8thmidtermConferenceoftheEuropeanResearchNetwork

SociologyoftheArts

BOOKOFABSTRACTS

46September2014,ClujNapoca,RomaniaBabeBolyaiUniversity

AConferenceorganizedby:

BabeBolyaiUniversityinClujNapocaResearchNetworkSociologyoftheArtsEuropeanSociologicalAssociation(ESA)

OrganizingCommittee:

Prof.Dr.DanEugenRaiu,ConferenceChairDepartmentofPhilosophy&CentreforAppliedPhilosophyBabeBolyaiUniversity,ClujNapocaConferenceSecretariat:Dr.CristianHainic,Dr.tefanMaftei

ScientificCommitteeDirectingBoard,ESARNSociologyoftheArts:DanEugenRaiu,BabeBolyaiUniversityClujNapoca,Romania,ChairIanSutherland,IEDCBledSchoolofManagement,Slovenia,ViceChairDagmarDanko,UniversityofFreiburg&Berlin,GermanySachaKagan,LeuphanaUniversityLneburg,GermanySariKarttunen,CuporeTheFinnishFoundationforCulturalPolicyResearch,FinlandArturoRodrguezMorat,UniversityofBarcelona,SpainTasosZembylas,UniversityofMusicandPerformingArtsVienna,Austria,formerChairVictoriaD.Alexander,UniversityofSurrey,UnitedKingdom,Decana,formerChair

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CONTENT1.Foreword4

2.ConferenceProgramme

2.1GeneralProgramme6

2.2DetailedProgrammeParallelSections7

3.InformationaboutVenue12

4.AbstractsoftheKeynoteSpeakers15

5.AbstractsofthePresentations16

6.OutlineoftheWorkstreamArtsManagement49

1.FOREWORDWORDSOFWELCOMEDearConferenceParticipants,

Awarmwelcome to the8thmidtermConferenceof theESAResearchNetworkSociologyof theArts inClujNapoca!

OurResearchNetwork,foundedin1999inordertofosterscientificdebateintheareaofsociologyofthearts,hasorganisedsince2000abiennialconference.Thepreviousmidtermconferences tookplace inprestigiousuniversities fromwonderful cities such asVienna (2012),Guildford (2010),Venice (2008), Lneburg (2007),Rotterdam (2004), Paris (2003), and Exeter (2000). The Faculty of History and Philosophy of BabeBolyaiUniversity in ClujNapoca is proud to contribute to this longtime tradition of excellence by hosting thisconference.

Asyouknow,ourResearchNetworkproclaimsaconceptionoftheartsasactiveingredientsinthemakingandremaking of social life. It aims to provide the sociological context for understanding themultifaceted andinterwoven social aspectswhich characterize the artworlds. Like always, this years conferencewants toencourage collaboration and intellectual exchange between different traditions that sociology of the artsinvolves, to support the presentation of new research projects, and to offer inspiration for the furtherdevelopmentofsociologyofthearts.

But this yearunder the general topicArtand ItsContexts:CrossDisciplinaryDialogue we alsowant toemphasizethereflectiononthesociologicalapproachtoartand itstensebutpromisingrelationswithotherapproachesbyphilosophyandaesthetics.Theaim is to facilitatebothmutualawarenessof research issues,methodologyandresults,andtheircrossfertilizationthroughinterortransdisciplinarydialogue.

Iamgladthattworenownedscholars,asociologistandaphilosopher,participate inthisdialogueand inourconferenceaskeynotespeakers:PierreMichelMenger,ProfessoratCollgedeFranceandDirectorofstudyatEHESSParis,andNolCarroll,DistinguishedProfessoratTheGraduateCenter,CityUniversityofNewYork.TworelatedspecialeventsAuthorMeetsCriticstakeplaceattheInstitutFranaisClujNapoca,andtheAmericanCorneratOctavianGogaClujCountyLibrary.

The100participantsfrom28differentcountriesresearchersinsocialsciencesandphilosophyaswellasPhDstudents and artists , take the challenging task to address all core topics of arts sociology, revisiting andrevaluating somehot issues,or the intersectionsbetween sociology and aesthetics. Theopenness ishighlyvaluedbyourResearchNetwork,since ithasalwaysbrought together researchers fromdifferent traditions,disciplines, and countries, and supported interchange andmutual learning. In this spirit of openness, as afrancophonecountrywhichcherishes itsaffinitieswith theFrenchculture,wehave invited the firstplenarylecturetobedeliveredinFrench(withsimultaneoustranslationinEnglish).

ItisalsoatraditiontointegrateinourconferenceaWorkstreamonArtsManagement.Thisyearsworkstream,coorganizedbyLeipzigUniversity(DE)andColoradoStateUniversity(USA)atSpaiuIntactatThePaintbrushFactory, invites academics from different disciplines to participate in meaningful discussions on artsmanagement research and its future perspectives, as well as about different cultural contexts of artsmanagement in different societies. It calls for a reconceptualization of the relation between the arts andmanagement,atoddswithacertainaversionagainstaestheticsandnormativeaspectsofculturalartefactsandculturalproduction.AWorkshoponEverydayAesthetics, coorganizedby theDepartmentofPhilosophyofBabeBolyaiUniversityandColoradoStateUniversity,wouldspecificallydefinesomeconceptsandmethodsofaesthetics,anddiscusshowtheycouldactuallybeputintopracticeindailyandorganizationallife.

Thisconferenceisfirstandforemostanopportunityforscientificdiscussion,andIstronglybelievethatwewillhearmanygreatpresentations.Butitisalsoorientedtothesocialdimension.Theconferenceisprovidedwithasocialprogramme,aimingtofacilitatedialogueandencounterbetweentheparticipants,withtheWelcomeReceptionand the(optional) Conference Dinner; and to offer an opportunity for a phenomenologicalexplorationoftheurbanfabricthroughtheuseofsensesandserendipity,withaTransectWalkthroughthecityofClujNapoca,coorganizedbycolleaguesfromLeuphanaUniversityLneburgandtheUniversityofArtandDesigninClujNapoca.

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Avibrantandpleasantcitytoday,withawonderfulhistoricallegacyandagreatatmosphere,ClujNapocaalsohasadiverseandgrowingculturalscene,withculturallifeexhibitedinanumberoffields,includingthevisualarts, film, and performing arts. It is certainly a great experience for those who want to feel the urbanTransylvanianlifeatitsbest.Theorganizationofthisconferencewouldhavenotbeenpossiblewithoutthe institutionalsupportofBabeBolyai University. Iwould like to expressmy sincere acknowledgment and gratitude to the Rector of theuniversity,Prof.Dr.IoanAurelPop,memberoftheRomanianAcademy,aswellastoseveralDirectionsoftheuniversitywhichprovided technical support. Iwould like toexpressmygratitude toother institutions thatsupported this conference a lot: the European SociologicalAssociation (ESA), theUnited States Embassy inRomania,andtheInstitutFranaisClujNapoca.SpaiuIntactatThePaintbrushFactory,theAmericanCorneratOctavianGogaClujCountyLibrary,andWensTravelAgencyhavesupportedusaswell.Manythanksforthis.Iwouldalsoliketothankfortheirintensivecollaborationintheorganisationalwork:thecoorganizersoftheWorkstreamArtsManagementfromLeipzigUniversityandColoradoStateUniversity;thecoorganizersoftheTransectWalkthroughthecityofClujNapoca;aswellasmycolleaguesoftheRNsDirectingBoard.Aspecialthanksgoes to theConferenceSecretariat for thehelp inorganizing,and theMAandPhDStudentswhoprovidesupportduringtheconference.Iwishyouallan intellectually inspiringandchallengingconference,memorableencounters,andawonderfultimeinClujNapoca!Prof.Dr.DanEugenRaiuBabeBolyaiUniversityinClujNapocaChairoftheResearchNetworkSociologyoftheArts/EuropeanSociologicalAssociationConferenceChair

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2.1GENERALPROGRAMMEOFTHECONFERENCETransectWalkthroughthecityofClujNapoca(Wednesday,3September15:0020:00)

Thursday,4September2014

from8:30Registration(Room130)09:3010:00Coffee10:0010:50OpeningWelcomingSpeech(AulaMagna)11:0012:20PlenaryLecturePierreMichelMenger(AulaMagna)

12:3014:00Lunch

14:0015:40Section1&WorkstreamArtsManagement(1)(Fabricadepensule*)15:4016:10PauseCoffee16:1017:50Section2&WorkstreamArtsManagement(2)(Fabricadepensule*)18:0019:30AuthorMeetsCriticsPierreMichelMenger(InstitutFranaisClujNapoca)

20:00:0022:30WelcomeReceptionFriday,5September2014

from8:30Registration(Room130)09:0010:40Section310:4011:00PauseCoffee11:0012:20PlenaryLectureNolCarroll(AulaMagna)

12:3014:00Lunch

14:0015:40Section4&WorkstreamArtsManagement(3)(Fabricadepensule*)15:4016:10PauseCoffee16:1018:45WorkstreamArtsManagement(4)(Fabricadepensule*)&16:3018:30AuthorMeetsCriticsNolCarroll(AmericanCorner,O.GogaClujCountyLibrary)

20:0023:00Conferencedinner(optional)Saturday,6September2014

from8:30Registration(Room130)09:3011:10Section511:1011:30PauseCoffee11:3013:10Section6&WorkshopEverydayAesthetics

13:1014:40Lunch

14:4016:00FeedbacksessionTransectWalk16:0016:30RsumClosingMeeting*Shuttle departure at 13:30 from BabeBolyaiUniversity; return from Fabrica de Pensule at 19:00, for presenters inWorkstreamArtsManagement.

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2.2.DETAILEDPROGRAMMEPARALLELSECTIONS

THURSDAY4THSEPTEMBER2014From8:30Registration(Room130firstfloor)09:3010:00Coffee10:0010:50OpeningWelcomingSpeech:IoanAurelPop,RectorofBabeBolyaiUniversity;EmilBoc,MayorofClujNapoca;BenotBavouset,DirectorofInstitutFranais;DanEugenRaiu,ConferenceChair(AulaMagna)

11:0012:20PlenaryLecturePierreMichelMenger(Paris):Lasociologiedutravailartistique:Ralisationsetdfis/SociologyofArtisticWork:AchievementsandChallenges(AulaMagna)

12:3014:00Lunch(RestaurantPiramida)

14:0015:40Section1Section1a Revaluations:Authenticity,Beauty,andAestheticResistanceRoom 123(tefnescuGoang)Chair Sacha Kagan 1.Presenter HansAbbing:AnObsessionwithAuthenticity,AuthorshipandAutonomyintheArts2.Presenter MikkoLagerspetz:LayPerceptionsofTwoModernArtworks3.Presenter HermannPftze:BeautyandAestheticResistance4.Presenter tefan Maftei: The Aesthetics of EcoProtest in Romania (20002013): the Rise of the Aesthetic

CosmopolitanisminEcoMovements

Section1b CreativeProcesses,Markets,andFields:MusicandLiteratureRoom 124(LucianBlaga)Chair Tasos Zembylas 1.Presenter FlorianGrote:JammingwithMachines:SocialTechnologiesinMusicalCreativity2.Presenter Kristin Bothur: A Golden Key Can Open any Door? Market Perception and Behavior of Freelancing

MusiciansinGermany3.Presenter PaulaGuerra,AugustoSantosSilva&TniaMoreira:ADifferentKindofTension.GlobalandLocalinPunk

MusicalScenes4.Presenter StanisawKrawczyk:ATasteintheFantastic:TheMakingoftheFieldofFantasticProseinPoland

Section1c ProcessesofValuation,Critique,andtheMarketsRoom 132(D.D.Roca)Chair Victoria D. Alexander 1.Presenter GunnarOtte:ValuationCriteriaofProfessionalCriticsandArtisticSuccessinPopularMusic2.Presenter MaaritJaakkola:RevisitingReviewing:ReviewersasCulturalIntermediariesandAgentsofPublicPedagogy3.Presenter SvetlanaKharchenkova:FastandFurious:HowtheMarketforContemporaryArtisEmerginginChina4.Presenter MarijaStanisavljevic:MakingProtestVisible:AestheticsofProtestandtheMassMediaWorkshopAM1ArtsManagementResearch:FramingtheFutureISpaiuIntactFabricadePensuleChair Constance DeVereaux 14:0015:40 CSULEAP:SamanthaRose,CarrieCare,EmelieBorello

AlanSalzenstein:PerspectivesandReflectionsontheStateoftheFieldGoranTomka&IvanaAnelkovi:TheatreLobbiesandtheDayAfterSociallyOrientedStudyofTheatreasEverydayPracticeValerioZanardi:ATheatreFestivalasLaboratoryofCultureandPeople. IntegratedSolutionofCreativity,TrainingandExperience

