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The purpose of the article is to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns. Research methods are based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method. The novelty of the research is to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer. Conclusions. As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country., Метою статті є виявлення особливостей брендингових кампаній українських художніх музеїв та їхнього впливу на підвищення популярності музейних установ; а також – з’ясування ефективності дизайнерських підходів у подібних кампаніях. Методи дослідження базуються на застосуванні компаративного, формально-стилістичного й іконологічного аналізу і методу деконструкції. Новизна дослідження полягає у проведенні аналізу брендингових кампаній художніх музеїв з метою засвоєння їхнього досвіду та ефективних дизайнерських рішень. Стаття також виявляє проблему інтеграції глядача в музейне середовище і спробу через посередництво дизайну вийти за рамки нав’язаних стереотипів, подолати ставлення до мистецтва як сфери, чужої для пересічного глядача. Висновки. У результаті аналізу брендингових кампаній знакових художніх музеїв в Україні доходимо висновку про їхню ефективність як для окремих установ, так і для всієї культури. Порівняльний аналіз різних підходів засвідчив важливість виявлення унікальності установ і спроб її відобразити у дизайні айдентики. І хоч сьогодні можна говорити про запізніле перетворення музейного середовища в Україні, що скидає нудні соцреалістичні шати майже через три десятиліття після відновлення незалежності, проте важливо зазначити, що цей процес збігається й із загальносвітовою тенденцією оновлення світових музеїв. Дизайн стає культурною стратегією, яка має за мету більше, ніж зміну образу: він має перетворити музей на суб’єктного гравця на культурному полі, здатного мислити не категоріями влади, а категоріями культури. Тому ребрендинг знакових арт-музеїв країни без перебільшення можна назвати одним із найважливіших досягнень культури з часу відновлення незалежності. Даний процес також засвідчив сформований запит на дизайн як культурну стратегію, що здатна встановлювати візуальні мости між фахівцями мистецтва і потенційним глядачем, а також змінювати культурні коди, завдавати тренди і тим самим впливати на зміну образу міста й країни.

The purpose of the articleis to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns.Research methodsare based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method.The novelty of the researchis to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer.Conclusions.As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country.

Introduction.The creative and cultural industries have made significant adjustments to the modern world economic processes, which provokes an increased interest in the cultural sphere in general and in the cultural strategy in particular.Purpose and methods.The purpose of the article is to identify the innovative potential of culture in modern conditions and its implementation ways through cultural strategies and creative industries, both in the universal and in the Ukrainian context. The methodological basis of the study was the systemic-structural method, the method of formal-logical research, analysis, the comparative method, the system-thought-activity methodology, and the deconstructive approach.Results.An integrated approach to culture allows considering it as an open space for the interaction of people, ethnic groups, nations that are the subjects of economic, political, and cultural innovation. Cultural development is represented through vertical-horizontal interactions between cultural strategy, cultural policy, and creative industries.Conclusions.The Ukrainian State is currently rethinking the role of culture in general and cultural strategy in particular, facing the problem of forming an integral Ukrainian-oriented space. The new approach to the structure of culture includes not institutions, but the creators and consumers of the cultural product, who initiate a single cultural space creation. That allows identifying the innovative potential of culture and cultural strategy. Ukraine’s innovative cultural strategy and its implementation through cultural policy and creative industries can serve both to consolidate society and to solve economic problems.

