projects/institution-as-e-textbook-publisher.This book is dedicated to Tim Schadla-Hall who has led the teaching and study of public archaeology at UCL for two decades, and inspired and supported a generation of public archaeologists. vii AcknowledgementsThis book has been a long time in the making, and I must first express my thanks to everybody involved for their formidable patience. The collection of papers originates in the MA Public Archaeology at UCL, devised and taught over many years by Tim Schadla-Hall and others. Most of the contributors to this volume have taught on the MA course and several are graduates, while others carried out doctoral research within what is becoming known as the 'London school' of public archaeology. This is the appropriate place to acknowledge the leadership and vision of the late Peter Ucko, whose understanding of archaeology as a politically engaged practice entangled in everyday life gave rise to the teaching programme in public archaeology at UCL Institute of Archaeology at both undergraduate and graduate level, as well as the creation of the journal Public Archaeology, still hosted in that department. The Ucko tradition of public archaeology as both scholarship and practice has been maintained over the last two decades by Tim SchadlaHall, Neal Ascherson, Nick Merriman, Ulrike Sommer, Andrew Reid and many others in the Institute of Archaeology, and continues to this day. The publication of this volume has been guided with great patience and vision by Lara Speicher of UCL Press and her colleagues and I am grateful for their faith in the project. Public archaeology is founded upon the belief in breaking down divisions between professionals or academics and the wider world: UCL Press' commitment to Open Access publishing is a beacon in this broader campaign to share knowledge freely beyond the pay-walls and prohibitive prices of traditional elite academic publishing. Finally, my thanks to Maria Phelan and my family who have endured my moaning about this book for too long.

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“…Other approaches on this theme are the following: their relations with social inequalities, such as cultural inclusion policies (Sarraf, 2010); the dialectical dimension of cultural policies, found within "culture wars" (Bolton, 1992); the social vigilance inherent to some of such policies, translated by the concept "censorship culture" (Atkins, 2006); some pragmatic applications of cultural policies, e.g. museum governance (Malaro, 1994); frictions among that policies and socio-cultural differences, considered within the 'politics of identity' (Appiah, 2008); and the inclusion of cultural policies within international relations, in terms of development of a cultural diplomacy (Luke, 2012).…”

Section: Debates and Authors On Art Communication Studiesmentioning

confidence: 99%

Communication of art via open research: on cultural policies, heritage and reception of innovation in art

Andrade

2017

revistacomsoc

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This article debates some main modes of art communication within the urban public space, and their interpretation through Open Research. In particular, it discusses communication regimes in places where cultural and artistic events occur, such as the museum. One of the communicative phenomena circulating there is informal art literacy, which is a different and sometimes opposite process in relation to the formal education at school. Having this aim in mind, firstly two core concepts within Art Communication Studies, which are crucial to this debate, are defined: Public Communication of Art-PCA and art literacy. Secondly, questions pertaining to art communication are raised: the definition of cultural policies that allow cultural inclusion of diverse art publics segments; the role of digital devices to improve the understanding of cultural heritage; the more adequate communication and management strategies for improving publics literacy; the reception process undertaken by cultural audiences around art ideas and concepts shared through art events. Thirdly, such questions are framed within the main theoretical and authors' positioning in Art Communication Studies. Next, some brief practical advices and recommendations concerning how to develop a research on communication within art worlds are exposed in two parts: the first part suggests some hypothesis corresponding to the previous formulated questions. The second part establishes a synthetic and practical agenda for doing a research on this subject. Some emergent sociological apparatuses, produced to improve the social and cultural impact of art communication, are also presented. Finally, specific modes and targets of this impact are discussed. KeywordsArt communication studies; art literacy; art reception; intermedia sociologic methodology; public communication of art ResumoEste artigo debate alguns dos principais modos de comunicação da arte subjacentes ao espaço público urbano, e a sua interpretação através da Investigação Aberta. Em particular, discute os regimes de comunicação presentes em locais onde ocorrem eventos culturais e artís-ticos, como o museu. Um dos fenómenos comunicativos aí circulantes é a literacia artística informal, processo diferente e às vezes oposto à educação formal ministrada na escola. Para tal, em primeiro lugar, são definidos dois conceitos fundamentais nos Estudos de Comunicação da Arte, e necessários para este debate: a Comunicação Pública da Arte (Public Communication of Art-PCA) e a literacia artística. Em segundo lugar, questões relativas à comunicação de arte são formuladas: a definição de políticas culturais que permitem a inclusão cultural de diversos segmentos de públicos de arte; o papel dos dispositivos digitais por forma a aprofundar a compreensão do património cultural; as estratégias de comunicação e de gestão mais adequadas para melhorar a literacia dos públicos; o processo de receção realizado pelas audiências culturais em torno de ideias e conceitos sobre a arte, partilhados em eventos artísticos. Em tercei...

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US Cultural Diplomacy and Archaeology

Cited by 83 publications

References 0 publications

Itineraries, iconoclasm, and the pragmatics of heritage

Itineraries, iconoclasm, and the pragmatics of heritage

Key Concepts in Public Archaeology

Communication of art via open research: on cultural policies, heritage and reception of innovation in art

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