15:4016:10PauseCoffee

16:1017:50Section2Section2a Arts,City,andEverydayLifeRoom 123(tefnescuGoang)Chair Hans Abbing 1.Presenter SachaKagan:TheCityasAnthropoScene?ArtandUrbanSpacesofPossibilityintheAnthropocene2.Presenter NikitaBasov,AleksandraNenko&AnisyaKokhlova:GeneratingKnowledgeintheCity:AStudyonCreative

CommunitiesofSt.Petersburg

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3.Presenter MirjaLiikkanen:SocialInterpretationsofCulturalTasteisthereaBias?4.Presenter PredragCvetianin&JasminaNedeljkovi:SocialNetworks,CulturalPracticesandStrategies inEveryday

LifeinSouthEastEuropeanSocieties

Section2b RevisitingProcessesofProductionandDistributionofArtsRoom 124(LucianBlaga)Chair Mara Raiu 1.Presenter VictoriaD.Alexander:FineArts,CommercialArtsandFolkArtsRevisited2.Presenter SariKarttunen:HowtoModeltheVisualArtProductionCycleToday?3.Presenter Thomas Mazzurana, Franz Schultheis & Erwin Single: Dangerous Liaisons: The Strange Relationship

betweenArtFairsandGalleries.TheCaseoftheArtFair"ArtBasel"4.Presenter MlfridIreneHagen:ArtasCulturalandHumanisticCapitalinCorporations

Section2c ProfessionaldevelopmentIRoom 132(D.D.Roca)Chair Wolfram Bergande 1.Presenter AnnaLogrn:ExpectationsandIdealsoftheContemporaryVisualArtistinPublicDiscoursestheCaseof

Finland2.Presenter LigiaDabul:PortraitistsontheStreetsofRiodeJaneiro:ArtisticCareers,DiversityandSocialOrigin3.Presenter GracielaTrajtenberg:HowtoBecomeanUnCommissionedStreetArtist4.Presenter MarianneBertelsen:DissectingGlobalizationinChineseVisualArtEducationWorkshopAM1ArtsManagementResearch:FramingtheFutureIISpaiuIntactFabricadePensuleChair Christian Kleindienst 15:4016:10 Break&TourofFabricadePensule16:1016:50 Presentation:Groupleaders16:5017:20 CSULEAPGroupDiscussion:ConstanceDeVereauxWorkshopAM2OntheLackofFieldSpecificMethods&TheoryinArtsManagementISpaiuIntactFabricadePensuleChair Christian Kleindienst 17:2017:50 Leipzig University Group Discussion: Nina Zahner, Christian Kleindienst, Maria Braune, MarieLuise

Blechschmidt,JuliaRhr17:5019:00 TourofFabricadePensule

18:0019:30AuthorMeetsCriticsPierreMichelMenger:Letravailcrateur:Saccomplirdanslincertain(Mdiathque,InstitutFranais)20:0022:30WelcomeReception(RestaurantPiramida)

FRIDAY5THSEPTEMBER

From8:30Registration(Room130firstfloor)

09:0010:40Section3

Section3a PracticesofDisplayandCuratorshipRoom 123(tefnescuGoang)Chair Martin Trndle 1.Presenter GerhardPanzer:TheFormatofanExhibitionasanInstrumenttoAnalyseExhibitionsinArtWorlds2.Presenter ChiaLing Lai: Artists as Curators / Curators asArtists?: on Cindy Shermans Curatorial Effects in 2013

VeniceBiennale3.Presenter Nicoleta Slcudean: From Mediascapes to Ideoscapes: A Disembodied and Embodied Romanian

PerformanceattheVeniceBiennale(2005vs.2013)4.Presenter ValerioZanardi:InteractionRitualChainsandCulturalReception

Section3b WaysofArtMaking:NetworksandSpacesRoom 124 (Lucian Blaga) Chair Fiammetta Fanizza 1.Presenter MarcoSerino:Networks,Collaboration,and Innovation inTheatreMaking.AResearchonTheatricalCo

ProductionsinSouthernItaly2.Presenter GoranTomka:DoWeNeedAudienceatall?AnalysingDiscoursesonAudienceinSerbiasTheatreMaking

Community3.Presenter KaijaKaitavuori:CreatingArtbyReassemblingandDelimitingNetworks4.Presenter HeliAnsio:ArtistsWorkSpacesProblemsandaPossibleSolution

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Section3c ProfessionaldevelopmentIIRoom 132(D.D.Roca)Chair Sari Karttunen 1.Presenter SofiaLindstrm:TheBread,theButterandtheCream;ProfessionalArtistsandtheOtherWork2.Presenter ReneMe:CulturalProducers,ArtworkersandCreativeEntrepreneurs3.Presenter AgnesSzanyi:CuratorialRolesinEmergingandEstablishedContemporaryArtFields4.Presenter YolandavonTilborgh:CulturalDistinctionandtheFieldofMuslimArtistsintheUK&US

Section3d AspectsofCulturalPolicyIRoom 138(FranoisChamoux)Chair Laura Verdi 1.Presenter EdwinJunoDelgado:EmergenceofaCulturalQuarterintheMustardCapital.LessonsLearnedandApplied

toNascentCulturalQuarterinDijon,France2.Presenter ClaudiaSteigerwald:HowDiscoursesEmergeinCulturalPolicy.AFieldStudyonGermanAgendaSetting3.Presenter ChristopherMathieu:TrollywoodDreams:RegionalFilmPolicyinSouthernSweden4.Presenter MacarenaCuenca,JordiLpezSintas&ErciliaGarcalvarez:TheOperaExperience:PerformingaVibrato

withtheAudience.InsightsforImprovingCulturalPolicy

10:4011:00PauseCoffee

11:0012:20PlenaryLectureNolCarroll(NewYork):Art,Emotion,andEvolution(AulaMagna)

12:3014:00Lunch(RestaurantPiramida)

14:0015:40Section4Section4a ArtisticTransformations:Film,Design,AdvertisingRoom 123(tefnescuGoang)Chair Fiammetta Fanizza 1.Presenter AleksandraBiernacka:DialecticofEnlightenmentVsPostmodernismAnExampleofTwoFilmsbyOne

DirectorfromVariousPointsofTimeofthePolishPoliticalTransition2.Presenter KamilLuczaj:TheArtistsofCreativeAgencies.HowMakingAdvertisingResemblesMakingArt3.Presenter VoicaPucaiu:Design,ItsNotWhatItLooksLike!4.Presenter Leylanal:StrategicAbjection:BetweenRepulsionandDeconstruction

Section4b MuseumsandParticipatoryPracticesRoom 124(LucianBlaga)Chair Victoria D. Alexander 1.Presenter MartinTrndle:Affordances intheMuseumEnvironment:TheEffectsofSpaceandMovementonVisitor

Attention2.Presenter PrzemyslawKisiel:MuseumAreaasaSocialSpace3.Presenter DorisKoch:OntheConnectionbetweenSociological,Artistic,andParticipatoryPractice4.Presenter tefaniaVoicu:CulturalConsumption,ArtisticandLeisureActivitiesofRomanianChildren

Section4c IntersectionsbetweenSociologyandAestheticsRoom 132(D.D.Roca)Chair Mara Raiu 1.Presenter TasosZembylas:TheConceptionofContext2.Presenter GlauciaPeresdaSilva:AestheticSensibilityMakingSociologyfromAesthetics3.Presenter Paula Abreu, Paula Guerra& TniaMoreira: New Borders of the Sociology of the Arts: Mapping and

DiscussionoftheApproachTendenciesofthePunk4.Presenter WolframBergande:LawsofArtisticForm

Section4d ArtforSocialTransformationRoom 138(FranoisChamoux)Chair Graciela Trajtenberg Workshop MarianglicaRojasGutirrez&CristhianLozanoMarn:FeelingandThinkingonLatinAmerica

WorkshopAM2OntheLackofFieldSpecificMethods&TheoryinArtsManagementIISpaiuIntactFabricadePensuleChair Nina Zahner 14:0015:40 OntheRoleandPerceptionoftheArtsManager:TheChallengeofAttractingAudiences

Siglinde Lang: Bridging the Gap between Fact and Fiction: Arts Management and its Role in Encouraging CulturalProduction;AndreasHeinen&UrsulaWeisenfeld:FromRepresentationtoPurismaStrategicDilemma inOrchestrasInstitutionalLogic

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Onan Interdependent ResearchProgramforArtsManagement:Disentangling theConnectionofCultureandEconomyAlanSalzensteinOnReConceptualizingCulturalManagementwithRegardtoEventificationNinaTessaZahner;LauraVerdi:ArtsManagementbeyondEventification

15:4016:10PauseCoffee

16:3018:30AuthorMeetsCriticsNolCarroll:LivinginanArtworld&ArtinThreeDimensions.RecentArtisticTendenciesandDebatesintheAmericanArtworld(AmericanCorneratOctavianGogaClujCountyLibrary)WorkshopAM2OntheLackofFieldSpecificMethods&TheoryinArtsManagementIIISpaiuIntactFabricadePensule15:4016:10 Break&PresentationGeorgianaBu16:1016:50 LeipzigUniversityGroupDiscussion:NinaZahner,ChristianKleindienst

WorkshopAM3Transatlanticdialogue:Differences&SimilaritiesofArtsManagementContextsSpaiuIntactFabricadePensule17:0018:45 CSULEAP:ConstanceDeVereaux.CarrieCare,SamanthaRose,EmelieBorello

LeipzigUniversity:Nina Zahner, Christian Kleindienst,MarieLuiseBlechschmidt, MariaBraune,JuliaRhr

20:0023:00Conferencedinner(optional,RestaurantCasaBoema)

SATURDAY6THSEPTEMBER

From8:30Registration(Room130firstfloor)

09:3011:10Section5Section5a Music,PerformativePractices,andtheBodyRoom 123(tefnescuGoang)Chair Tasos Zembylas 1.Presenter IlariaRiccioni:TheSocialCulture,Functionand ImpactofMusic inaBilingualContext:theCaseofSouth

Tyrol2.Presenter ChiaraBassetti&EmanueleBottazzi:SocialAestheticsofRhythm:ComparingTheatricalDanceandAdult

NewbornInteraction3.Presenter MartinNiederauer:TheBodyinMusicalCompositionProcesses4.Presenter ChristinaBuck:ACriticalExplorationofLearningConceptsforBodyKnowledge

Section5b ArtsintheUrbanSpaceRoom 124(LucianBlaga)Chair Graciela Trajtenberg 1.Presenter LauraVerdi:SustainableUrbanDevelopmentandNewProspectsfortheArts2.Presenter FiammettaFanizza:ArtsforRacialIntegration:theCaseofArtVillage3.Presenter Marianne Bertelsen: TheDevelopments in Art Education andWhat It Can Tell us About theMeanings

SurroundingArtinDenmarkandChina4.Presenter AlinaProdan:TheCommunistImaginaryasSeenfromtheSociologyofLiterature

Section5c ArtsManagementandLeadershipRoom 132(D.D.Roca)Chair Victoria D. Alexander 1.Presenter ConstanceDeVereaux:WhatHaveWeLeftBehind?LegacyBuildingintheArtsManagementDiscipline2.Presenter CarrieCare:SpaceAgevs.StoneAge:EnvironmentsofChangeinArtsLeadership3.Presenter BreaHeidelberg:TheEvolvingRhetoric&PracticeofEducatingArtsManagers:CurricularQuestionsand

FieldImplications

Section5d AspectsofCulturalPolicyIIRoom 138(FranoisChamoux)Chair Sari Karttunen 1.Presenter AlanSalzenstein:3MillionVoices,OneCulturalPlan:AssessingSuccessAfterYearOne2.Presenter SzilviaNagy: Transitional Transformations:Deinstitutionalisation of theArt Field in Central and Eastern

EuropeandImplementationofNetworkBasedModelsinEuropeanUnion'sCulturalPolicies3.Presenter PauliRautiainen:HowLegalRegulationPromotesandProhibitsFreedomofArtisticExpression inFinland:

CaseofProfessionalVisualArtists

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11:1011:30PauseCoffee

11:3013:10Section6Section6a ArtsandSocialTransformationRoom 123(tefnescuGoang)Chair Sacha Kagan 1.Presenter KarenFrostig:AttheCrossroads:CombiningCriticismwithSocialTransformation2.Presenter KatarzynaNiziolek:SocialArtasaMeanstoProduceSocialBenefitsandChange3.Presenter MarianglicaRojasGutirrez&CristhianLozanoMarn:ArtisticExpressionsasaFeministFightinColombia4.Presenter SigneGrbe:ArtworkastheMirrorofNationalIdentity