Introduction. The creative and cultural industries have made significant adjustments to the modern world economic processes, which provokes an increased interest in the cultural sphere in general and in the cultural strategy in particular. Purpose and methods. The purpose of the article is to identify the innovative potential of culture in modern conditions and its implementation ways through cultural strategies and creative industries, both in the universal and in the Ukrainian context. The methodological basis of the study was the systemic-structural method, the method of formal-logical research, analysis, the comparative method, the system-thought-activity methodology, and the deconstructive approach. Results. An integrated approach to culture allows considering it as an open space for the interaction of people, ethnic groups, nations that are the subjects of economic, political, and cultural innovation. Cultural development is represented through vertical-horizontal interactions between cultural strategy, cultural policy, and creative industries. Conclusions. The Ukrainian State is currently rethinking the role of culture in general and cultural strategy in particular, facing the problem of forming an integral Ukrainian-oriented space. The new approach to the structure of culture includes not institutions, but the creators and consumers of the cultural product, who initiate a single cultural space creation. That allows identifying the innovative potential of culture and cultural strategy. Ukraine’s innovative cultural strategy and its implementation through cultural policy and creative industries can serve both to consolidate society and to solve economic problems., Введение. Креативные и культурные индустрии внесли значительные коррективы в современные мировые экономические процессы, что провоцирует повышенный интерес к культурной сфере в целом и к культурной стратегии в частности. Цель и методы. Цель статьи – выявить инновационный потенциал культуры в современных условиях и способы его реализации через культурные стратегии и креативные индустрии как в общечеловеческом, так и в украинском контексте. Методологической основой исследования стали системно-структурный метод, метод формально-логического исследования, анализ, компаративистский метод, СМД-методология, деконструктивистский подход. Результаты. Комплексный подход к анализу культуры позволяет рассматривать ее как открытое пространство сетевого взаимодействия людей, этносов, наций, являющихся субъектами инноваций в экономической, политической и культурной сферах. Развитие культурной сферы представлено через формирование вертикально-горизонтальных взаимодействий между культурной стратегией, культурной политикой и креативными индустриями. Выводы. Украина на сегодняшний день переосмысливает роль культуры в целом и культурной стратегии в частности, столкнувшись с проблемой формирования целостного украиноориентированного пространства. Новый подход к структуре культуры включает в себя не институции, а создателей и потребителей культурного продукта, инициирующих создание единого культурного пространства. Это позволяет выявить инновационный потенциал культуры и культурной стратегии. Инновационная культурная стратегия Украины и ее реализация через культурную политику и креативные индустрии может послужить как консолидации общества, так и решению экономических проблем., Вступ. Креативні і культурні індустрії внесли значні корективи в сучасні світові економічні процеси, що провокує підвищений інтерес до культурної сфери в цілому і до культурної стратегії зокрема. Мета і методи. Мета статті – виявити інноваційний потенціал культури в сучасних умовах і способи його реалізації через культурні стратегії та креативні індустрії як у загальнолюдському, так і в українському контексті. Методологічною основою дослідження є системно-структурний метод, метод формально-логічного дослідження, аналіз, компаративістський метод, СМД-методологія, деконструктивістський підхід. Результати. Комплексний підхід до аналізу культури дозволяє розглядати її як відкритий простір мережевої взаємодії людей, етносів, націй, які є суб’єктами інновацій в економічній, політичній і культурній сферах. Розвиток культурної сфери презентовано через формування вертикально-горизонтальних взаємодій між культурною стратегією, культурною політикою і креативними індустріями. Висновки. Україна на сьогоднішній день переосмислює роль культури в цілому і культурної стратегії зокрема, зіткнувшись із проблемою формування цілісного україноорієнтованого простору. Новий підхід до структури культури включає в себе не інституції, а творців і споживачів культурного продукту, які ініціюють створення єдиного культурного простору. Це дозволяє виявити інноваційний потенціал культури та культурної стратегії. Інноваційна культурна стратегія України та її реалізація через культурну політику і креативні індустрії може слугувати як консолідації суспільства, так і вирішенню економічних проблем.

