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Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset. / Philosophy

From changing consumer relationships to demands for new experiences, performing arts institutions are under increasing pressure to embrace digital transformation. Technology is altering how audiences engage with the arts. Preferences and consumption habits are rapidly evolving. Strategies to sustain existing formats, customers, and revenue models are unlikely to succeed. Cultural institutions in general and performing arts such as orchestras, ballets, and operas are rapidly adopting technology – with millions of social media followers, streaming services, and online ticketing. Yet, these initiatives are fragmented, hard to assess, and there is very little known on how to digitally transform performing arts institutions overall. This research asks: What are the mechanisms driving digital innovation in performing arts institutions, and specifically in orchestras? The research approach includes three qualitative studies, which use a semi-structured questionnaire with fifty performing arts organizations. Study 1 explores the overall practice of digital innovation in the performing arts. Study 2 more specifically examines the role of engagement as a mechanism to understand digital transformation in the performing arts in general, and orchestras in particular. Study 3 maps the mechanisms of digital engagement to uncover digital transformation in the performing arts and defines engagement. This research makes several contributions to theory and practice by identifying the performing arts as an important area for applying digital transformation. A research framework was developed through synthesis of performing arts, innovation, business model, and engagement literature. Engagement was defined and identified as an important construct for digital transformation. The components, development, instantiation, and impact of engagement were elaborated in a set of propositions that summarize the role of digital transformation in the performing arts. Finally, the research provides recommendations and action items for arts administrators. / Business Administration/Management Information Systems

I denna uppsats undersöker vi arbete med publik på Moderna Museet och Botkyrka konsthall genom att studera vilka logiker som gör anspråk på att reglera publikarbetet. Vi vill även se om publikarbetet påverkar kulturproduktionen inom institutionerna. Publiken, i rollen av medborgaren, har stått i centrum av den svenska kulturpolitiska retoriken sedan första hälften av 1900-talet. Språket har förändrats genom åren inom kulturfältet i och med införandet av nya begrepp och begreppsförflyttningar som t.ex. medborgarperspektiv, kulturell kvalitet, deltagande, dialog, kunder, effektivisering och resultatmätning. Bakom begreppen finns det handlingslogiker som formats av olika diskurser inom det kulturella fältet. En diskurs kan i korthet förklaras som det språk genom vilket vi tyder och förhåller oss till världen. Genom diskursanalys och nyinstitutionell teori kartlägger vi hur konstprofessionella-, demokratiska-, byråkratiska- och managementlogiken styr publikarbete på Moderna Museet och Botkyrka konsthall. Vårt resultat visar att det inte är en dominerande diskurs som tar anspråk på att styra och reglera konstinstitutionernas publikarbete. Vi kan däremot se att det är många olika logiker som existerar i en institutionell pluralism. Den demokratiska logiken har ett starkt grepp om publikarbetet, men de andra logikerna påverkar även val av hur man arbetar med publikarbete. Studien visar på att det är just publikarbetet som har fått bära statens och kommunens krav på att nå nya målgrupper och arbeta för mångfald samt tillgänglighet. Publikarbetet påverkar Moderna Museets och Botkyrka konsthalls kulturproduktion på olika sätt men på båda institutionerna har arbetet med publik en viktiga roll i legitimerandet av institutionernas verksamhet. / In this paper, we examine how Moderna museet and Botkyrka konsthall work with audience, by studying which logic claim to regulate the work with audience. We also want to see if their work with audience affects the production of culture within the institutions. The audience, in the role of citizens, has been the center of the rhetoric within Swedish cultural politics since the first half of the 20th century. The language has changed over the years in the cultural field with the introduction of new concepts and concept movement, such as citizen perspective, cultural quality, participation, dialogue, customers, efficiency and performance measurement. Behind the concept is the logics formed by various discourses in the cultural field. A discourse can be explained as the language through which we interpret and relate to the world. With discourse analysis and new institutional theory, we map how art professional-, democratic-, bureaucratic- and management logic controls the audience work in Moderna museet and Botkyrka Konsthall. The result shows there is a dominant discourse that claims to control and regulate the work within public art institutions. However, many different logics exist in an institutional pluralism. The democratic logic has a strong grip on the audience work, but the other logics also affect the choice of how to work with audience. This paper shows it is precisely the work with audience that had to bear the state and community’s requirements to reach new audiences and promote diversity and accessibility. The work with audience affects Moderna Museet and Botkyrka Konsthall in their cultural production in different ways, but the two institutions have been working with audience important role in the legitimization of institutions.

Denna fallstudie undersöker utvärderingens praktik inom ett offentligt finansierat scenkonstprojekt. Med en hermeneutisk ingång och abduktiv ansats studeras olika betydelser av begreppet utvärdering inom ramen för det system, som på initiativ av Dramaten&, möjliggjorde scenkonstprojektet Nationalismens Apostlar 2014. Analysen grundar sig på intervjuer och textmaterial. Den teoretiska utgångspunkten är tvärvetenskaplig med betoning på utvärderingsmetodik, kulturpolitisk forskning och Arts Management. Uppsatsens huvudargument är att ett scenkonstverk som Nationalismens Apostlar bäst förstås som ett organisatoriskt resultat av flera aktörer i samverkan. Kommunikationen mellan dessa aktörer blir avgörande för att senare kunna bedöma betydelsen och värdet av det enskilda scenkonstverket. / This case study is an exploration of different understandings of the evaluation process in a publicly funded performing arts project. With a hermeneutics entrance and abductive approach different meanings of evaluation is studied within the system that enabled the project Nationalismens Apostlar at the Swedish National Theatre 2014. The analysis is based on interviews and text material. The theoretical starting point is interdisciplinary with emphasis on Evaluation Methodology, Cultural Politics and Arts Management. The main argument presented in the thesis is that a peforming arts project as Nationalismens Apostlar must be understood as a result of different actors in an organisational context. The communication between these different actors is subsequently vital to define the meaning and value of the final artwork.

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