Section6b DevelopmentsinMusicRoom 124(LucianBlaga)Chair Tasos Zembylas 1.Presenter MartinTrndle:TheConcert:ATheoryontheEvolutionofMusicalPerformances2.Presenter JordiAlomarPayeras:TheInstitutionalizationofContemporaryMusicinSpain:aSociologicalOverview3.Presenter AndreiCrciun:CulturalImportandHybridization inPostCommunistRomania:DebatingtheAuthenticity

inRapMusicbetween1993and20124.Presenter PaulaGuerra,TniaMoreira&TiagoTelesSantos:I'veSeenYouintheMirrorwhentheStoryBegan.Legacy&

AuthenticityoftheSexPistolsinPortugal

Section6c ArtsOrganisationsandtheirProgrammesRoom 132(D.D.Roca)Chair Brea Heidelberg 1.Presenter SophieFrost:What is theRoleof Creativity in theCultural Institution?AQualitativeStudyofSouthbank

Centre,London2.Presenter AndaBecu:AlternativeSpacesofCulturalConsumption.AnAnalysisofBucharestUrbanCulture3.Presenter HuidiMa:TheDeclineofBeijingOpera:TheReflectionfromtheAestheticPerspective

Section6d TheGlobalLocalDimensionofArtFieldsandAttendanceRoom 138(FranoisChamoux)Chair Hans Abbing 1.Presenter Jeremy Scott Forbis & Donald Polzella: Economic WellBeing and Arts Attendance: A MultiVariable

Analysis2.Presenter MlfridIreneHagen:HowGlobalEventsManifestinArt3.Presenter Szilvia Nagy: Institutionalised Spaces of Culture: Ideological Instrumentalisation of the Art Field in the

EasternBloc4.Presenter Ekaterina V. Potyukova: The Changes of the Art Culture Values in the Structure of Personal Values of

RussianStudentsWorkshopEverydayAestheticsRoom 131(Lab.PracticiCulturale)Chair Nol Carroll 1.Presenter ConstanceDeVereaux:PracticalAesthetics:ResearchProspects2.Presenter DanEugenRaiu:ApplicationsforEverydayAestheticsinDailyandOrganizationalLife3.Presenter StefanMaftei:AssessingEverydayAestheticSocialSituations:aNewTheoreticalFramework4.Presenter CristianHainic:EarlyTheoreticalModelsfortheAestheticAnalysisofNonArtObjects13:1014:40Lunch(RestaurantulColegiuluiAcademic)FeedbacksessionTransectWalkthroughthecityofClujNapocaRoom 123(tefnescuGoang)Chairs Sacha Kagan, Mara Raiu 14:4016:00 ParticipantsintheTransectWalk

16:0016:30RsumClosingMeeting(Room123tefnescuGoang)

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3.INFORMATIONABOUTVENUEParallelSessions&KeynoteLectures

Themainvenueoftheconference isBabeBolyaiUniversity,1M.KoglniceanuStreet.AllparallelSessionstakeplacehere,aswellastheWorkshopEverydayAesthetics.Rooms123(tefnescuGoang),124(LucianBlaga),130 (DepartamentuldeFilosofie),131 (LaboratoruldeAnalizaPracticilorCulturale),132 (D.D.Roca),and138(FranoisChamoux)areonthefirstfloorofthebuilding.FreeWiFi Internetaccess(nonsecured)isavailable.

ThekeynotelecturestakeplaceinAulaMagna,whichisonthesecondfloorofthebuilding:

AuthorMeetsCriticsSessions

TheAuthorMeetsCriticssessionwithPierreMichelMenger takesplaceat the InstitutFranaisClujNapoca(ground floor:Mdiathque),22 Ion I.C.BrtianuStreet.Thisvenue isata5minutewalk fromBabeBolyaiUniversity(seethecitycentremapbelow).

TheAuthorMeetsCriticssessionwithNolCarrolltakesplaceattheAmericanCorner,BibliotecaJudeeanClujOctavianGoga/ClujCountyLibrary(fifthfloorwest),104CaleaDorobanilorStreet.TogetherefromBabeBolyaiUniversity,youcanwalk(30minutes),takebusno.24,24P,or25andgetoffatMrtiMarketstation(10minutes+another3minutewalk),ortakeataxi(7minutes)(seetheMrtineighbourhoodmapbelow).

WorkstreamArtsManagement

TheWorkshops AM1, AM2, and AM3 take place at Spaiu Intact, Fabrica de Pensule Centru de artcontemporan / Intact Space, The Paintbrush Factory (second floor), 5961 Henri Barbusse Street. Forpresentersinthethreeworkshops,ashuttleisprovided(16places).Theshuttledepartsat13:30fromBabeBolyaiUniversitycentralbuilding(frontparking),andreturnsfromThePaintbrushFactoryat19:00.

Otherparticipants:togetherefromBabeBolyaiUniversity,youcanwalk(35minutes),takebusno.24,24P,or 25 and get off at MrtiMarket station (10minutes +another 10minutewalk), or take a taxi (10minutes).TogetherefromtheOctavianGogaClujCountyLibrary,youcanwalk(10minutes)ortakeataxi(5minutes)(seetheMrtineighbourhoodmapbelow).

Busfaresare4RON(=1EUR)fortwotripsandtaxischargeabout2.2RON(0.5EUR)perkilometre,which isrelativelycheapcomparedtomostEuropeancountries.

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LunchesLunches are served at Casa UniversitarilorColegiul Academic / University HouseAcademic College, 1EmmanueldeMartonneStreet.OnSeptember4thand5th, lunchwillbeservedatthePyramidRestaurant.OnSeptember6th,lunchwillbeservedattheRestaurantoftheAcademicCollege(entrancealsopossibleby5M.KoglniceanuStreet.)

WelcomeReceptionThe Welcome Reception takes place at the Pyramid Restaurant within the University HouseAcademicCollege,1Emm.deMartonneStr.ConferenceDinnerTheConferenceDinnerisoptional,forparticipantshavingreservedaplacebypaymentoftheextrafeeofEUR30.ThevenueistheRestaurantCasaBoema,34IuliuManiuStreet(SalaBoema/BoemaRoom,upperfloor).Thisvenueisata5minuteswalkfromUniriiSquaretoAvramIancuSquare.MapofCitycentre:

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MapofMrtineighbourhood:

*SeealsotheGooglemapsontheconferencewebsite:http://hiphi.ubbcluj.ro/ESAArts2014/city_info.htm

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4.ABSTRACTSOFTHEKEYNOTESPEAKERS

THURSDAY,4SEPTEMBER2014,11:0012:20

LASOCIOLOGIEDUTRAVAILARTISTIQUE.RALISATIONSETDFIS

(SOCIOLOGYOFARTISTICWORK.ACHIEVEMENTSANDCHALLENGES)

PierreMichelMenger

Research on artistic labourmarkets, professions and creativework has seen remarkable developments forthirtyyears,buildingon large setsoforiginaldata,newmethodologiesand theoreticaladvanceswithin thebounds of sociology as well as through crossfertilization across social sciences (economics, psychology,history).Eventhechallengingissueofdealingwiththeartworkitselfislessperplexingthanbefore,duetotheanalyticalapparatusnowathand.Mypresentationwillreview themajorchallengessociologicalresearchonartisticworkhasbeenfacing,theissuespuzzledout,andthosestillontheagenda.

Lesrecherchessurlesmarchsdutravailartistique,surlesprofessionsetsurlactivitcratriceontconnuderemarquablesdveloppementsdepuistrenteans,ensappuyantsurdevastesbasesdedonnesoriginales,surdenouvellesmthodesetsurdesavancesthoriques.Cesvolutionsonttrouvplaceauseindelasociologie,mais aussi grce aux changes et fertilisations croises entre les diffrentes sciences sociales (conomie,psychologie, histoire). Mme la question dlicate de lanalyse de luvre dart ellemme est moinsintimidantequauparavant,en raisonde loutillage analytiquedisponible.Monexpospasseraen revue lesprincipauxdfisquarelevslarecherchesurletravailartistique,lesnigmesquionttrsoluesetcellesquidemeurentexplorer.

PierreMichelMenger isProfessoratCollgedeFranceandDirectorofStudyatcoledesHautestudesenSciencesSociales(EHESS)Paris,France

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FRIDAY,5SEPTEMBER2014,11:0012:20

ART,EMOTION,ANDEVOLUTION

NolCarroll

InArt,Emotion,andEvolutionIaddressthequestionofwhysocietiesthroughouthistoryhavesupportedtheproductionof art,despite thedemands itplaceson the resourcesof the societies inquestion. Inorder toanswer thisquestion, I focuson the longstanding connectionbetween theemotionsandart. Specifically, Iemphasizeartscapacitytoengenderemotionalcontagionwhichinducesfellowfeelingsamongthemembersofgivensocieties.Moreover,insofarasthisenhancessolidarity,itisadaptive;itaffordsagroupadvantagetothesocieties thathadartversus thosewhodidnot.Thishypothesisoffersaplausibleaccountof theway inwhicharttookhold inNeolithictimesandarguablycontinuestopay itsway inthecontemporaryworld intermsofmassart.NolCarrollisDistinguishedProfessoratTheGraduateCenterCityUniversityofNewYork,US

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5.ABSTRACTSOFTHEPRESENTATIONS

ABBING,HANSDepartmentforSociology,UniversityofAmsterdam,NL;hansabbing@gmail.com

AnObsessionwithAuthenticity,AuthorshipandAutonomyintheArts

Section1a)Revaluations:Authenticity,Beauty,andAestheticResistanceKeywords:art,authenticity,authorship,autonomy,aura

First,Iwilldiscussandclarifytheconceptofauthenticityintheartsanddistinguishexpressiveandnominalauthenticity.Someclarificationiscalledfor.Inoursocietyauthenticityhasbecomeabuzzword.Outsidetheartsthetermisusedinvariousbroadsensesasshows,forinstance,fromadvertisingandthetextsinselfhelpbooks.Alsovariousgroupsofartists(andpopularartists)usethetermdifferentlyandthewaysinwhichtheyuseitchangesovertime.Moreover,amongartiststhepositiveornegativevalueattachedtoauthenticitychanges.Iwillarguethatartistshavelosttheirmonopolyonauthenticity.Second,Iwilllookintothenotionoftheworkitselfandtheobsessionwithoriginalartworks,genuinenessandpreservation.Iwillalsobrieflytouchuponthedistrustinartworldsoftechnicalreproductionandhomeconsumption. In art sociology there is little attention for the home consumption of art. This is unjustified.Next, Iwill look into theobsessionwiththeworkitself,authorshipandthesignatureoftheartistandhowthisisrelatedtoauthenticityandtheideaoftheartistbeinginthework.Coauthorshipandworkingincreativeteamsisrareinthe(serious)arts.Inthepopularartsitismorecommon.Finally,giventheseobsessionsthedemandthatartandartistsmustbeautonomous isunderstandable.Buttherelationshipbetweencreativity,innovationandautonomyislessstraightforwardthanoneoftenassumes.Compromise,dialogueandanorientationonnonartisticgoals,frompleasinganaudiencetothemakingofprofit,nexttoanorientationonartisticgoals,canenhancecreativity.Atpresent,amongothersduetoadecrease inpublicsupport,theautonomyofartandartistsappearstogodown.Thesamedoesnotapplytothesymbolicandfinancialvalueofauthorship.ThepresentationwillbebasedonpartsofmyforthcomingbookTheArtPeriod.Theseareavailableonrequest:hansabbing@gmail.com

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ABREU,PAULAFacultyofEconomy,UniversityofCoimbra,PT;pabreu67@gmail.com

GUERRA,PAULAFacultyofArts,UniversityofPorto,PT;paula.kismif@gmail.com

MOREIRA,TNIAFacultyofArts,UniversityofPorto,PT;tania.kismif@gmail.com

NewBordersoftheSociologyoftheArts:MappingandDiscussionoftheApproachTendenciesofthePunk

Section4c)IntersectionsbetweenSociologyandAestheticsKeywords:Sociologyofthearts,punk,subcultures,culturalindustry,culturalfield,scenes

PunkemergedinEnglandandUSduringthesecondhalfofthe70s,comingoutgloballyinthefollowingcoupleofdecades.Aphenomenonofmany faces,punknotonly staysputwhenmany (onmanyoccasions)predictedotherwisebut it still shapes someurbanandyouthcontemporaryculturesonmany levels.Although theAngloSaxonmediahavealwaysshown interest in thismatter, theEnglishculturalstudieswerethe firsttoattempttoknowandstudy, fromascientificpointofview,whatthenbecamedesignatedasayouthorurbansubculture.Sincethe70sand80smuchhasevolved,enlargingnotonlythedisciplinaryfieldsinterestedinthisobjectbutalsothenumberanddiversityof specific issues related topunk. Itmatters,however, to recognize thatpunk is still regardedwithdistrustby the socialsciences.Alongwithotherurbanpopular culturesexpressions,punk is still leftaside inmany sociological studies.This communicationintends to contribute toanupdatedanddeepenknowledgeof theevolutionof the international scientificproduction regardingpunk,shadingalightintotherichnessandactualityofthisspecificresearchdomainandtheimportanceofitsplaceinthesociologyofarts.Inthiscontext,thedatathatwillbepresentedcomesfromanexhaustiveanalysisofscientificpapersindexedintheISIandSCOPUSdatabasesthatapproachedthepunk(keyword)object.The2013collecteddatawas insertedandcataloguedand laterwasanalyzedthroughsocialnetworkanalysisandmoretraditionalstatisticalanalysis.Theresultsallowustoidentifyanddiscussarelevantsetofgreattendenciesnotonly concerning themain research lines regardingpunk (what themesarealreadymaturedand thosewhoareemerging)butalso thespecific characteristics of the researchers (analysis by nationality, genre, scientific area and institutional affiliation), of the researchinstitutions (including,also, the international scientificnetworks)and also thedisciplinaryareas thataremost committed to thepunkresearchandanalysis.