Iskandar BS, Iskandar J, Partasasmita R. 2018. Strategy of the Outer Baduy community of South Banten (Indonesia) to sustain their swidden farming traditions by temporary migration to non-Baduy areas. Biodiversitas 19: 453-464. The Baduy people live in the forest village of Kanekes, in Leuwidamar sub-district, Lebak district, Banten Province, Indonesia. They have long practiced a form of swidden farming based on traditional ecological knowledge and beliefs about the cosmos. Unlike the rest of the surrounding Sundanese society, the Baduy have prohibited wet rice field cultivation on their lands. Moreover, in conserving their traditional swidden farming system, the Baduy people have resisted the use of modern rice varieties, inorganic fertilizers, and synthetic pesticides. On the basis of Baduy culture, their swidden-produced rice is not sold, and for at least the past 50 years the harvested rice has not been stored away in barns but instead has been mainly used for daily home consumption and various traditional rituals. Nowadays, Baduy swidden farming is affected by many new pressures – particularly by population increase, and increasing food demand – but the forest land used for practicing their swidden farming is limited. Therefore, in order to maintain the sustainability of their swidden farming system, the Baduy people, particularly the Outer Baduy, have developed cultural strategies that include temporary outmigration (nganjor) to neighboring, non-Baduy areas where Muslim value-systems provide the main cultural dynamic. The aim of the study reported in this paper was to elucidate the cultural strategy of the Outer Baduy to maintain their sustainable swidden farming by temporary out-migration to non-Baduy areas in territory of the Muslim majority. The method used in this study was qualitative based on an ethno ecological approach. Several techniques were used, namely direct observation, participant observation, and deep interviews with competent informants who were purposively selected. The results of the study confirmed that up until now the Outer Baduy have maintained the sustainability of their swidden farming, by various means, especially by conducting contemporary outmigration to non-Baduy areas in Muslim majority territory. They plant swidden rice in a way that fulfills various traditional rituals, and by diversifying their non-rice-trading options that include growing a variety of mainly tree crops in their swidden land (huma) and in other anthropogenic land. This involves occasional negotiated out-migration to non-Baduy area for temporary swidden farming in surrounding Muslim majority territory. This has enabled the Outer Baduy swidden farming system to be maintained on a long-term basis.

El objetivo de ArteCambiante es implementar un proceso de formación artística con acompañamiento psicosocial dirigido a 360 participantes entre 8 y 16 años en condición de vulnerabilidad del internado indígena San Antonio en la comunidad de Aremasain del municipio de Manaure, La Guajira, con el fin de promover la sensibilidad artística, fomentar valores tales como la responsabilidad, el respeto y la solidaridad dentro de una visión de desarrollo integral. ArteCambiante se constituye como una plataforma para complementar la educación escolar, sobre todo en comunidades en las que la acción del estado es débil, principalmente en comunidades castigadas por el conflicto armado, a través de estrategias pedagógicas y artísticas orientadas al reconocimiento de la dignidad humana, la diversidad, el arraigo social y cultural de la persona. The objective of ArteCambiante is to implement an artistic training process with psychosocial support aimed at 360 participants between 8 and 16 years old in a vulnerable condition of the San Antonio indigenous boarding school in the Aremasain community of the municipality of Manaure, La Guajira, in order to promote artistic sensitivity, promoting values ​​such as responsibility, respect and solidarity within a vision of integral development. ArteCambiante is constituted as a platform to complement school education, especially in communities where state action is weak, mainly in communities punished by the armed conflict, through pedagogical and artistic strategies aimed at recognizing human dignity, diversity, the social and cultural roots of the person. Magíster en Gestión de la Cultura Universidad de Nebrija

La comunicación estratégica en las organizaciones culturales es una herramienta de marketing clave en la gestión. Tanto en el ámbito interno como externo, se ha de buscar maximizar la eficiencia de las inversiones en los instrumentos de comunicación, para alcanzar con éxito una comunicación coherente e integrada, capaz de adaptarse a los cambios y retos que continuamente plantea el entorno., Strategic communication is a key marketing tool in the management of cultural organisations. Both internally and externally, the aim is to maximise the efficiency of investments in instruments of communication, in order to successfully achieve coherent and integrated communication which is capable of adapting to the changes and challenges continually presented by the surroundings.

