This study examines the relationship, or lack thereof, between cultural policy and development at the local government sphere in South Africa and, ascertains the extent to which the City of Tswane Metropolitan Municipality (CTMM), as the focus of the case study, involves culture in its development framework. The research is informed by an observation from internationa best- practices that local government, as a sphere of governance closect to the people, is one of the best platforms on which the centrality of culture in the development matrix of any country is located and upheld. The research was arranged in three sections or phases, namely: exploration, discovery and the consolidation. / African Languages / D. Litt. et Phil.

Thesis (MA)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The cultural industries have been identified by the South African government as having significant potential to generate employment and hence alleviate the wide spread poverty suffered by many in the country. They have invested in the cultural industries with a view to developing SMMEs that have the potential to generate sustainable livelihoods. Craft, in particular is seen as an ideal vehicle through which poverty alleviation can take place, due to the combination of low technology requirements with high levels of manual labour. This study looks at one such multi-site craft-based poverty alleviation programme, Phumani Paper, and assesses the impact that it has had on the poverty of its participants (so far). Drawing on relevant theory “poverty” is defined as a deficiency with regard to three aspects of people’s lives: income, “human development” and capacity building. The results of the study indicate that the program did contribute to human development, but that income generation was less successful. In this regard success seems to depend on conditions at three levels of a programme: the programme management, the project model and the individual participants. Strategic intervention on these three levels will ensure that the impact of craft on poverty is more effective. / AFRIKAANSE OPSOMMING: Die kulturele nywerhede is deur die Suid-Afrikaanse regering geïdentifiseer as ‘n potensiële bron van werkskepping om te help om wydverspreide armoede in die land aan te spreek. Die regering het op kulturele terrein belê in klein- en medium sakeondernemings met die hoop dat hulle kan bydra tot die skepping van volhoubare bestaansgeleenthede. Kunsvlyt word as ‘n ideale roete tot armoede verligting gesien a.g.v. die kombinasie van lae tegnologie vereistes en intensiewe handearbeid. Die studie kyk na een sodanige kunsvlyt-gebaseerde programme vir armoedeverligting, nl. Phumani Paper, en meet die impak wat dit (tot dusver) op die armoede van diegene gehad het wat aan die program deelneem. Gebasseer op relevante teorie word “armoede” in hierdie studie gedefinieer as 'n gebrek op drie terreine van mense se lewens: inkomste, “menslike ontwikkeling” en kapasiteitsbou. Die resultate van die studie toon aan dat die program bygedra het tot menslike ontwikkeling, maar dat die skepping van inkomste minder suksesvol was. Sukses in hierdie verband blyk af te hang van kondisies op drie vlakke van 'n program: die programbestuur, die projek-model en die individuele deelnemers. Strategiese intervensie op hierdie drie vlakke sal verseker dat die impak van kunsvlyt op armoede meer effektief is.

Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3 / Cette thèse se penche sur les parcours et les pratiques d'artistes numériques naviguant au sein des secteurs multimédias de Montréal. L'étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d'art numérique ou encore l'université. La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs (re)constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d'artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d'articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d'éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l'organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l'entreprise et la pratique en arts numériques. Ces trois ensembles d'éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d'un espace social circonscrit ou spécialisé. / This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.