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ALEXANDER,VICTORIAD.DepartmentofSociology,UniversityofSurrey,UK;v.alexander@surrey.ac.uk

FineArts,CommercialArtsandFolkArtsRevisited

Section2b)RevisitingProcessesofProductionandDistributionofArtsKeywords:Finearts;Commercialarts;Folkart;Internetanddigitaltechnology;ArtworldsThis paper looks at the development and institutionalisation of arts that are produced in systems that involve formal organisations,whethercommercialornonprofit.Italsoexaminestheimplicationsofchangesinthelast150yearsforourunderstandingofdistinctionsamongartworlds:fine,commercialandfolk.Duringthetwentiethcentury,artworldshavebeenseparated intoproducersorartists,ontheonehand,andaudiencesorconsumers,ontheother.Thecreatorshavethetalent,materialsandequipmenttoproduceart,andthe

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consumershavejustenoughcultural(andeconomic)capitaltoenjoy(andpayfor)it.Alsothroughoutthetwentiethcentury,westernerstended to thinkof theartsasdivided into the fine (orhigh)artsand thepopular (ormass)arts. Theelevationof the finearts intoaseparaterealmoccurredonlyinthelatenineteenthcentury(DiMaggio,1982;Levine,1988).Inthepopulararts,theseparationbetweenproducerandconsumerfindsitsrootsinthe1830sand40swiththeinventioninrotarypressprinting.Massproduction,andwithit,thedistinctionbetweenproducerandconsumer,grewasnewculturalindustrieswereinventedandflourished.Theinstitutionalisationofbothhigh and popular arts, although often seen as diametrically opposed, had one thing in common: experts produced the artwork, andordinarypeopleconsumedtheproductsthatexpertsmade.Butthedistinctionbetweenhighandmasscultureignoredathirdkindofartaformthathadlongbeendominantfolkart,whichisproducedbypeoplefortheirownentertainment.Inthetwentyfirstcentury,therehavebeenfundamentalchangesintechnology,withprofoundimplicationsforhowartis,orcanbe,createdandconsumed.Notably,theInternet and digital technologies mean that costs of production and distribution are significantly lower, offering the promise thatconsumerscouldbecomeactiveculturalproducersand thereby leading (insome realms,orat least, in the realmof imagination) toanerosionofthedistinctionbetweenartistsandaudiences.

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ALOMARPAYERAS,JORDICECUPS,BarcelonaUniversity,ES;jordi.alomar@gmail.com

TheInstitutionalizationofContemporaryMusicinSpain:aSociologicalOverview

Section6b)DevelopmentsinMusicKeywords:Spain,contemporarymusic,institutionalization,festivals,canonestablishment

Thispresentationapproachesthesocialuniverseofcontemporarywesternartmusic inSpainfromthesociologyoftheartsperspective.Bourdieus field theory (1993) and JosepMart (2000) tripartitemodel ofmusical event analysis are used as frame of interpretationregardinginstitutionalintegrationanddynamicsofchangeinthefieldoverrecenttimes.DespitethelackofacademicresearchonthefieldinthecaseoftheSpanishscene(CuresesandAvioa,2001),thisresearchislinkedtotheenquirycarriedonbyRodrguezMorat(1995),permittinganevaluationofchangesincehisstudy.StudiesonFrenchcontemporarymusicbyMenger (1983)andBorn (1995)areclearlandmarksinthisresearch.Relatedtotheemergenceofsociologicalmethodsofunderstandinginethnomusicologyappliedtowesternartmusic(Nettl,1992),andfocusingondebatesoncanoniclegitimation(Weber,1999)andproblemsofreceptionandsurvival(Mart,op.Cit,McClary1989),theobjectofstudyhasbeenconstrictedtothecaseofcontemporarymusicfestivalsduetoitssignificantinstitutionalrolein the field.Festivalshaveconsolidatedasmeansofenthronementand reputation reinforcement, lengthening the traditionalweightofauthorshipandfocusingonparticularaestheticpositions.Theresearchconcentratesonthedetection,delimitationandcharacterizationofauniverseof study fromwhicha representative set is subjected toan indepthquantitativeanalysis.Festivalprogramscomprising thecontentoftheeditionswhichtookplacebetween2010and2013havebeenexposedtoamultivariateanalysis,withtheaimofpointingthesequestions:WhatcharacterizesthesocialorganizationofcontemporarymusicinSpain?Howaretheprocessesofchangeinthefield,andwherearethem?Whicharetheconstituentsofitslocalconfigurations?Thesequestionsallowaninsighttoissuesasrepresentation,concentration and distribution of aesthetic trends in relation to their means of subsidization, canonic clusters and institutionalconsolidation.

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ANSIO,HELIFinnishInstituteofOccupationalHealth,FI;heli.ansio@ttl.fi

ArtistsWorkSpacesProblemsandaPossibleSolution

Section3b)WaysofArtMaking:NetworksandSpacesKeywords:artists,workspaces,coworking

Artisticworkcanbedone invariousspaces,dependingon, forexample,theart form,artisticmedium,or technique.Artists indifferentfieldswork inworkrooms,studios, rehearsalspaces,stages,offices,coffeeshops, theirhomes,differentpublicspaces,andmanyotherplaces.Thebasic requirements foraworkspacevarywithprofession:whileawritermayonlyneedadesk,a chairanda computer,asculptormayneedalargeandhighworkroomwithspecialtoolsandequipment.Theneedsrelatedtoworkspacealsovarywithanartistsoverallsituationinlife,orthetechniqueusedinacertainprojectatacertaintime.AccordingtoasurveydonetoFinnishartistswriters,visualartistsandtheatreartists(n=476)thesatisfactiontothefunctionalityofcurrentworkspacedependsontheartisticprofession inquestion.While2/3oftheatreartists(actorsandothers)werecontentwiththeirworkspace,only42%ofvisualartistswere.Theproblemsinvisualartistsworkspacesoftenrelatedtolackofspace,lackofproperlighting,coldnessorbadventilation.Manymentionedthatrentingaproperworkspaceisveryexpensive.Accordingtothesurvey,mostartistsindifferentfieldsofartworkfromhome,somefromtimetotime,and some solely.Someartists feel thatworking fromhome suits themwell,butmost see thearrangementproblematic in somerespect.Athome,workissusceptibletodisturbances,anditisdifficulttodistinguishworkfromotherareasoflife.Workingathomeisalsolonely.While loneliness is aproblem formany artists,working in sharedworkspaceswithother artists isnot easy either. The surveyrespondentsfeelthatsharedworkspacesareoftenrestlessand lackprivacy.However,someartists inallfieldsofartendupsuggestingsimilararrangementsforanidealworkspace:aprivatespaceinacommunitywithothercreativeworkersanddifferentspacesforjointuse.The suggested ideal resemblesa coworking space,which isusuallyanopenplanoffice inwhich creativeprofessionalsworkalongsideothers.My purpose in this presentation is to evaluate the possibilities for coworking as a solution toworkspacerelated problems indifferentfieldsofart.Thispresentation isbasedontworesearchprojects.Anotherwasastudyonartistswellbeingconducted forFinnishartists20122013.Theother isa current researchprojectVirtue2020:Work,CommunityandSustainableEconomy,whichexplores coworking in creativeindustries.

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BASOV,NIKITAFacultyofSociology,St.PetersburgStateUniversity&CenterforGermanandEuropeanStudies,St.PetersburgStateUniversityBielefeldUniversity,RUDE;n.basov@spbu.ru

NENKOALEKSANDRAHigherSchoolofEconomics,NationalResearchUniversity,St.Petersburg,RU

KHOKHLOVAANISYAFacultyofSociology,St.PetersburgStateUniversity,RU

GeneratingKnowledgeintheCity:AStudyonCreativeCommunitiesofSt.Petersburg

Section:2a)Arts,City,andEverydayLifeKeywords:knowledge,communication,arts,creativecommunity,city

Communitiesoperatinginthecityspaceareincreasinglyoftenseenasthelociofknowledgecreationprocesses.Creativecommunitiesspatiallyembedded,relativelyopenexpressivegroupingsofcreativeprofessionalswhoregularlymake,promoteanddiscussartworks inthecourseoffocusedjointand/orrelatedmaterialandcontextdrivencreativepracticesareofparticularinterestforthestudyoftheseprocessesintheurbancontext.Suchcommunitiesactivelyengagewith,andchange,publicspaces.Theyfillspaceswithnewartisticobjectsandactivities,and thus introducingnewmeaningsand involvingother citizens inknowledge creationprocesses.Though ithasbeenrecognizedbyanumberofscholarsthattheartsdocreateknowledge,knowledgegeneratingactivitiesofcreativeprofessionalsunitedincommunitieshavenotyetbeensufficientlytheorizedorempiricallyresearched.Theauthorsproposestudyingthesemicrolevelactivities,in course ofwhich knowledge is socially constructed, as ongoing, focusing on creative communities functioning in contemporary St.Petersburg.Thisuniqueurbansettingprovidesbothabundantopportunitiesandnumerousconstraintsforcreativeendeavours,collectiveartistic practice, and participation of publics in artistic projects. It is analyzed how, in such a context, communication creating newconceptualconstructsunfoldsinthreedifferentcreativecommunitieswhichoperateinthecityspaceofSt.Petersburg.Thesecommunitiesworkpredominantlyinthefieldofcontemporaryartandvaryinsize,historyandartisticstyle.Usingasetofqualitativemethodssuchasindepth interviews,participantobservationandnarrativeanalysisofonlinetexts,theauthorsmakeanattempttograspthediversityofknowledgecreatingcommunicationactivitiesofthecommunities.Theanalysis isdevelopedalongsuchdimensionsoftheseactivitiesasemotionality, reflexivity,participativeness, embeddedness in the city space, contextualization in the community localization space andorientation on the values and norms constituting the institutions of the art world. The study aims to show how it happens thatcommunities embedded in the same city context still follow diverse logics of knowledge creation, stimulated by variations in theirinteractionpatterns.Bysodoing,communitiescreatedifferentknowledgestructures,dissimilarly interactwithother representativesoftheartworldaswellasbroaderpublicsinvolvingtheminthecocreationofnewmeaningsanddemonstratespecificapproachestourbanspaceinterpretationandtransformation.

