The UNESCO Convention on Cultural Diversity: An Appraisal Five Years after Its Entry into Force

The United Nations Educational Scientific and Cultural Organization (UNESCO) adopted in 2005 the first legally binding international instrument on culture. The Convention on the Protection and Promotion of the Diversity of Cultural Expressions was agreed upon with an overwhelming majority and after the swiftest ratification process in the history of the UNESCO entered into force on 18 March 2007. Now, five years later and with some 125 Members committed to implementing the Convention, not only observers with a particular interest in the topic but also the broader public may be eager to know what has happened and in how far has the implementation progress advanced. This is the question that animates this paper and which it seeks to answer by giving a brief background to the UNESCO Convention, clarifying its legal and political status and impact, as well as by looking at the current implementation activities in the domestic and international contexts.

Digital Technologies and Traditional Cultural Expressions : A Positive Look at a Difficult Relationship

Digital technologies have often been perceived as imperilling traditional cultural expressions (TCE). This angst has interlinked technical and socio-cultural dimensions. On the technical side, it is related to the affordances of digital media that allow, among other things, instantaneous access to information without real location constraints, data transport at the speed of light and effortless reproduction of the original without any loss of quality. In a socio-cultural context, digital technologies have been regarded as the epitome of globalisation forces - not only driving and deepening the process of globalisation itself but also spreading its effects. The present article examines the validity of these claims and sketches a number of ways in which digital technologies may act as benevolent factors. We illustrate in particular that some digital technologies can be instrumentalised to protect TCE forms, reflecting more appropriately the specificities of TCE as a complex process of creation of identity and culture. The article also seeks to reveal that digital technologies - and more specifically the Internet and the World Wide Web - have had a profound impact on the ways cultural content is created, disseminated, accessed and consumed. We argue that this environment may have generated various opportunities for better accommodating TCE, especially in their dynamic sense of human creativity.

The Reform of the EC Audiovisual Media Regulation : Television Without Cultural Diversity

In the profoundly changing and dynamic world of contemporary audiovisual media, what has remained surprisingly unaffected is regulation. In the European Union, the new Audiovisual Media Services Directive (AVMS), proposed by the European Commission on December 13, 2005, should allegedly rectify this situation. Amending the existing Television without Frontiers Directive, it should offer a fresh approach and meet the challenge of appropriately regulating media in a complex environment. It is meant to achieve a balance between the free circulation of TV broadcast and new audiovisual media and the preservation of values of cultural identity and diversity, while respecting the principles of subsidiarity and proportionality inherent to the Community. The purpose of this paper is to examine whether and how the changes envisaged to the EC audiovisual media regime might influence cultural diversity in Europe. It addresses subsequently the question of whether the new AVMS properly safeguards the balance between competition and the public interest in this regard, or whether cultural diversity remains a mere political banner.

The UNESCO Convention on Cultural Diversity : An Appraisal Five Years after its Entry into Force

The United Nations Educational Scientific and Cultural Organization (UNESCO) adopted in 2005 the first legally binding international instrument on culture. The Convention on the Protection and Promotion of the Diversity of Cultural Expressions was agreed upon with an overwhelming majority and after the swiftest ratification process in the history of the UNESCO entered into force on 18 March 2007. Now, five years later and with some 125 Members committed to implementing the Convention, not only observers with a particular interest in the topic but also the broader public may be eager to know what has happened and in how far has the implementation progress advanced. This is the question that animates this paper and which it seeks to answer by giving a brief background to the UNESCO Convention, clarifying its legal and political status and impact, as well as by looking at the current implementation activities in the domestic and international contexts.

Global Cultural Law and Policy in the Age of Ubiquitous Internet

Digital technologies and the Internet in particular have transformed the ways we create, distribute, use, reuse and consume cultural content; have impacted on the workings of the cultural industries, and more generally on the processes of making, experiencing and remembering culture in local and global spaces. Yet, few of these, often profound, transformations have found reflection in law and institutional design. Cultural policy toolkits, in particular at the international level, are still very much offline/analogue and conceive of culture as static property linked to national sovereignty and state boundaries. The article describes this state of affairs and asks the key question of whether there is a need to reform global cultural law and policy and if yes, what the essential elements of such a reform should be.