Con las reformas de mediados de los 70, comienza la transformación de la correlación de fuerzas internacional, que derivó en un proceso político, económico y social conocido bajo el nombre de neoliberalismo. Estas políticas tuvieron como consecuencia aumentos del desempleo y la pauperización mundial. Sin embargo, la crisis de esta estrategia no se hizo esperar y los pueblos del mundo resistieron de distintas formas el despojo que se desarrollaba. El proceso de crisis abierto a comienzos del siglo implica una escala global y civilizatoria. En América Latina, la acumulación de experiencias de resistencia popular, que abordaba diferentes problemáticas, se profundiza con la construcción de alternativas políticas. Los sectores dominantes se vieron obligados a rediseñar una estrategia que recupere la ofensiva, aplaque el descontento y la disputa. Este proceso tiene dos aristas orgánicas: la reconfiguración del consenso y la avanzada represiva. En este trabajo intentaremos aportar al análisis acerca del Pacto Global como una de las estrategias hegemónicas internacionales para enfrentar la crisis, a través del estudio de fuentes y documentos producidos por la Organización de Naciones Unidas y sus agencias, así como del proceso de trabajo de campo desarrollado por la autora., With the reforms of the mid-70s began a transformation of the international correlation of forces, which led to an economic, political and social process known as Neoliberalism. These policies resulted in unemployment and global impoverishment. However, the crisis of this imperialist strategy was swift and people resisted dispossession in various ways. The crisis process inaugurated at the beginning of the century has global implications and a civilizing scale. In Latin America, the accumulation of popular resistance experiences, which addressed different issues, developed with the construction of political alternatives. Dominant sectors, thus, were forced to redesign the strategy so as to regain the offensive as well as to placate discontent and dispute. This process has two organic axes: the reconfiguration of consensus and the repressive movement. This paper attempts to analyze the Global Compact as one of the international hegemonic strategies to face the crisis, through the study of sources and documents produced by the United Nations and its agencies, as well as through the fieldwork carried out by the Author., Instituto de Relaciones Internacionales (IRI)

Alors que les deux grands festivals « historiques » du monde arabe, Carthage (JCC) et Le Caire, sont entrés en décadence, on assiste depuis le début des années 2000 à une véritable explosion du phénomène festivalier dans le monde arabe. Le pays le plus en pointe est le Maroc, quoique de manière contrastée, avec une manifestation de prestige à Marrakech, et une nuée de petites manifestations. Dans les émirats du Golfe, la multiplication des festivals traduit une stratégie de communication plutôt qu’une volonté de développement culturel. Cette stratégie est fragilisée par la concurrence que se livrent les différents acteurs. Dans les autres pays arabes, on trouve une grande variété de situations sous le signe de la dispersion. Pourtant, l’accumulation de festivals (une centaine dans la région) finit par avoir des effets d’ensemble, au-delà des buts, moyens et limites de chacun d’eux. Le phénomène festivalier, bien qu’inscrit dans des agendas locaux ou nationaux, génère de manière plus vaste des réseaux générationnels, financiers, de procédures d’expertise, de processus d’interrelation, géographiques mais aussi entre le cinéma et les autres arts ou médias. While the two major “historical” film festivals in the Arab World - Cartago and Cairo -, have been declining, other film festivals have emerged in the area since 2000. Leading the way is Morocco, in spite of the contrast between the glamorous Marrakech festival and a swarm of minor events. In the Emirates, the large number of festivals reflects a self promotion strategy rather than a cultural development policy. As they compete between themselves, they become less attractive. In other countries, there is a feeling of dispersion due to a wide range of situations. Yet, the proliferation of festivals (around one hundred in the region) ends up creating a global effect, beyond individual goals, means and limits. Though enshrined in local or national roots, the festival phenomenon engenders on a wider scale generational, and financial networks, expertise procedure, interrelational process, and geographical thematic connections as well as connections between other arts and medias.