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BASSETTI,CHIARAInstituteofCognitiveSciencesandTechnologies;CNRNationalCouncilofResearches;Dept.ofSociologyandSocialResearch,UniversityofTrento,IT;chiara.bassetti@loa.istc.cnr.it

BOTTAZZI,EMANUELEInstituteofCognitiveSciencesandTechnologies;CNRNationalCouncilofResearches,IT

SocialAestheticsofRhythm:ComparingTheatricalDanceandAdultNewbornInteraction

Section5a)Music,PerformativePractices,andtheBodyKeywords:Rhythm,Dance,Newbornadultinteraction,Nonverbalinteraction,Aisthesis

Thepresent contribution takesup the challengeproposedby convenors tobridge thedividebetween sociologyandaesthetics,andperhapsmoreimportantlybetweenthesocialdimensionandtheaestheticone.Wetrytodothatbyfocusingonrhythm,anditsroleinboththedomainofeverydaylifeandtheartisticone.Thetheoreticalapproachthatlaysatthebasisofthisproposalistheoutcomeofaninterdisciplinaryeffortbetweensociologyinparticular,ethnographyandethnomethodologyandphilosophymorespecifically,socialontology.Theapproach isprocessualandpaysattentionstothedetailsofsocial interaction.Wedeemrhythmasoneofthe latter'skeyelement.Wetakeintoconsiderationtwoextremeandsomehowopposedcases,bothconcernedwithnonverbalinteractionmainly.Ontheonehand,wefocusontheatricaldance,oneamongthemostsophisticatedformsofhumaninteraction,inwhichrhythmclearlyplaysafundamental and explicit role. On the other hand, we analyse adultnewborn interaction, as a sort of degree zero of socialcommunication.Theempiricalmaterialonwhichthecontributionisbasedcomesfromtwoethnographicresearches,bothemployinganensembleoftechniquesincludingparticipantobservation,qualitativeinterviewsandvideoanalysis.Onehasbeenconductedonthefieldof theatricaldance, in companiesaswellasdance schools (20062009).Theotherone consists ina case study, thathas followed theeveryday interactionand caringactivitiesamonganewborn,herparentsandothermembersof the intimate circle, frombirth to firstbirthday(April2010April2011).Bycomparison,wetrytoextrapolatethecoreaspectsofrhythminhumaninteraction,anddrawsomereflectionsontheroleofaisthesis insocial life.Wepresentrhythmasameaningfulandsharablepattern,endowedwithanaestheticdimension;afieldoftensionsandrelaxationsthatlaysatthefoundationsofhumanactionininteraction.Morespecifically,wetrytoshowhowbeing intheflowofrhythmequalsprojectingoneself intotheprocessual(i.e.momentbymoment), intersubjectivegenerationofa(common)rhythm.This,ontheonehand,oftenentailsmutualentrainment,withitspleasurabledimension,while,ontheotherhand,canbeseenasanonverbal,firstordermethodofturntakingininteraction.Ultimately,weconceiverhythmasthebasicsenseofsocialityandsociability.

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BECU,ANDAGEORGIANANationalInstituteforResearchandCulturalTraining,RO;andabecut@yahoo.com

AlternativeSpacesofCulturalConsumption.AnAnalysisofBucharestUrbanCulture

Section6c)ArtsOrganisationsandtheirProgrammesKeywords:culturalurbanspaces,undergroundculture,culturalinstitution,culturebusinessrelation

TheaimofthepaperismappingtheindependentculturalurbanspacesinBucharest.Ononehandwewillhighlightthespecificityofthesehybridspaces.Cantheseplacesbeconsideredasapartofthecultural infrastructure,as independentculturalconsumptionspacesorasculturalentitiesthattranscendthe linebetweenthem?Aretheyareflectionofthealternativeorundergroundculture?Moreover,whatinfluenceshavetheircharacteristicsontheartisticcontentandontherelationshipbetweentheartistsandtheaudience?Howdoestheculturalcontent influence the relationbetween theartist, thebusinessmanand thepublic?On theotherhand, thepaperanalyses thecustomersfeaturesdependingonage,educationandoccupation.Towhatextentisthistypeofculturalconsumptionfitforcertainspecificconsumerscategories?At last, themannerofnegotiating theculturebusiness relationbetween theparticipants, theestablished limitsand the tensionsand strategicalliances givemore informationonhoweconomicand cultural spheresareand canbe integrated.Themethodology isbasedon23 semistructured interviewswithbusinessmenwhoorganiseculturalactivitiesorarepartnerswithculturalinstitutions and representatives of the cultural institutionswho have entertainment spaces nearby. The analysed spaces (both thosemanaged by the economic agencies that organise cultural events and thosemanaged in partnership with a cultural institution) areentertainmentor leisurespaces,partofthecultural infrastructureandoftheculturalconsumptionspaces.Weconsidertheseplacesasalternativeculturalconsumptionspacesbecausetheyareanalternativetothepublicculturalinfrastructuretype,addressedespeciallytomassconsumptionofpopularculturalgenres. Likewise,weconsidered this typeofspacesaspartof the independentculturalsectorbecauseofthemanagementmethod(private)andtheirinclusioninthecreativeindustriessector.Theprofileofthepublicconsistsfromyoungpeople,bothyoungadultsandmiddleyouth, in searchofcoolplaces.Theownersand themanagersof these spaceshaveanimportantroleinthewaytheculturalofferisstructuredandculturaltastesareformedandperformed.Theyhavethepowertolegitimateanddelegitimateacertaintypeofculturaloffer.Fromtheculturebusinessrelationviewpoint,thepartnershipwiththeartistsbroughtaddedvaluestotheirbusiness.Ontheotherhand,thepostmodernculturalinstitutionshavebecomemoreaccessibleandfriendlier,bytheirassociationwithleisurespaces.

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BERGANDE,WOLFRAMFacultyofArtandDesign,BauhausUniversittWeimar,DE;wolfram.bergande@uniweimar.de

LawsofArtisticForm

Section4c)IntersectionsbetweenSociologyandAesthetics

AccordingtoKantsCritiqueofjudgement,artworkscreatetheirsingularlawsofformbybreakingcreativelyestablishedones.Thisisthemostbasicandmostacceptedviewaboutthelawsofformofartworks.Italsoexplainswhyitishopelesstosearchforageneralruleorlawtoguideanartistspractice.Today,however,afterwehavegonethroughpostmodernismsdenialofanymetanarrativesand indeedofanygroundedhistoricalknowledge,thequestionofthelawsofartisticformaremoreurgentthanever.Thisshowsontheonehandonthehistoriographical levelwhereepochnames likeReflexiveModernity,AltermodernityorTransmodernityarebrought forward inorder togiveanametoourpostpostmodernisttimeanditsartaftertheendofart(Danto).However,onthislevel,itisfarfromclearwhetherforexampletheHegeliantripartiteschemeoftheKunstformencanbewrittenforthorwhetheranycontemporaryphilosophyofarthistoryispossibleespeciallyinatimelikeourswhich,despitetheactualchallengesofglobalizedworldhistory,seemstohavediscardedtheveryideaofphilosophyofhistoryasanacknowledgeddiscipline. Italsoshowsonthesociological levelwhereAdornosstatementthatTheunresolvedantagonismsof reality return inartworksas the immanentproblemsof their form (Adorno,Aesthetic theory)stillawaitsamoreconcreteformulationastowhichartdisciplinesandwhichsocialantagonismstodaywouldhavetocountasprominentinthisrespectandhowtheycouldbeputintoasystematicexplanatoryscheme.ApartfromCriticalTheory,thereareotherpostHegeliandiscourseslikeDerrideanDeconstruction,LacanianPsychoanalysisorSystemsTheorywhichhavedevelopedapproachestothisquestion. Inallofthesediscourses,however,thelawofformremainsfundamentallyunquestioned.Derridadoesnotgobeyondintrinsicallyparadoxicaltermslikedifference; Lacan does not question the Symbolic order and its logic of constitutive exception as such; and in a tautologically selfaffirmativemannerLuhmannsSystemTheorydoesnotquestionthefundamentalcontingencywhichtriggersandopensupthenecessitieswhichoperatewithinaparticularsystem.Againstthisbackground,mypapersetsouttoexploretheoreticalperspectivesthatcouldreopenaphilosophicaldiscourseonthelawsthatgoverncontemporarydevelopmentsinthearts.

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BERTELSEN,MARIANNEDepartment of International Economics andManagement, Copenhagen Business School& Imagine. Creative Industries Research, DK;mb.int@cbs.dk

TheDevelopmentsinArtEducationandWhatItCanTellusabouttheMeaningsSurroundingArtinDenmarkandChina

Section5b)ArtsintheUrbanSpaceKeywords:Historicaldevelopment,Artisticpractice,Vocationaleducation

Artispresentaroundtheworldbutmanifestsitselfindifferentways,andunderstandingthemeaningssurroundingartinagivensocietycanbeaverycomplexandambiguoustask.Thepapersuggestslookingatthedevelopmentinfinevisualarteducation,intheformofartacademiesorartcolleges,asculturalcontextswiththepotentialtotellussomethingcomprehensibleaboutthemeaningssurroundingartindifferent societies. In the caseof this comparative study;DenmarkandChina.Thepaper isbasedona comparative casestudyofhistoricalsourcescombinedwithqualitativeinterviewsandobservationsofcurrentartsstudentsandfacultyintwocontextsoffinevisualart education in Copenhagen (DK) and Xiamen (CN). The findings are analyzed through the cultural sociology of the arts approach,emphasizing the idea that themeaningof thearts is conditionedbyparticular culturalandhistorical contexts (Eyerman&McCormick2006). In this case focussingon the contextsof thedevelopments in art education in interactionwith the larger contextof the givensociety.Whentalkingaboutdevelopments inarteducation,thepaper isdealingwiththeculturesaroundartisticpractices infinevisual

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arts,withafocusonthesubjectiveaspectofthepractice,asopposedtotheartisticobjectande.g.stylehereof.Thesesubjectiveaspectsare in this paper categorized as the cultures regarding respectively; themethods and work processes applied in ones practice; thecommercialmanaging of ones practice; and the ambitions andmotivations related to ones practice. Among these different culturesaroundtheartisticpracticeinarteducationinDenmarkandChina,thestudyrevealsinterestinglydifferentpatternsofinterlinkedmythicandpragmaticmeanings.Consequentlythepapersuggeststheconceptofamythic/pragmaticdialecticintheculturesaroundtheartisticpractice as being able to tell us something comprehensible about the complex and ambiguousmeanings surrounding art in differentsocieties.

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BERTELSEN,MARIANNEDepartment of International Economics andManagement, Copenhagen Business School& Imagine. Creative Industries Research, DK;mb.int@cbs.dk

DissectingGlobalizationinChineseFineVisualArtEducation

Section2c)ProfessionaldevelopmentIKeywords:Globalization,Artisticpractice,Vocationaleducation

WithinrecentdecadesChinesefinevisualarthasfounditswaytotheinternationalartworld,andinincreasinglyglobaltimesonecouldbeprone to surrender to thenotion that finevisualChineseart toohasbecomeaglobalizedphenomenon.YetChinese finevisualart ingeneralisalsobeingcategorizedasthoughappearingwesternizedinformmaintainingacertainChinesestyle,whichintheeyesofwesternpeers ischaracterizedbysophisticated technicalskillbut lacking independent individualartisticconsciousness. Is thedetectablecertainChinesestyleasubtleindicatorofmoreprofoundglobal/localcomplexityinthelocalartisticpractices?DoesthissuggestinganexplanationofthecharacteristicsofglobalizationinChinesefinevisualart?Toanswerthisquestion,thepaperlookstotheartisticpracticeofChinesefine visual art education. In applying ahybridization approach to cultural globalization (e.g.Robertson 1995; Schneider2006;Hannerz1996), perceiving globalization as a dialectic interplay between local and global cultures, the paper attempts to identify a theoreticalconceptwhichwillexplainthecharacteristicsofhowlocalartisticpracticesevolveintheinteractionbetweentheculturesof(inthiscase)theglobalizedwesternartworldand theparticular localChinesecontexts.Thepaperherebyseeks tocontribute to thepredominantlyobjectorientedresearchfieldofglobalizationofcultureandthearts(Adams2008;Regev2003;Schneider2003),beyondacohesiveviewonthelocalcontext.Itdoessobyapplyingtheculturallydissectinganalyticalframeworkofculturalsociologyoncultureinaction(Swidler2001)toacasestudyofteachersandstudentsatTheCollegeofArtatXiamenUniversityinChina.Qualitativeinterviewsandobservationwere carried out with an explorative focus on characteristics of the interplay in this particular local context between seeminglyglobalizedwesternandlocalChineseapproachestopracticingfinevisualart.Thestudyshowshowtheteachersandstudentsattheschooldistinctively fall into one out of two factions characterized by two characteristically different cultural patterns ofwhich parts of thetraditionallocalChineseartisticpracticetopreserveandwhichpartsoftheglobalizedwesternartisticpracticetoembrace.EmpiricallythestudysignifiesanumberofinterestingtrialsandpotentialsforChinesearteducationonward,andconceptuallyitsuggestsanewtheoryforculturalglobalizationinactionexplainingparticularlocaldifferentiationinglobalizationofcultureandthearts.