M.A. Faculty of Humanities, University of the Witwatersrand, 2011 / This research report documents diverse impressions and experiences, of and about the South African music industry in general and Moshito Music Conference and Exhibition in particular. Foregrounding the perspectives of black South African entrepreneurs that operate and own small businesses, the research enunciates how Moshito has come to embody an expression of the transition to democracy. Within a broader political, cultural and industrial context, the report captures anecdotes, observations and interviews with key interviewees and decision makers linked to Moshito, in addition to its dialogue with the interconnectedness of various social theories and concepts, and their relationship with industrial and government policy. Necessarily the research also engages literature concerned with cultural industries, music industry and development discourses.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T11:26:52Z No. of bitstreams: 1 Julia de Souza Delibero Angelo.pdf: 3471409 bytes, checksum: 9e6be5d4cc5f6dd9fe989795caedb26e (MD5) / Made available in DSpace on 2018-08-08T11:26:52Z (GMT). No. of bitstreams: 1 Julia de Souza Delibero Angelo.pdf: 3471409 bytes, checksum: 9e6be5d4cc5f6dd9fe989795caedb26e (MD5) Previous issue date: 2018-05-29 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / In this work we analyze the booklets indicated for children in Early Childhood Education. Even recently incorporated into basic education, this stage still has the attribution of socializing the child. At this stage, no kind of systematizing activity is required - playing should be the main activity. It is through playing that the child experiences and elaborates on the world. However, Early Childhood Education has been increasingly gaining the role of preparation for elementary school, incorporating the use of booklets, whether in the public school system or in the private school system. The use of these booklets causes the child to leave the activity of playing in order to do a systematization activity. In addition, the adoption of this type of material occurs under the oligopoly of companies operating in this sector, intensifying their own businesses, inclusively within the public school. In order to deal with this theme, it was used as theoretical basis the reference of the Frankfurt School, more precisely the perspective of the authors of the first generation of Society Critical Theory, whose main objective is the critique of capitalist society. "Formation" and "experience" are key concepts in this work. This work was based on the hypothesis that the Early Childhood Education booklets anticipate or prepare for literacy. Based on the contents and activities identified, it was possible to verify that the booklets are focused predominantly on adaptation - and not on formation and experience -, and yet there is still a great tendency for schools, both public and private, to adhere to the booklet system / Neste trabalho realiza-se análise das apostilas destinadas a crianças na Educação Infantil. Mesmo incorporada recentemente à educação básica, esta etapa ainda tem a atribuição de socializar a criança. Nela, não é necessário nenhum tipo de atividade sistematizadora – o brincar é que deve ser a atividade principal. É por meio da brincadeira que a criança experimenta e elabora sobre o mundo. Cada vez mais, porém, a educação infantil vem ganhando o papel de preparação para o ensino fundamental, incorporando o uso de apostilas, seja na rede pública, seja na rede privada. O material apostilado faz com que a criança deixe a atividade de brincar para fazer a atividade de sistematização. Além disso, sua adoção ocorre no âmbito do oligopólio de empresas que atuam nesse setor e intensificam seus negócios, inclusive dentro da escola pública. Para tratar do tema, utilizou-se como fundamentação teórica o referencial da Escola de Frankfurt, mais precisamente a perspectiva dos autores da primeira geração da Teoria Crítica da Sociedade, cujo centro é a crítica à sociedade capitalista. São conceitos fundamentais neste trabalho “formação” e “experiência”. Partiu-se da hipótese de que as apostilas de Educação Infantil antecipam ou preparam para a alfabetização. Com base nos conteúdos e nas atividades identificadas, foi possível verificar que as apostilas estão voltadas predominantemente para a adaptação – e não para a formação e experiência –, havendo, ainda assim, tendência grande das escolas, tanto públicas como particulares, de aderirem ao sistema apostilado

Cette recherche interroge les figures du sujet écoutant en jeu dans les mutations des espaces musicaux sur Internet de 2007 à 2014, afin de penser l’écoute en ligne dans ses spécificités philosophiques et communicationnelles. On étudie un dispositif industriel et logiciel de recherche et de recommandation musical complexe, l’interface de programmation d’ Echonest, pour en saisir les effets esthétiques, c’est-à-dire pour comprendre dans quelle mesure la culture numérique contemporaine façonne l’expérience musicale. Trois angles sont successivement abordés : une archéologie de l’écoute montre les héritages de son expérience en ligne, une étude des politiques de l’archive et de l’algorithme incite à penser les axiologies industrielles de machines du goût, enfin une analyse sémio-pragmatique met en exergue le régime fictionnel de l’écoute à l’écran. Face à l’émergence d’une forme médiatique, le streaming, ces trois temps décrivent un régime numérique contemporain de la perception (sensorium digital) comme une discipline de l’écoutable qui s’appuie sur des modes fictionnels de production de sens en ligne. / This research questions the figures of the listening subject in the context of the transformations of musical spaces on the Internet from 2007-2014, in order to consider the question of online listening from the perspective of the fields of philosophy and communications. I study the industrial and logical disposition (dispositif) of the API of The Echo Nest, a complex musical search and recommandation engine. I seek to grasp the aesthetic effects of this technoogy as a means of understanding the extent to which contemporary digital culture shapes musical experience. This is approached from three perspectives: an archeology of listening, which shows what is inherited in the online listening experience; a critical reading of the politics of digital archiving and algorithms,which incites us to think about the industrial axiologies of « machines of taste » ; and lastly, a semiotic-pragmatic analysis, which draws attention to the fictional modalities involved in mediated listening. With the emergence of music streaming as a new form of radio, this dissertation traces a contemporary regime of digitized perception (digital sensorium) that becomes a « discipline oflistenable » supported by the fictional mode of online production of meaning.