Publikacja recenzowana / Peer-reviewed publication Artykuł dotyczy współczesnej adaptacji pojęcia „technologie siebie”. Pochodząca z lat 80. XX w. teoria technologii siebie Michela Foucaulta znajduje zastosowanie w aktualnych praktykach medialnych oraz działaniach codziennych, jednak ze względu na skokowy rozwój technologiczny, jaki nastąpił przez te 30 lat, klasyfikacja pojęcia wymaga rewizji. Jest to warunek konieczny zwłaszcza na rodzimym gruncie badań w obszarze nauk humanistycznych, ponieważ do tej pory w Polsce ukazało się niewiele badań i publikacji dotyczących praktyk technologii siebie. Wykazane przesłanki oraz podjęte w tym materiale kroki ewidentnie wskazują na potrzebę poczynionych eksploracji. Autorka artykułu zajmuje się eksploracją tematu technologii siebie wielowymiarowo. Rdzeniem rozważań jest geneza terminologiczna i semantyczna w kontekście kultury cyfrowej. Tworzy on ważną oś rozpatrywania zagadnienia technologii siebie, które przedstawione zostało zarówno jako zabieg cyfrowy, jak i mentalny wymiar jednostki, kształtującej własne self. Wśród indywidualnych wyborów, trendów i dążenia do doskonałości, decyzja o doborze strategii kulturowej nie należy do łatwych. Dodatkowo self i jego zagadkowe, nieprzetłumaczalne znaczenie także ma wymiar analogowy i cyfrowy. W celu weryfikacji przełożenia założeń teoretycznych, autorka posiłkuje się wynikami prowadzonych badań, które wskazują na powinowactwo motywacji codziennych aktywności z cechami warunkującymi technologie siebie. Prezentowane wyniki wstępnego ilościowego badania ankietowego wyznaczają kierunki dalszych poszukiwań, ale potwierdzają także zasadność analizy genetycznej i wielowiekowych wpływów na wytwarzanie się self. The article references to adaptation of the technologies of the self definition. It comes from 80’s of XX century theory by Michel Foucault, which could be use in nowadays media practices and daily activities. Classification of this definition demands some revision, because of dynamic technological development for last 30 years. This steps are urgent especially on polish humanistic research field, where technologies of the self are not common. The author explores technologies of the self topic from semantic and digital culture contexts. Both of them refer to digital activities and mental choices as cultural strategy as it’s characterized in the article. Additionally, the meaning of self in polish translation brings a lot of difficulties. In presented materials the first and base research results are contained. Results allows to finding validity of digital or spiritual destinations and genealogical influences of the self.

Kombiniranim metodologijama, od analize tekstova i raznih članaka te hvatanja u koštac s pravnim dokumentima pa do rada na terenu, ovaj diplomski rad sistematizirano analizira projekt Europske prijestolnice kulture i kulturne strategije grada Rijeke koje se blisko veţu uz gradsku kandidaturu za titulu projekta kroz njegova tri segmenta. Prvi progovara o pozadini navedenog projekta, kroz aspekte njegove povijesti i tijeka nastajanja, a zatim i kroz aspekte modela kulturne politike kojim se sluţi. Drugi segment pojašnjava pojam riječke kulture te uz empirijsku analizu kritički sagledava strategiju gradskog kulturnog upravljanja. U trećem poglavlju, naglasak se stavio na riječku kandidaturu za Europsku prijestolnicu kulture te su se kroz razne oblike terenskog rada sagledale prednosti i mane koje kandidatura grada Rijeke trenutno ima., Using combined methodologies, from the analysis of texts and various articles to tackling the legal documents and work in the field, this thesis systematically analyzes the project of the European Capital of Culture and the cultural strategy of the city of Rijeka, which is closely linked to the city's bid for the title of the project. The first segment deals with the background of this project, through aspects of its history, the course of formation and the model of cultural policy. The second segment explains the concept of Rijeka's culture and with empirical analysis this work critically examines the city's cultural strategy management. In the last chapter, the emphasis is put on the Rijeka's candidacy for European Capital of Culture and with the help of different types of field work this thesis tried to bring some insight into the advantages and disadvantages of Rijeka's candidacy.

In this article, I consider Gramsci’s pre-prison writings and political practice in relation to questions of cultural strategy and institutions. I argue that the analysis of these early texts, which were written in the years in which Gramsci was active in party organisation and leadership, is fundamental not only for understanding the nature of Gramsci’s early and continued involvement with questions of cultural strategy and institutions, but also as a key for interpreting cultural policy themes that he later developed in the prison notebooks, and which originated in earlier debates.