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BIERNACKA,ALEKSANDRAGSSRPolishAcademyofSciences,PL;abbi30@gmail.com

DialecticofEnlightenmentVsPostmodernismAnExampleofTwoFilmsbyOneDirectorfromVariousPointsofTimeofthePolishPoliticalTransition

Section4a)ArtisticTransformations:Film,Design,AdvertisingKeywords:enlightenmentvspostmodernisminfilm,cultureintransition,postcommunistculturalchanges,newformsofnarrativesafterapoliticalchange

OneoftheaspectsoftheCommunistdominanceoverculturalformsinthepostWW2PolandwasatotalpreservationofthediscourseofenlightenmentasopposedtotherisingpostmoderniststrandsofthoughtobservedintheWest.Thepoliticalchangeofthe1989broughtopeningofthecountryandgradualdiversificationoftheframeofthoughtthatslowlyturnsintodirectionofmorenumerousexamplesofworksofartwhose frameof reference ispostmodernist.AdornoandHorkheimersobservationson thenatureof culturalproduction,whoseidealslieintheenlightenmentseemtomakeplacetoLyotardspostmodernconditioncharacteristics:thetotalizinglogicofastatelogicofculturalproductionvaluedisseminatesintoafragmented,aesthetisized,nostalgicsearchforasublimeandunpresentable.Thesetwoopposingapproachesvisible inanumberoffeaturefilmsmade inPoland inthe lasttwentyyears,oftenbutnotalwaysmarkingthegenerationalchangeasitiscurrentlyforegoing,manifestthemselvesintwofilmsofoneofthePolishnotableyoungdirectorsofthemiddlegeneration:MaciejPieprzyca.HisdebutfilmInfernomadein2001,stillatthebeginningofthePolishpoliticaltransformation,presentsasociallyconscious,criticalstudyaimedagainstapathologyofviolenceinschoolsandbearsthesignsofcleardistinctionsbetweenrightandwrongattitudes,theirrootsandconsequences. Itshowsacrystalpictureofsocialrealitythat isunderpinnedwithanallencompassingsense of social responsibility of an artist as to attempt to improve the world. His last film however Life Feels Good (2013) demonstrates a divergent approach. The problem of a cerebral palsy, the biological impairment is conferred here in a nostalgic,aesthetisizedframeofvariouspointsofviewinterminglinginacomplexdiscussionofarguments,inwhichthelanguageofcommunicationattains unexpectedly the most prominent place. The example of work of Maciej Pieprzyca becomes a significant trademark for aparadigmaticchangeofmodeofthinkingthePolishfilmisundergoingafterthepoliticalchangeofthe1989,andtowhichtheAdornosandHorkheimersthesisseemnottoreadilyapplyanylonger.

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BOTHUR,KRISTINCentreforSocialPolicyResearch(ZeS),UniversityofBremen,DE;kbothur@zes.unibremen.de

AGoldenKeyCanOpenanyDoor?MarketPerceptionandBehaviorofFreelancingMusiciansinGermany

Section1b)CreativeProcesses,Markets,andFields:MusicandLiteratureKeywords:musicmarketdevelopment,popularmusic,marketstrategies,workpractices

How do freelancingmusicians perceive theirmarkets and its dynamics and how do those influence theirwork practices andworkingconditions?Andwhichcopingandmarketstrategiesareusedanddevelopedby freelancingmusicians tokeepor improve theirmarketposition in timesof change? Therehavebeendiverseworks and reportson the socioeconomic statusof artists and theirmarkets invariouscountriesanddisciplines;withdifferentfocusesaswellastheoreticalandmethodologicalapproaches.Theysharesimilarresults:thatartistsworkisprojectbasedandirregular,contractstendtobeshorttermwithlittlejobprotectionandthereisanincreasingnumberof artistsworking as freelancers.Artists can rarely influence their career trajectories and income because art andmusicmarkets arecharacterizedbymissingorderprinciplesandpropertyrightsaswellasblurrymarketboundaries,culturesand institutionalframeworks.Thisisduetothediversityofactorsandgoodsanddrivenbyglobalizationandtechnologicaldevelopments,individualcreativityaswellassocialandculturalentrepreneurship.Allthisgoeshandinhandwithahighdiversityandindividualityofcareerpaths,investments,aims,strategies, venues and audiences.However, not every artist is poor and neither struggling continuously. It raises the question,whichmarketstrategiesleadtomoreorlessartisticand/oreconomicsuccessandhowchallengesareperceivedandmetbyartistswithmeansof qualitative research and a focus onmusicianswithin this project. To get a better understanding of implications ofmusicmarketdynamicsonmusiciansworkingconditionsaswellastheirworkpracticesandstrategies(e.g.technologicaldevelopmentanditsimpactontheproductionanddistributionoftheirmusic),Iconductedproblemcenteredinterviewswithfreelancingmusicians(inthefieldofpopularmusic)inGermany.Amongthesamplingcriteriahavebeenthattheyproduceandperformtheirownmusicandthattheyareinthemusicbusinessforatleasttenyears.Thisallowsaninsightinreflectedknowledgeandexperienceswithmusicmarketspecifics.Anextractoftheresearchprojectsresultswillbepresented.

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BUCK,CHRISTINADept.forArtTheory&Curating,ZeppelinUniversityFriedrichshafen,DE;christina.buck@zu.de

Acriticalexplorationoflearningconceptsforbodyknowledge

Section5a)Music,PerformativePractices,andtheBodyKeywords:tacitknowing,artisticresearch,bodyknowledge,artisticpractice

In2012aLaboratoryforImplicitandArtisticKnowledge(LikWi)wasestablishedatZeppelinUniversityinFriedrichshafen(Germany).Thisinitiativeaimstoprovidea learningprogramwithintherangeof implicitandartisticknowledge forstudents fromdifferentbranches intheirundergraduatestudies.Thisprogramisameansofintegratingalternativeformsofexperienceandreflectionintouniversityteaching.It is organized through workshops under the guidance of artists from different backgrounds as for example visual media, theatre,performanceormusicalimprovisation.Withaparticularfocusoninstitutionalorcorporatecontextsmyproposaladdressesintentionsandobjectives of learning formats that refer to the concepts of tacit knowing or embodied knowledge (Polanyi).At the same time theseprogramsshowa renewed interest in typesofknowledgeproductionorpracticebased research in the fieldsofart (Hannulaetal.).Myexplorationofthetopicsthuslocatedwithinthethematicspanofaestheticexperience,identityformation,andacriticaldiscourseonthelogicofgovernmentality(Foucault)andcontemporarysemanticsofselfoptimizing.Withinanacademiccontextthesensualandcorporaldimensionsoflearningandreflectinghavetraditionallybeenneglected.Thuscognitivelearningprocessesandaclearseparationbetweenthinkingandactingwereencouraged.Howevermanyworkingprocesses,asforexamplewriting,dohaveamanualandthereforecorporalcomponent.They interweave thedimensionsofaction,knowing,andproducingknowledge. Inasociologicalsense thebody isstronglyconnectedtothequestionsofpracticeandtheconceptofhabitus.Thussocialityisinternalizedinthesocialbodyandtherebyreproducessocialorder(Bourdieu).Moreoverthebodyhasbecomeoneofthemainissueswithreferencetoprocessesofsocialnegotiationandtheconstructionofmeaning (Gugutzer). Iargue thatwith reference toaphenomenologicalperspectivebody canbe seenasapermanentconditionofexperience(MerleauPonty).Thereforeeducationalconcepts,whichfocusakindofproductiveinvolvement(Gebauer/Wulf)ofthebody,arebasedon the idea thatembodiedknowing isessential for theconceptionof theselfand for thedevelopmentofskillsofcritical reception. Inmy presentation Iwill focus on the performing arts and professional body techniques. I believe that a deeperunderstanding for thesepractices,which includes repetition, rhythmandconceptsofmimesis (Gebauer/Wulf), isessential fora furtherdeepeningof thesubject.This leads toacritical investigationon thenotionofknowledgeproductionwithin thepresented institutionalcontextsanditsactualmeaningfortherealmofartandartproduction.

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CARE,CARRIEE.Dept.ofMusic,Theatre&Dance,ColoradoStateUniversity,US;carrie.e.care@gmail.com

SpaceAgevs.StoneAge:EnvironmentsofChangeinArtsLeadership

Section5c)ArtsManagementandLeadershipKeywords:IndustrialEra,KnowledgeEra,Liminality,Performance,Dialogue

Oneofthemostdauntingchallengesfacingtheartstodayisfutureleadershipduringatimethatisalreadydrasticallydifferentfromwhatithasbeen.Howcanwebettermanageartsorganizationsforthefuture?Whilethedifferencesmaynotbequiteasdrasticasthedifferencebetweenthespaceageandthestoneage,thetitlesuggeststhatartsleadershiphasoftenlookedtothepastinsteadofbeingpreparedforthefuture.Globalizationandthetechnicalrevolutionhavepaintedacomplex landscapethatorganizationsandtheir leaders face intheKnowledgeEraofthe21stcentury.PreviousmethodsmanyholdoversfromIndustrialErathinkingnolongerapplyastheyoncedid.Pastleadershipmodelsandstrategieswereformedtoaddressissuesofanearlierera,manyofwhichnolongerapply,callingintoquestiontheirapplicabilitytoleadershipintheKnowledgeEra.Inordertoreflectthedrasticallydifferentenvironmentinwhichleadersinthe21stcentury

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mustoperate,newapproachestothewayweviewandpractice leadershipareneeded.DavidHolzmersframeworkofLeadership intheTimeofLiminalityoutlinesanewwayforleaderstooperateinthe21stcentury.Heembracesthedynamicsofdisruptivechangethroughliminality,performance,anddialogue thatcanbe specificallyapplied to thearts.Theeraof solid sustainabilityand stabilitymayneverreturninourlifetime,whichiswhatmakesHolzmersframeworksorelevantandimperative.Leadersmustlearntooperatewithdivergentnorms and constant tensions change [that] emerges fromwithin, notmerely reacting towhat happens outside the organizationalsystem (Holzmer 48). This paper examines Holzmers leadership framework and compares it to organizational examples today andproposeshowthesestrategiescanbeusedinthearts.Asartsleaders,wehavetheopportunitytoencouragethecontinualincorporationof liminality, performance, and dialogue that initiates a critical and conscious reflection uponmeaning, interpretations, and values(DeVereaux2009)thatmakesourorganizationalconstituents,betheyemployees,artists,boardmembers,orpatrons,opentotheideaofchange. Aswe carefully construct effective change with clear vision relevant to organizationalmission,mobilize commitment, instillconfidence,anddevelopconsensus,wecannotonlycombatthe ineffectiveholdoversthatresistchange,butexpandourworldviewsonthecapabilitiesofourorganizationandtheartsasawhole.

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CRCIUN,ANDREINationalInstituteforResearchandCulturalTraining,RO;craciun.ionutandrei@gmail.com

CulturalImportandHybridizationinPostCommunistRomania:DebatingtheAuthenticityinRapMusicbetween1993and2012

Section6b)DevelopmentsinMusicKeywords:culturalterritories,culturalhybridization,popularmusic,authenticity,rapmusic

Inthe late1990s, inRomania,the localhiphopscenegainsmassivesuccessamongyoungaudiences,andstrongvisibility inthemedia.Aftertheappearanceofthefirstprofessionalrapmusicvideo(1998)andafterthe launchofthefirstTVstationbroadcastingexclusivelymusicvideos (1999), rapmusicbecameaconstantpresence in theRomanianpublic space.Thisburstofpopularitywasprecededbyaperiodofslowemergenceanddevelopmentofthisnewculturalform.InthispaperIanalyzetheappropriationofrapmusic inRomaniabetween1993and2012. Iuse the conceptofappropriation inorder todescribetheproductiveuseofanoriginally importedculturalpattern(AndroutsopoulosandScholz,2003)andtorelatewithJamesLullsideaabouttheformationofnewculturalterritories(1995).MyanalysisisfocusedonthedefinitionsanddiscoursesusedovertheyearsbytheRomanianrapperformerstoportraythisnewculturalformandtoestablishitslocalauthenticity.Inthefirstpartofmypaper,IdescribefivedistinctstagesintheevolutionofrapmusicinRomaniainordertocapturethemostimportantelementsthathaveinfluenceditshistory.Subsequently,Iidentifytwodimensionsthatstructurethepractitionersdiscourseaboutauthenticity:the locusofalterityandthe instanceofselfreflexivediscourse.Myprimarydataconsistsofasampleof40rapsongsreleasedbetweentheyears1995and2012,andpersonal interviewswithrapmusicperformers.Secondarydatacomes from themedia (interviews andpress articles)or videodocumentaries. Themain conclusionshighlight the coexistence in theRomanian rapmusic of different simultaneous understandings of the authentic (Theodossopoulos 2013) that are situated in differentpowerpositionsandchangeplacesover theyears. Iargue that theycanbe identifiedat least twomajorarticulationsof theauthenticbetween1993and2012,andatleasttwomoreonesthatbegintoemergeafter2008.Thefirstmajorarticulationoftheauthenticcanbesummarizedbytheconceptofselfrealizationconnectiveprojects,asacounterparttotheconceptofconnectivemarginalitiesproposedbyHalifuOsumare(2001).Thesecondmajorarticulationofthediscourseaboutauthenticitycanbe interpretedasamanifestationofwhatArjunAppaduraicallsnostalgiawithoutmemory (1996).Theorientationstowardsamoreeclecticstyleor towardsdiffusesociopoliticalideologiesthathaveoccurredafter2008formtheotherversionsofwhatcanbenameauthenticbyhiphopperformers.