L’Afrique n’échappe pas aux débats sur les industries culturelles, déjà en vogue, au niveau mondial. Bien développées dans les pays du Nord, les industries culturelles connaissent cependant un développement très faible en Afrique. Dans le continent, si quelques pays ont des modèles réussis de développement de ce secteur, à l’instar du Nigéria ou de l’Afrique du Sud, les industries culturelles des pays francophones d’Afrique subsahrienne demeurent encore dans un état précaire. Cela semble probablement dû à une prise de conscience tardive de leurs enjeux, à des considérations socio-politiques, ou encore à une mauvaise compréhension des rôles des acteurs. D’où notre intérêt à étudier le rôle des pouvoirs publics dans le processus de développement des industries culturelles au Burkina Faso, à travers le sujet suivant : Les industries culturelles dans les pays francophones d’Afrique subsaharienne : cas du Burkina Faso. Pour mener à bien notre réflexion sur le sujet, la méthodologie a consisté aussi bien à un débroussaillage théorique et à des enquêtes de terrain, permettant de confirmer les hypothèses émises. Au Burkina Faso, les industries culturelles connaissent, par leur organisation, une certaine dynamique, malgré quelques insuffisances dans le développement des filières culturelles. Cette dynamique, favorable à la mise en place d’initiatives et d’évènements culturels d’envergure, fait sans doute considérer le pays comme un « carrefour culturel » en Afrique. Les industries culturelles génèrent des enjeux sociaux, politiques et économiques considérables pour le pays. Cependant, ces enjeux sont l’objet de conflits entre surtout les industriels de la culture et l’Etat. Aussi, est-il indispensable que les pouvoirs publics et les industriels de la culture travaillent en synergie, avec des rôles bien définis, pour prendre au sérieux les défis, pour un secteur plus viable, dynamique et durable. / THESIS SUMMARYAfrica is no exception to the debates on the cultural industries, already in vogue, at the global level. Although well developed in the North, cultural industries are less developed in Africa. In the continent, while some countries have successful models of development in this sector, like Nigeria or South Africa, the cultural industries in francophone countries of sub-Saharan Africa are still in a precarious level. This seems likely due to a late awareness of their issues, socio-political considerations, or a misunderstanding of the roles of the actors. Hence our interest in studying the role of public authorities in the process of cultural industries development in Burkina Faso, through the following subject: Cultural industries in francophone countries of sub-Saharan Africa: case of Burkina Faso. To carry out our reflection on the subject, the methodology consisted as well of a theoretical brusaillage and field investigations, allowing to confirm the hypotheses emitted.In Burkina Faso, the cultural industries are dynamic, by their organization, despite some shortcomings in the development of cultural sectors. This dynamic, favorable to the implementation of major initiatives and cultural events, makes the country as a "cultural crossroads" in Africa. Cultural industries generate considerable social, political and economic impacts for the country. However, these profits are the subject of conflicts between mainly industrial culture sector and the public sector. It is therefore essential that public authorities and cultural private sector work in synergy, with well-defined roles, to take the challenges seriously, for a more viable, dynamic and sustainable sector.

Cette recherche porte sur la façon dont les industries créatives, appréhendées en tant qu’idéologie et théorie scientifiquement construite, se déploient de manière non linéaire de l’international au local à travers les discours et pratiques d’acteurs hétérogènes (politiques, industriels, culturels…) jusqu’à leur opérationnalisation dans le cadre de politiques de reconfiguration du territoire local. Ces dernières désignent les politiques visant à transformer durablement la représentation d’un territoire donné. Pour ce faire, l’étude se concentre sur le cas du territoire métropolitain lyonnais, emblématique de plusieurs processus à l’œuvre depuis une quarantaine d’années (mondialisation, développement des TICN, décentralisation, métropolisation...) et des politiques de reconfiguration menées sur d’autres territoires (Berlin, Reims, Lille…). L’analyse se déploie en trois temps.Tout d’abord, nous analysons comment les industries créatives sont définies et promues à travers les discours d’institutions internationales, nationales et locales (Unesco, DCMS, France Créative…). Trois types de discours se distinguent : ceux à visée entrepreneuriale explicite ; ceux abordant les industries créatives comme un ensemble de secteurs liés aux industries culturelles, auxquels sont adjoints quelques autres plaçant la « créativité » au cœur de leurs activités ; enfin, les discours les appréhendant comme le pilier central du développement territorial. Ces types de discours institutionnels ont cependant encommun d’entrer en résonnance avec ceux des promoteurs du nouvel esprit du capitalisme. Ensuite, nous accordons une attention particulière aux discours et pratiques des professionnels de la reconfiguration territoriale, à savoir ceux de la communication publique