Bledug Kuwu merupakan fenomena semburan lumpur yang mengandung garam sehingga dimanfaatkan sebagai garam dapur. Profesi sebagai pembuat garam dapur yang dilakukan penduduk sekitar dalam sepuluh tahun terakhir ini telah mengalami penurunan cukup drastis yaitu dari seratus orang pada tahun 2000 menjadi hanya enam orang pada tahun 2010. Dalam penelitian ini penulis menggambarkan strategi adaptasi budaya petani garam. Dalam penelitian ini digunakan pendekatan kualitatif serta teknik observasi, wawancara, dan dokumentasi. Lokasi penelitian adalah di desa Kuwu, Grobogan. Hasil penelitian menunjukkan adanya permasalahan lingkungan yang dihadapi oleh petani garam yakni perubahan cuaca yang tidak menentu, kondisi lumpur yang selalu berubah, dan karakteristik air garam. Untuk menghadapi problem lingkungan, petani garam melakukan adaptasi kultural yaitu menghindari bahaya yang ada di lingkungan. Selain itu, petani juga memiliki keterbatasan dalam teknologi pembuatan garam. Juga ditemukan perubahan teknologi yang digunakan dalam pembuatan garam seperti klakah, blonjong, siwur, kepyur, payon, ember, dan kerik juga harus dilakukan. Ada juga upaya lain antara lain melalui perilaku penimbunan garam, membuat peralatan pembuat garam sendiri, dan mencari pekerjaan sambilan lain yang dapat menjadi alternatif pemenuhan ekonomi warga. Sementara itu dukungan secara moral dan material dari pemerintah juga sangat dinantikan.Bleduk Kuwu is a salt mudflow phenomena in Kuwu Grobogan that can processed into table salt. Profession as salt makers in the last ten years has decreased quite dramatically, from a hundred people in 2000 to just six people in 2010. The objective of this study is to explore the adaptation strategy of the salt peasant in Kuwu Grobogan. In this study, the author uses a qualitative approach to its base, with observation techniques, interviews, and documentation in its data collection. The research found that the challange of salt farmers are environmental problems, which include erratic weather changes, the ever-changing sludge conditions, and characteristics of salt water. To deal with environmental problems, salt farmers adapt culturally to avoid the dangers that exist in the environment. Changes in technology used in the manufacture of salt as klakah, blonjong, siwur, kepyur, payon, buckets, and kerik is also observed. There are also other strategies, which include salt buildup, making their own salt-making equipment, and look for other jobs for economic fulfillment. Meanwhile, the moral and material support from the government is also highly needed.

Based on the combination of a metaphysical mindset and a material view of nature, as represented by Platonism, the loss of humanity and the destruction of the environment are possible negative consequences of modernization engendered by a mechanistic view of nature in the Modern Ages. Science and technology are based on the same fundamental idea of modernization and have contributed to bettering the life, liberty, and property of human beings; however, there are still countless people in many nations worldwide, who cannot, as yet, enjoy these benefits. This notwithstanding, we must not simply relinquish modernization; instead, it is crucial for us to utilize it in such a manner that we succeed in building an integrated infrastructure management system that is based on cultural creativity and that can control a variety of complicated occurrences in the world. With regard to the complex situation of preservation and development, owing to which foregoing modernization has been discussed, I have presented my idea of Player Theory (the outcome of a game is determined by its rules and the players’ talent) based on the concepts of continuity of time and future potentiality based on historicality. It is one of the ideas that constitute the framework of my cultural strategy; moreover, it also provides a theoretical basis for my related idea of Project Hydroscape (the positive meaning of water against the world water crisis). In addition, some practical examples from Japan and overseas will be provided in order to verify this idea; these examples are specifically related to the meaning of modernization and historicality.

En este trabajo, intentaremos aproximarnos a los procesos de etnogénesis producidos entre los grupos guaraníes del Paraguay colonial del siglo XVII -sujetos al sistema de encomiendas-, como respuesta a ciertas situaciones de cambio de sus patrones culturales tradicionales. Para ello, tendremos presente el contexto de contacto español-indígena dentro de una zona periférica y de frontera. Asimismo, tendremos presentes las características de la identidad social como negociable, fluida y dinámica, considerándola como el espacio donde los indígenas generaron estrategias de adaptación y resistencia al nuevo régimen., In this article, we approach the ethnogenesis processes that took place within the 17th century colonial Paraguay's guaraní, who were under the encomienda regime, as a response to the changes in their cultural system. We shall consider the indigenous-Spanish contact within a borderline and a marginalized context. The fluid, negotiable, and dynamic characteristic of the social identity will be considered as the arena where indigenous people generate strategies of adaptation and resistance to the new regime., Grupo de Investigación Antropología y Filosofía (SEJ-126). Universidad de Granada

This paper aims to put cultural strategy into national and local context in Croatia and introduce an initiative that has been recently undertaken in Dubrovni, Croatia. It attempts to preseant the backgroud reasons and objectives of proposeing a Strategy fo Cultural Development of the City of Dubrovnik.