Normalización del análisis de la piedra y conservación del patrimonio cultural. The Standardization of Stone Analysis and Conservation of Cultural Heritage

La normalización de los métodos de análisis y de los principales aspectos relacionados con la conservación de los bienes culturales ha empezado en 2004 con la creación del comité europeo de normalización, CEN/TC 346 Conservation of Cultural Property, que tiene la responsabilidad no solamente de redactar protocolos de ensayos en laboratorio, sino también proponer las recomendaciones más adecuadas para designarlos de forma consensual y conservarlos de la forma más apropiada. Se comentan los aspectos relacionados con el origen de estas normas, el trabajo desarrollado y que muchas de ellas, aunque no estén dirigidas específicamente a la piedra, tienen en cuenta la presencia de este material en objetos arqueológicos, obras de arte, estructuras de fábricas y elementos ornamentales.

Cultural resources in the Department of Defense.

Was distributed to depository libraries in microfiche in error as shipping list no.: 94-0452-M, under classification number D 1.2:D 79/21.

Risk analysis in a Portuguese archive what has changed in five years?

The Cultural Property Risk Analysis Model was applied in 2006 to a Portuguese archive located in Lisbon. Its results highlighted the need for the institution to take care of risks related to fire, physical forces and relative humidity problems. Five years after this first analysis the results are revisited and a few changes are introduced due to recent events: fire and high humidity remain an important hazard but are now accompanied by a pressing contaminants problem. Improvements in storage systems were responsible for a large decrease in terms of calculated risk magnitude and proved to be very cost-effective.

Análise de risco aplicada à coleção de pintura a óleo da “Casa dos Patudos”

Este trabalho teve como principais objetivos a avaliação de risco para a coleção de pinturas a óleo da “Casa dos Patudos” e a proposta de estratégias para mitigar esses riscos. Escolheu-se o modelo de análise de risco Cultural Property Risk Analysis Model ou Modelo de Análise de Risco para Património Cultural, desenvolvido por Robert Waller (2003), por permitir hierarquizar os riscos a que a coleção está sujeita e por já ter sido aplicado com sucesso noutras coleções. Neste trabalho o modelo CPRAM é aplicado pela primeira vez a uma coleção de pintura a óleo em exibição. A metodologia utilizada passou pela caracterização da coleção, o diagnóstico das obras, inspeções ao edifício, conversas informais com os vários funcionários, colocação de armadilhas e determinação das condições ambientais. Verificou-se que os principais agentes de deterioração a que a coleção está exposta estão relacionados com as elevadas flutuações de humidade relativa, forças físicas, a excessiva exposição à luz e a ocorrência de pragas de insetos xilófagos. Desse modo, algumas das soluções propostas passam pela implementação de uma política de controlo integrado de pragas, colocação de filtros UV nas janelas e claraboias e controlo da humidade relativa e temperatura. As vantagens e desvantagens da aplicação deste modelo a esta coleção são aqui discutidos. Um dos desafios deste estudo passou por encontrar um equilíbrio entre o que são as condições ideais de preservação e o que é possível implementar numa casa histórica, ou seja, um local que não foi originalmente concebido para as funções que desempenha atualmente. Neste caso, a estas restrições, adiciona-se ainda as imposições deixadas em testamento pelo proprietário da casa. Embora o trabalho seja aplicado a uma coleção específica, existem muitas outras instituições, com coleções e situações semelhantes, que certamente partilham do mesmo tipo de problemas. Deste modo, espera-se que este trabalho também contribua para a chamada de atenção e melhoramento dos riscos a que essas coleções se encontram expostas.

Action Research : the first steps to start up a pilot experiment in heritage education

Peer-reviewed

Memòria d’una indústria desapareguda: la bòbila d’en Soler

En aquest estudi pretenc revalorar el patrimoni cultural, natural i industrial deVilafant. Tot i que les directrius del meu treball, es centren de manera especial enel patrimoni industrial, ja que en aquests moments l’Ajuntament de Vilafant, téespecial interès en potenciar l’estudi de l’activitat rajolera, que va assolir el seumàxim esplendor amb la construcció de la bòbila d’en Soler l’any 1880

Pla de difusió de la zona d'interès etnològic de Calonge i Vall-llobrega

Projecte on es desenvolupa el pla de difusió del futur Bé Cultural d'Interès Nacional (BCNI) en la seva categoria de Zona d'Interès Etnològic (ZIE) de Calonge i Vall-llobrega, basat en la tradició de la pagesia en el policultiui i especialment en l'elaboració del vi de forma ancestral, tal i com ja el feien als segles XVIII i XIX