The following remarks were presented at a symposium that was part of the 2004 Ars Electronica Festival: TIMESHIFTThe World in Twenty-Five Years. This festival for art, technology, and society was founded in 1979 and is held annually in Linz, Austria. Joan Shigekawa, associate director of Creativity and Culture at the Rockefeller Foundation, spoke on the final panel of the symposium, “TOPIA,” which was designed to “present scenarios around a wide variety of topics relating to art, technology, and society.
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Catherine Maciariello
This panel intends to examine the purpose and value of what we do from the personal, institutional, and public perspective. We ask your indulgence and ask you to fly with us at 35,000 feet. We are talking about relationships, multiple meanings, and civic dialogue that enable an exchange of ideas that elevate and enrich both art-making and civic life.
2003, 15 pages. Americans for the Arts, 1000 Vermont Avenue NW, 6th floor, Washington, DC 20005, 202-371-2830, info@artsusa.org, www.americansforthearts.org
Through the ages artists with disabilities have been important to our history and culture. Beethoven was deaf, Van Gogh was mentally ill, El Greco was visually impaired. For the most part we do not associate them with their disability. We celebrate their lives for the gifts of music and art that they left in our midst.
2002, 30 pages, Cultural Initiatives Silicon Valley. To order a copy, contact Brendan Rawson, brendan@ci-sv.org or 408-283-8506
This essay is based on a key note address given on Tuesday, October 29, 2002. The talk was preceded by a short media presentation that told the story of Angels in America in Charlotte through sound and images.
The following essay was jointly commissioned by Grantmakers in the Arts for its 2002 annual conference and by the Funders' Network for Smart Growth and Livable Communities as one in its series of Translation Papers.
Introduction
Economic language and ideas have increasingly found their way into discussions of artistic value and cultural benefit. For better or for worse, the discipline of economics has been the lingua franca of public policy discourse for at least the past fifty years. Sometimes the terms resonate harshly on our ears. How do people in the world of arts and culture answer those who speak this language, who try to value cultural activity in terms of economic multipliers, cost-benefit analysis, quantitative outcome measures and, a current favorite, contingent valuation methodology?
September 11 and Beyond
The following is excerpted from a March 2002 interview with Susan Beresford (president, Ford Foundation) that is included in September 11: Perspectives from the Field of Philanthropy, published August 2002 by the Foundation Center, 79 Fifth Avenue, New York, NY 10003, 212-620-4230. It is published by permission of the Foundation Center.
FC: It was common in the weeks after 9/11 to hear people say that the attacks had changed everything. Did September 11 change everything?