Les programmes européens de soutien au cinéma et à l’audiovisuel MEDIA et EURIMAGES visent, depuis la fin des années 80, à assurer la survie et le développement du secteur en Europe. Le processus, désormais irréversible, de mondialisation représente un danger certain pour la survie du cinéma européen. Fort de ce constat, il apparaît donc que les “outils juridiques” existant n’assurent au cinéma européen qu’une protection nécessaire mais encore précaire. Il convient, dès lors, de s’interroger sur les options stratégiques envisageables afin de préserver le pluralisme culturel, et plus particulièrement cinématographique, en Europe et dans le monde. Les cinéastes européens essaient bien de survivre, mais ils ne luttent pas à armes égales avec l’industrie hollywoodienne, tant sur le plan juridique que sur le plan économique. Et s’il est une certitude, c’est qu’aucun pays ne pourra plus assurer seul la survie d’une industrie du film. Dès lors, il convient d’identifier les atouts et les faiblesses du cinéma européen, afin de tenter d’envisager concrètement les ajustements et options juridiques pouvant permettre de lui garantir un avenir. Constater que le cinéma européen a les moyens d’assurer son avenir ne suffit pas. Il faut encore s’interroger sur les initiatives concrètes permettant d’atteindre cet objectif, qui seul peut garantir le pluralisme culturel dans le monde. Cela passe nécessairement par une intervention des pouvoirs publics. Ainsi, l’industrie du cinéma en Europe dispose d’ “atouts” qu’il convient d’apprendre à valoriser si l’on veut garantir sa survie., Europski programi potpore filmskom i audiovizualnom stvaralaštvu MEDIA i EURIMAGES nastoje od kraja osamdesetih godina osigurati opstanak i razvoj tog sektora u Europi. Nepovratni proces globalizacije predstavlja izvjesnu opasnost za opstanak europskog filma. Postaje jasno da postojeća “pravna sredstva” osiguravaju europskom filmu samo jednu zaštitu, neophodnu, ali i nedovoljnu. Potrebno je stoga postaviti pitanje o mogućim strateškim opcijama za očuvanje kulturnog pluralizma, posebno u kinematografiji, kako u Europskoj tako i u svjetskoj. Europski filmski radnici pokušavaju preživjeti, ali se ne bore ravnopravnim oružjem protiv holivudske industrije, niti na pravnom niti na ekonomskom planu. Činjenica je da nijedna zemlja neće moći sama osigurati opstanak filmske industrije. Treba uvrditi prednosti i slabosti europskog filma i predložiti pravne opcije koje bi mu osigurale budućnost. Nije dovoljno tvrditi da europska kinematografija ima načina da osigura svoju budućnost. Treba postaviti pitanje o konkretnim inicijativama koje bi omogućile postizanje tog cilja, jedinog koji može jamčiti kulturni pluralizam u svijetu. To se nažalost provodi kroz neizbježno uplitanje državne administracije. Filmska industrija u Europi raspolaže “adutima” koje treba naučiti vrednovati ako joj želimo osigurati opstanak., The European support programmes for filmmaking and audiovisual creation, MEDIA and EURIMAGES have been trying, for almost two decades, to ensure the survival and development of that sector in Europe. The irreversible process of globalization presents a certain danger for the European film industry survival. Legal means can ensure only part of the necessary but insufficient protection. It is time to think about the possible strategic options to preserve cultural pluralism, especially in cinematography, in Europe and in the world. European filmmakers are struggling to survive without equal legal or economic means for that struggle. Not a single European country can ensure its film industry’s survival by itself. The advantages and drawbacks of the European film must be determined and legal options to ensure its future must be found. Pronouncing that the European cinematography has a future is not enough. Practical initiatives that will make this possible, in Europe and the rest of the world, must be taken. Today this is done through the unnecessary meddling of the state bureaucracy. The European film industry has advantages that need to be properly evaluated if it is to survive.