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CUENCA,MACARENADeustoBusinessSchool,UniversidaddeDeusto,ES;macarena.cuenca@deusto.es

LOPEZSINTAS,JORDIDept.dEconomiadelEmpresa,UniversidadAutnomadeBarcelona,ES

GARCIALVAREZ,ERCILIADept.deGestindeEmpresas,UniversitatRoviraiVirgili,ES

TheOperaExperience:PerformingaVibratowiththeAudience.InsightsforImprovingCulturalPolicy

Section3d)AspectsofCulturalPolicyIKeywords:audiencedevelopment,opera,operaenjoyment,operahousesmanagement,culturalpolicy

Inrecentyears,audiencedevelopmenthasbecomean important issuewithintheculturalsector.Evidence isthefactthattheEuropeanCommissionhasincludeditintheCreativeEuropeProgramme20142020.Thespecificcaseofoperaisanextremeexample,sinceitisoneofthemostexpensiveperformingartgenres,andalsoattractsaminority,andmostlyolder,audience.Operahouseshaveinvestedgreateffortsinrejuvenatingtheiraudienceinrecentyears.Muchremainstobedone,however,asattendeesagedover55yearscontinuetobeoverrepresented.Fundingagenciesandoperahousemanagementareparticularlyinterestedinnovelculturalpoliciesaimedatbroadeningandrejuvenatingtheoperaaudiencebase.However,overandabovesociodemographicdata,itisnecessarymoreandbetterknowledgeofoperagoersand theirenjoymentofoperaas leisureexperience. In thisarticlewe reportour research intooperaconsumptionanddescribe how and why people enjoy opera productions. Our research, which investigates opera enjoyment, is framed in the socialconstructivistparadigm,whichsuggeststhatthere isnouniversalwayofenjoyingasocialproductionawaitingdiscovery.Rather,humanbeingsconstructthewaytheyenjoyanoperaexperience,andtrytomakesenseofitthroughinteractionswithotherpeopleandobjectsinthecontextinwhichthesocialphenomenonoccurs.Itdrawsoninterviewdatacollectedfrom15Spanishinformants:12operaenthusiastsandtheartisticdirectorsofthreemajoroperahousesinSpain.Resultssuggestthatcertainpreconditionsarenecessarytobeabletoenjoyanopera,mainly,beingcultivatedandactivelyacquiringalikingforthegenre.Asforstrategiestoprepareforanupcomingperformance,somerespondentsapproacheditasaspecialday,whileothersvieweditasaculturalexperience.Forallourrespondents,theexperiencewasanemotionalone.Weconcludethearticlebydiscussingthepolicyimplicationsoftheresultsofourresearch.

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CVETIANINPREDRAGFacultyofSportandTourism,EduconsUniversityNoviSad,RS;pcveticanin@gmail.com

NEDELJKOVI,JASMINAFacultyofLawandBusinessStudy,EduconsUniversityNoviSad,RS

SocialNetworks,CulturalPracticesandStrategiesinEverydayLifeinSouthEastEuropeanSocieties

Section2a)Arts,City,andEverydayLifeKeywords:socialcapitalofsolidarity,politicalsocialcapital,localandglobalculturalcapital,strategiesineverydaylife

Inthispaperweanalyzehowpossessionofdifferenttypesofsocialandculturalcapitalinfluencesstrategiesintheeverydaylifeofpeoplein Serbia, BosniaHerzegovina,Macedonia and Kosovo.Our previous analyses (Cvetianin and Popescu: 2011; Cvetianin,Nedeljkovi,Krsti:2013)pointedoutthat inSouthEastEuropeansocietiestwodifferenttypesofsocialcapitalcanbedifferentiated,namely,socialcapitalofsolidarity,whichreferstotheuseofpersonalnetworksand informalcontactstoobtaingoodsandservices inshortsupply,toskirtformalproceduresandexchange"favorsofaccesstostateresources[whichiscalled"blat"inRussia(Ledeneva:1998,2006),"guanxi"in China (Smart: 1993; Yang: 1994) or "zaatwyc sprawy" in Poland (Wedel: 1986)]; and political social capital,which represents theparallel, informal structureofpower inanalyzedSEE societies,and refers roughly to theoperationsofpowernetworkswithin sistemawhichLedenevaanalyzed inRussia (Ledeneva:2013).Likewise, incontrasttotheFrenchsocietydescribedbyBourdieu (1979),thebasicoppositioninthefieldofculturalpracticesinSouthEastEuropeansocietiesisnotthatbetweenhighbrowcultureandpopularculture,buttheonebetweenglobaland localculture,whichenablestheformationoftwotypesofculturalcapital localculturalcapitalandglobalculturalcapitalwhoseproponentsstruggletopromotetheirculturalresourcesaslegitimate.Ouranalysisshowthatnotonlyisthereaconnectionbetween cultural tastesand sociability (DiMaggio:1987); conversionsbetween socialand cultural capital (Bourdieu:1986);influenceof socialnetworksoncultural tastes (Mark:1998);and influenceofcultural tasteson formingand sustaining socialnetworks(Lizardo:2006),butthatacquiringacertaintypeofculturalpractice isfarfrombeingapassiveprocess. It is, instead,partofastrategicactionaimedatenhancingthevalueandstrengthofthekeyresourcethatpeopleuseineverydaylife.Theresultsarebasedontheanalysisof survey data obtained from 4115 respondents (1259 respondents in Serbia, 1256 in BosniaHerzegovina and 800 respondents inMacedonia and in Kosovo) and data from 140semistructured interviews (40 in Serbia and Bosnia and Herzegovina each, and 30 inMacedoniaandKosovo,respectively).Boththesurveysandthe interviewswerecarriedout in2013withintheRRPPfundedproject"ResistancetoSocioEconomicChanges inWesternBalkanSocieties".

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DABUL,LIGIAUniversidadeFederalFluminense,BR;ligia.dabul@gmail.com

PortraitistsontheStreetsofRiodeJaneiro:ArtisticCareers,DiversityandSocialOrigin

Section2c)ProfessionaldevelopmentIKeywords:artist,artisticcareer,portraitist

StartingoutfromaresearchonartistswhopaintandsellportraitsonthestreetsofRiodeJaneiro,Brazil,weevaluatethevarietyofpathsthatplastic artists can take and the relationalnature that artistic activities and artists socialplaces acquire.Portraitistswho considerthemselvespartofatraditionthatispassedonbyartistsofpreviousgenerationssharecertainspacesofRiodeJaneirowithartistswhosweartheyhavelearnttopaintportraitsbythemselves.Theyalsosharetheseplaceswithotherartistswhoattendedanartsschoolatuniversity,butnothavingbeenabletocarryonwiththeircareer,duetotheirsocialorigin,havetomakealivingdoingtheiractivitiesonthestreet.Wewillfocusonthedifferentwaysofassessingartisticworksandartisticlives,includingthewaysintroducedbytheartistswhowere educated in arts,whichwere referred to categories such as theoryof art,historyof art and theworks from artistswith a verydifferentsocialoriginandartisticlife.

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DEVEREAUX,CONSTANCELEAPInstitutefortheArts,ColoradoStateUniversity,US;cdevux@gmail.com

WhatHaveWeLeftBehind?LegacyBuildingintheArtsManagementDiscipline

Section5c)ArtsManagementandLeadershipKeywords:Artsmanagement,historicaldevelopment,legacybuilding

Amongthechallengesinteachingartsmanagementandadministrationishistory.Wherediditallbegin?Whatlessonscanwelearnfromourpast?Whatisthelegacythatthefieldofartsmanagementisbuiltupon?Isthereanysuchlegacytobefound?Inforginglegitimacyasacademicfields,manydisciplinesfollowatraditionalrouteincludingestablishingwellregarded,peerreviewedjournalsandbothnationaland international forums for sharingandcritiquing research.There isalsoaneffort tocodifyanacceptedhistoryof the field includingseminalpublishedworks:ahistoryandacanonthatanygraduatestudentshouldbeabletorecitewithnohesitation.Comparedtosomeofitsclosestdisciplines(astypicallyidentifiedbythoseinthefield):publicadministration,businessmanagement,arthistory,sociologyofthearts,andsoon, it isdifficult, ifnot impossible, to findcomplementarydevelopments in theartsmanagement field.WhereareourDurkheims,Rankes,WildavskysandTaylorswhodespitesubsequentrevelationsofanytheoreticalflaws,arenonethelessseminalintheirfields?Thehistoriesofphilosophy,literarystudies,art,music,history,andmanagementarenarrativesthatgiveshapeandcoherenceevenas each field remains dynamic in response to research and discovery.While there has been some success (and agreement) towardinstituting theestablishedmarksofacademicdiscipline in the caseof artsmanagement, leastdeveloped arehistoryand identifyingacanon.Indeed,manyearlyworksarehardlyknown.Isthisduetolackofknowledge,lackofresearch,lackofinterest,orevenresistance(as an extensionof artpractice) to codificationof any kind? These arepertinentquestions thatmay require extensive study.Amoremodestapproachproposedhereand tobeconsidereda firststepis to investigateearly (pre1990)writingsonartsmanagement toanalyze them in terms of content, approach, influence, and both historical and presentday applicability. Key to the process isdocumentationoflittleandunknownworksanddefiningcriteriaforcategorizinganyworksascanonical.

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FANIZZA,FIAMMETTADepartmentofHumanisticStudies,UniversityofFoggia,IT;fiammetta.fanizza@unifg.it

ArtsforRacialIntegration:theCaseofArtVillage

Section5b)ArtsintheUrbanSpaceKeywords:Inbetweencity,Urbandemocraticculture,Artsforsustainableimmigration

Theaimof thepaper is tospread the idea thatartsare important toenlarge racial integrationand inparticular for the involvementofimmigrantsinpractiseshelpfultofaceproblemsofsegregation.ThisthesisisfoundedontheArtVillageactivities,ahealthpublicservicecenter, located in the countrysideof San Severo,a small city inPuglia,an Italian southern region. In few years theArtVillageartisticlaboratories(music,papiermache,painting,tailoringandfashion)havebecameapointofreferenceforalotofimmigrantswhostayinSanSeveroforlandworkingand,also,formanynonprofitinstitutionsandtradeunionsthatfightforjobmarketregulationinagriculture.Inparticular,thephilosophyofArtVillageisinspiredtothe"inbetweencity"(Sieverts,1999):mixtogetherrurallandscapeandurbanwayoflifeforcreatinganewkindofpublicspacewhere inpossibletotestboth integrationstrategiesandparadigmsfor immigrationpolicies.From thecomparisonbetweennatureandculturearisenewconcepts fordefiningamulticultural society.At last,byaurban sociologypointofview,thiscomparisonmeanslookfordifferentmannersandbehavioursforaurbandemocraticstyle.ForthesereasonsArtVillagecanbeassumedasabestpractice,i.e.awaythroughwhichisbeenestablishedhow"sustainable"canbeanimmigrationflowinaurbancontext.

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FORBIS,JEREMYSCOTTDepartmentofSociology,UniversityofDayton,US;jforbis1@udayton.edu

POLZELLA,DONALDDepartmentofPsychology,UniversityofDayton,US

EconomicWellBeingandArtsAttendance:AMultiVariableAnalysis

Section6d)TheGlobalLocalDimensionofArtFieldsandAttendanceKeywords:Participation,Traditional,Custom,Class,Income,Macro

Inorderto investigatetherelationshipbetweeneconomicwellbeingandartsattendance intheUnitedStates,thisstudyanalyzeddatafrom 6257 households included in the 2008 U. S. Department of Commerce Current Population Survey: Participation in the ArtsSupplement.Thedatawereanalyzedusingstructuralequationmodelling, inwhichthreespecific indicatorswereusedtocreatea latentvariableforeconomichealth(i.e.,income,occupationtypeandeducationalattainment).Weseparateartsattendanceintotwounobservedvariables.Thefirstcomponentofourmodelmeasuretraditionalarts,which includeattendanceattheopera,musicalplays,nonmusicalplaysandclassicalmusicconcerts.Thesecondcomponent looksatattendanceatcustomarts,which includeoutdoorandcraftfestivals.Results indicatethateconomicwellbeinghasastronganddirecteffectontraditionalartsattendance.Theseresultsare in linewithourassumptionthat income;economicclassandeducationafford individualstheabilitytoparticipate intheartsatahigher levelthan lesseconomicallyprivilegedindividuals.Moreover,wefindthateconomicwellbeingisnotdirectlyrelatedtocustomartsparticipation.Theseresultssuggest thatcraft festivalsandoutdoor festivalsaremoreaccessibleand lessexpensive toattend than the traditionalarts.Thisstudyindicatesthatexposuretoavarietyofartsandculturalexperiencesarepredictedbyeconomicwellbeing.