et territoriale auxquels s’ajoutent désormais ceux du marketing territorial. Ces professionnels constituent des intermédiaires contribuant à la diffusion des industries créatives par la promotion de présupposés, pratiques et agencements entrant en résonnance avec ceux diffusés dans les discours institutionnels. Si un lexique, des notions et méthodes issues des sciences de gestion supplantent les références faites à la créativité et aux politiques territoriales axées sur l’innovation et la créativité, un décalage s’opère cependant entre leurs discours et leurs pratiques effectives.Enfin, nous nous intéressons à la façon dont les industries créatives sont réinvesties dans le cadre de politiques de reconfiguration territoriale du territoire métropolitain lyonnais pour en susciter et diffuser une représentation créative. La réflexion s’articule ici sur la façon dont ces politiques portent sur une triple reconfiguration territoriale (tangible, réticulaire et symbolique). En particulier, nous nous intéressons à l’opérationnalisation des grands événements culturels et artistiques, des projetsd’aménagement du territoire et de réseaux d’acteurs mis en place sur le territoire dans l’objectif d’en susciter une représentation créative. Les pratiques et agencements mis en place sur ce territoire s’inscrivent dans la continuité ou entrent en résonnance avec ceux prescrits dans les discours institutionnels et dans ceux des professionnels de la reconfiguration territoriale.En définitive, nous montrons comment l’idéologie des industries créatives se déploie à travers les discours et pratiques d’acteurs hétérogènes qui entrent en résonnance et, de ce fait, contribuent à renforcer cette idéologie. Notre étude prête attention aux circulations, qui ne sont pas uniquement descendantes ou prescriptives mais qui sont aussi des réappropriations et des interprétations des industries créatives par ces acteurs. Les logiques propres aux acteurs étudiés sont mises en évidence, tout en soulignant comment leurs discours et pratiques entrent en interaction. / This research focuses on how creative industries, apprehended as ideology and scientifically constructed theory, deploy in a non-linear way from the international to the local through the discourses and practices of heterogeneous actors (political, industrial, cultural ...) to their operationalization as part of local territory policies of reconfiguration. These refer to policies aiming at transforming the territory image. This work focuses on the metropolitan area of Lyon, which is emblematic of several processes taking place for forty years (globalization, development of ICT, decentralization...) and reconfigurationpolicies conducted in other territories (Berlin, Reims, Lille...). The analysis deploys in three steps.First, we analyse how the creative industries are defined and promoted through institutional discourses (Unesco, DCMS, Creative France...). Three types of discourses are distinguished: those with explicit entrepreneurial goals; those addressing the creative industries as ensemble of sectors related to cultural industries, to which are added few others placing "creativity" at the heart of their activities; finally, the discourses that apprehend creative industries as the central pillar of territorial development. Nonetheless, these types of institutional discourses have in common to resonate with those of the promoters of the New Sprit of Capitalism.Then, we pay particular attention to discourses and practices of professionals of the territorial reconfiguration, namely those of the public and territorial communication to which are added those of the territorial marketing. These professionals are intermediaries who contribute to the diffusion of the creative industries by promoting assumptions, practices and arrangements resonating with those disseminated in institutional discourses. If a lexicon, notions and methods from management sciencessupplant references to creativity and territorial policies focusing on innovation and creativity, a gap between their discourses and their actual practices exists.Finally, we are interested in the way in which the creative industries are reinvested in the territorial reconfiguration policies of the metropolitan area of Lyon in order to create and disseminate a creative image. The reflection is articulated here on the way in which these policies are related to a triple territorial reconfiguration (tangible, reticular and symbolic). In particular, we are interested in the operationalization of major artistic and cultural events, spatial planning projects and stakeholder networks taking place on the territory aiming generating creative image. The practices and arrangements realized on the territory are in continuity or resonate with those prescribed in the institutional discourses and those of the professionals of the territorial reconfiguration.In the end, we show how the ideology of the creative industries deploys through discourses and practices of heterogeneous actors that resonate and, as a result, contribute to reinforce this ideology. Our study pays attention to circulations, which are not only downward or prescriptive but are also re-appropriations and interpretations of the creative industries by those actors. The logics of the actors studied are stressed, while showing how their discourses and practices are in interaction.

