{"id":1488,"date":"2013-05-01T23:43:39","date_gmt":"2013-05-01T21:43:39","guid":{"rendered":"http:\/\/www.filmfestivalresearch.org\/?p=1488"},"modified":"2013-05-01T23:43:39","modified_gmt":"2013-05-01T21:43:39","slug":"cfp-dispositions-of-cultural-funding-dispositive-der-kulturfinanzierung","status":"publish","type":"post","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/cfp-dispositions-of-cultural-funding-dispositive-der-kulturfinanzierung\/","title":{"rendered":"CfP Dispositions of Cultural Funding \/ Dispositive der Kulturfinanzierung"},"content":{"rendered":"

8. Jahrestagung des Fachverbands Kulturmanagement<\/a><\/h1>\n

Vom 16. bis zum 18. Januar 2014
\nFachhochschule Kufstein, Tirol, \u00d6sterreich<\/p>\n

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Dispositions of cultural funding<\/a>
\nCultural funding structures and their consequences for cultural production and reception<\/h2>\n

The 8th Annual Conference of the Fachverband Kulturmanagement focuses on the interdependency between financing systems and the production and reception of cultural goods and processes. Artistic practice and cultural activities do not simply happen by themselves, but rather refer \u2013 by their results and effects \u2013 to their conditions of creation. Which theory-based approaches can cultural management use for contributing to a debate on cultural funding that allows for authenticity, innovation and diversity in the cultural field? How can cultural management influence the forming of support criteria and structures? What financing models, apart from the existing ones, could be envisaged in order to strengthen alternative forms of cultural production?<\/p>\n

Today, cultural funding must deal with a high degree of complexity: cultural activities have reached a relatively dense concentration level, traditional means of financing are in upheaval, and new players, fields and alliances are forming: foundations, crowd funding, co-productions, networks and new partnerships in the areas of cultural education and cultural tourism.<\/p>\n

The historical view shows the systemic influence of cultural funding in regard to artistic practice: In the course of time, the paradigms of financing changed, and with them the artistic and institutional practice. From the times of patronage through the period of the development of cultural policy and right up to intensified sponsoring or the current trend of crowd funding, cultural funding was, and still is, closely connected with the power to define art production and cultural activities.<\/p>\n

To a great extent, cultural activities in Austria, Germany and Switzerland are still financed by the state, with the concurrent expectation that commercial enterprises and civil society will increase their responsibility. If a paradigm change in cultural production is indeed pending, then transition and communication processes for the societal roles of cultural producers and cultural organizations are necessary.<\/p>\n

For the formation of theories and the drafting of strategies, references to cultural studies or sociological and empirical data are equally desirable as international comparisons and interdisciplinary connections to the scientific fields of economics, social science and fiscal law.<\/p>\n

Central Questions<\/p>\n