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FROST,SOPHIELOUISEFilmandVisualCulturesDepartment,UniversityofAberdeen,UK;r01slf11@abdn.ac.uk

WhatistheRoleofCreativityintheCulturalInstitution?AQualitativeStudyofSouthbankCentre,London

Section6c)ArtsOrganisationsandtheirProgrammesKeywords:creativity,work,workplaces,creativelabour,institutionalcritique

InTheNewSpiritofCapitalism(2006),LucBoltanskiandEveChiapelloassertedthatartistshavebecometherolemodelsinanuncertainworld of work. Creativity is the driving concept of the workplace, a set of coordinates that determine employability as much asemployment.Inotheracademicdebates,thisemphasisoncreativityhasbeenassociatedwiththeriseofculturalneoliberalismandthecreativeindustryphenomenonoftheBlairandpostBlairyearssince1997(McRobbie,2010).Creativityinthissenseisportrayedasakindofwidelyadmiredordesirablehumanattribute(McRobbie),whichworkstomeetpersonaldemandsforauthenticityandfreedom,whilstmaintainingthevirtuesofmobilityandadaptability(TheNewSpiritofCapitalism,p.199)whicharevitaltotheworkingprocessesof late Capitalism. Autonomist Marxists have connected this obsession with creativity to the onset of depression and socialpsychopathology(Beradi,2009).However,empiricalanalysesoftheimpactofcreativityinworkandtheworkplacearestillrelativelyfew.Thispaperwillpresentfindingsfromaqualitativestudyundertakenin2014intotheroleofcreativityintheemployeesofthepublicartsinstitution,asitethat,fromfirstglance,couldbeassumedtothriveunderthisnewemphasis.Describedasthemostvibrantartscentreinthecountry,SouthbankCentre(SBC)inLondonisamultiartsvenuecreatedduringthe1951FestivalofBritaincelebrations.DrawingonitsculturalandLeftwingheritage,SouthbankCentrecallsfortheartstobeavailabletoallandclaimsthattheartshavethepowertotransform lives.Such statementsareproblematizedbyadecademarredbycuts to theartsand redevelopmentprojects thatpositionthemselvesambiguouslybetweenculturalinclusionandcommercialgain.CouchedintheintertwiningdiscoursesofSociology,ArtHistoryandVisualCultures,thispaperwillpresentananalysisofthedifferentwaysinwhichemployeesworkingatalllevelsinSouthbankCentreperceivethemeaning(s)ofcreativityintheirwork,andwillexploretheimpactofthisfortheorganisationasawhole.AlthoughsupportedbytheLearningandParticipationdepartmentatSBC,thisqualitativestudystrivestobeanindependentundertaking.Throughthecontextofthisflagshipculturalinstitution,thispaperwillconsiderafreshtheimpactofcreativityonthesocialandaestheticdynamicsofworkinthe21stcentury,aswellasreassessitspsychologicalimplicationsfortheindividualatwork.

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FROSTIG,KARENCreativeArtsandLearning,LesleyUniversity;WomensStudiesResearchCenteratBrandeisUniversity,US;karen.frostig@gmail.com

AttheCrossroads:CombiningCriticismwithSocialTransformation

Section6a)ArtsandSocialTransformationKeywords:Activism,Memory,SocialTransformation,Collaboration

TheViennaProjectisanewsocialactionmemorialproject,takingplaceonthestreetsofViennaoveraperiodofsixmonths.Developedasperformance art linked to social agency, The Vienna Project disrupts passive habits of remembrance by inviting audiences to activelyengagewithmemorythroughaseriesofpublicinterventions.Joiningcollaborationwithaparticipatorymodelofengagement,TheViennaProjectsmemorialcontent iscoproducedbyaculturalmixofhistorians,researchers,artists,students,educators,andtechnologists,aswellasthegeneralpublic.AsacollaborativeenterpriseTheViennaProjectelicitsmultipleperspectivesofremembrancethatarereflectiveofacitystillcomingtotermswiththepast,75yearsafterthecrimeswerecommitted.EarlyformulaicimagesforTheViennaProjectwerefocusedonactionsaimedatbreakinghistoricsilences.Gradually, ideasaboutartactivismascriticism,aprotestagainstforgetting,wereinfusedwithideasaboutactivismasasocialmedium,engagingthepublicthroughdialogue.Usingperformanceartandinstallationarttomanifestmemoryinpublicspaces,TheViennaProjectisdedicatedtopromotingapersonalrelationshiptothepastthroughameasureofculturaltransformation.TheViennaProjectputsforthnewconceptsaboutremembrancethatfavorsanopenended,relationalapproachthatvaluespublic input.Designedasacollaborativeventure,TheViennaProject integratesrigorousscientificdatacollectionwithpublicinput,andwithadventurousinterpretationsofthepast,thusprovidingthepublicwithmultipleentrypoints.Developedunderthegenreofdurationalperformance,TheViennaProjectreadsasaseriesofmemorymodules,performedinthepublicsphere.AttheCrossroads:CombiningCriticismwithSocialTransformationwilldiscussthreeinstallationsrepresentingdifferentformatsforpublicengagementwithmemory: 1) Parcour des Erinnerns uses interactive technologies to produce new encounterswithmemory; 2)MemoryMap and theSmartphoneappuses technology to reachacrossborders;and3)The38Sidewalk Installationprojectdealswith ideasabout territory,authority,andexclusions.Ideasabouttimeandspaceandthetransitorynatureofmemorypermeateallthreemodules.

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GROTE,FLORIANNativeInstrumentsGmbH,Research&DevelopmentDept.,DE;florian.grote@nativeinstruments.de

JammingwithMachines:SocialTechnologiesinMusicalCreativity

Section:1b)CreativeProcesses,Markets,andFields:MusicandLiteratureKeywords:Music,technology,creativity

Incontemporarymusicproduction,machinesarean integralpartofcreativity.This isnotonly true for theobviouscasesofelectronicmusic,butalsoforclassicalmusicrecordedondigitalsystemsorelectroacousticrockmusicutilizingsoftwareforcoreaspectsofsoundmanipulation.ThephilosopherGotthardGntherhaspointedoutthattraditionalviewsontechnologytendtodevaluetheuseofmachinesversussocial interaction increativeprocessesbecauseofa lossof"spirituality".Butwhatdo theymeanby this"spirituality"?Afterall,utilizationofmachinesincreativeprocessesdoesnotusuallycorrelatedirectlywiththegradeof"spirituality"attributedtotheiroutcomes.Andwhat aremusicians views on their creative processes?Do they see "spirituality" outside of social interaction? AndwhatwouldGotthardGntherhavetosayabouttheheavyuseofmachines inmusicproduction?Creativity isasocialprocess.This isobviouswhenmusiciansworktogetherinanorchestraoraband,negotiatingtheirpartsandstructuringtheirperformances.Itmayseemlessplausibleforartistsworking individually,especially lonegeniuses likeMozartorAphexTwin.Whendescribingthecreativeprocessofsuchartists,usuallytheaspectsofcompositionmovetotheforegroundandareunderstoodasindividualactionswherethecreativesubjectestablishesitself.Contrarytothatnotion,thepaperarguesthateventhemostsubjectivecreativeprocessofalonegeniusisindeedasocialendeavor,andthatinvestigatingitusingmethodologiesofculturalsociologywillfacilitateadeeperunderstandingofwhatitmeanstobecreative.Allofthisisdonewiththeperspectiveandintentiontosupportcreativeprocessesbydesigninganddevelopingtechnologiesthatcanbreakthebarrierofindividualismandhelptoleveragesomeofthepowerofdistributed,socialcreativity.Westartoffwithabasicquestion:Howdomusiciansworktogether?Musiccollaborationisusuallyinteractive,inasituationofmutualobservation,withsequencesofexpressionsandreactions,asdescribed instudieson improvisationtechniques.Thestrengthofthesocial inthisprocess istheabilityofthehumanparticipantstoobserveanddiscussthemusicathandfromtheirculturalbackgrounds,evaluatingandpredictinghowitmightbereceivedin their culturalpublics.Allparticipantsaremembersof society, feeding theirobservationsmade in thecreativeprocessback into thesocial system, from their respectivepositions.This isalso true for the lonegeniuses,whoobserve themselves,possibly fromdifferentpositions,againsttheirbackgroundofculturalknowledgeandvalues.Ontheotherhand,interactingwithmachinesisusuallyalesssocialendeavor,at leastat first sight.Either themachine justprovidesanexpression,without relation to the social context,or themachineobservesthecontextsomehow,andprovidesanexpressionitdeemsfitting.However,machinessofardonotofferculturalunderstandingbeyondwhat isalreadyembedded into their construction.They followamoreor less traditionalapproachof individualism,aiming tobecomemechanicalbrains.How,then,canwebroadentheculturalperspectivesofthemachinesweuseincreativeprocesses?Whichaspects of creativity can benefit from enhanced sensitivity towards sociocultural contexts? The paper explores these questions byprovidingscenariosandinvestigatingrecentdevelopmentsintherelationbetweensocialandtechnologicalaspectsofcreativityinmusic.

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GRBE,SIGNEDepartmentofSociology,RgaStradiUniversity,LV;signe.grube@gmail.com

ArtworkastheMirrorofNationalIdentity

Section6a)ArtsandSocialTransformationKeywords:painting,nationalidentity,artistArthelpstodetectthediversityofqualitiesofthelifeandithasdeeprootsinawarenessofapeoplegroupconjunctiveelements.Artworkitself,assymbolicvalue,isacquiredwhenanindividualisabletoattributemeaningtoitordecodeit.Inthesamewayrepresentativesofanationareabletodecodeartwork,incaseifitcontainsnationcharacterizingelementswhatcanbeexpressedinrhythm,colororcontent.Art affects individuals often without being them aware of the fact, determining nation characterizing elements created in social

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environment.Painting reveals individualpointofviewabout lifeofeachartist;however through thepaintingwe canviewartofeachperiod,wherethespiritofageispresentsocialcustomsandaspirations,idolsandpoliticalsituation,scientific,cultural,fashionandothersocialaspects.Withparticipationofartists,artisaninstrumenttouniteanation.Whetherthisinstrumentisusedpurposefullyorartistsactivitiesarenaturallyincorporatedinawarenessofnation,theprocessofformingandcontentinterpretationisdependentoninteractionbetweenartistandnationalart institutions.Themainquestionof thepaper is What is the resultof interactionbetweennationalartinstitutionsandartiststonationalartformandcontent,andwhatistheresultofthisinteractiontoawareness,formingandinterpretationofnational identity?Thecasestudy ismade toanalyzepolicyofnationalart institutionsand thepaintingsofLatvianartists from19thcenturytillpresent.

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GUERRA,PAULAFacultyofArts,UniversityofPorto,PT;paula.kismif@gmail.com

SANTOSSILVA,AUGUSTOFacultyofEconomics,UniversityofPorto,PT;asilva@fep.up.pt

TNIA,MOREIRAFacultyofArts,UniversityofPorto,PT;tania.kismif@gmail.com

ADifferentKindofTension.GlobalandLocalinPunkMusicalScenes

Section1b)CreativeProcesses,Markets,andFields:MusicandLiteratureKeywords:global;local;identities;punkculture;localandtranslocalmusicscenes

What ispunks geography?How the globalbackgroundof thepunk scenearticulateswith its various localmanifestations? Is ita realtransnationalmovementorarethereasmanypunkscenesasthenationalconfigurationsthosecanassume?Andwhataboutthesenseofboundaries, mapping particular territories for particular communities, and marking capital differences regarding the global socialenvironment,aswellastootherculturalandmusicalcommunities?DoestheglobalvillageofInternetandmusicindustriesallowfortheindividuationofseveralanddistinct localpunksubcultures,ormustweredressoursociologicalcategories?Thepaperwilladdresstheseissuesconsideringaparticu