The increased interest in relationship marketing and the potential of the Internet as a platform for relationship building activities have given rise to new ways for companies to interact with their customers, such as services based on a freemium pricing model. Based on the premise that relationships are processes consisting of interactive moments of value-creating activities, value is considered subjective, relative and dependent on the context in which the activity takes place. Value is therefore variable given its context and cannot be pre-defined without nuances being lost. Despite the Internet's given role in societal development, our understanding of what contributes to customers' intentions to build relationships with online services is yet to mature. As the music industry is well established on the Internet, alongside the change in how music is consumed, it is thus appropriate to examine activities in accordance with a freemium based service that distributes music online, since it still lacks in academic understanding. This study aims to provide insights about virtual relations and how online services that provide cultural content should relate to there users as well as contributing to the ongoing academic discussion regarding value and how it is manifested by highlighting contextual impact on relational activities. For a rapprochement of relations to online services in cultural industries, this study assumed a practice perspective. In accordance with practice theory and action research, primary data was collected through participatory observation set in users' natural social environment, with a targeted sample of informants well familiar with the object of study - the online service Spotify. The results show that value in virtual relationships arise inter-subjectively between users, where value is relative to past experiences, changeable over time, and expressed through individual and collective activities afforded by current context. If usage of a service is part of the daily routine, it also becomes a part of the user's identity, which the user, in order not to disrupt the routine, is willing to make sacrifices to uphold, thus maintaining their identity and ongoing relationship to the service provider. The more affordances a service provider manages to convey, the more meaningful a relationship is considered to be. The affective dimension of cultural products, especially music, allows for interpersonal coordination, and emotional convergence, where value is created inter-subjectively through collectively shared practices, allowing us to share feelings and experiences and enjoying how the closeness of interpersonal relationships contribute to our everyday lives. The inter-subjective value creation process thus also works as a process of humanizing the virtual relationship. / Det ökade intresset för relationsmarknadsföring och Internets potential som plattform för relationsbyggande aktiviteter har gett upphov till nya sätt för företag att interagera med sina kunder, till exempel genom freemium-tjänster. Utifrån premisserna att relationen är en process av interaktionsögonblick av meningsskapande aktiviteter, förutsätts värde vara subjektivt, relativt och beroende av kontexten i vilken aktiviteten utspelas. Värde är således föränderligt givet kontexten och kan inte på förhand definieras utan att nyanser går förlorade. Trots Internets givna roll i samhällsutvecklingen, saknas fortfarande förståelse för vilka parametrar som bidrar till kunders intentioner att bygga relationer med online-tjänster.    Då musikindustrin är väl etablerad på Internet, parallellt med att det skett en förändring av hur musik konsumeras, är det således motiverat att undersöka aktiviteter förenliga med en tjänst som distribuerar musik online, baserad på affärsmodellen freemium, då den akademiskt sätt ännu befinner sig i sin vagga. Studiens syfte är att ge insikter om virtuella relationer för hur online-tjänster med kulturellt innehåll ska förhålla sig till sina användare och bidra till den pågående akademiska diskussionen om hur värde manifesteras genom att belysa kontexters inverkan på relationer. För ett närmande av relationer till online-tjänster inom kulturella industrier, antogs för denna studie ett praktikperspektiv. I enlighet med aktionsforskning inhämtades primärdata genom deltagande observation i användarnas naturliga sociala miljö, baserat på ett målinriktat urval av informanter väl bekanta med studieobjektet - online-tjänsten Spotify. Resultatet visar på att värde inom virtuella relationer uppstår intersubjektivt mellan användare, är relativt mot tidigare erfarenheter, är föränderligt över tid, och kommer till uttryck genom individuella som kollektiva aktiviteter beroende av rådande kontext. Är användningen av tjänsten en del av den dagliga rutinen, blir användningen en del av användarens identitet, med påföljden att användaren är beredd att göra uppoffringar för att inte bryta rutinen och på så vis upprätthålla sin identitet och relation till tjänsten. Ju fler affordanser tjänster lyckas förmedla, desto mer meningsfull upplevs relationen.   Den affektiva dimensionen som kulturella produkter för med sig, särskilt musik, möjliggör för interpersonal koordination och emotionell sammanstrålning, där intersubjektivt värdeskapande kollektivt tillskjuter värde i den gemensamma upplevelsen, då vi tillåter oss att dela våra känslor och upplevelser och njuta av den närhet som mänskliga relationer bidrar till i våra vardagliga liv. Det intersubjektiva värdeskapandet bidrar till ett förmänskligande av den virtuella relationen.

published_or_final_version / Politics and Public Administration / Master / Master of Public Administration