Trade Versus Culture in the Digital Environment : An Old Conflict in Need of a New Definition

Following the recent UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the first wave of scholarly work has focused on clarifying the interface between the Convention and the WTO Agreements. Building upon these analyses, the present article takes however a different stance. It seeks a new, rather pragmatic definition of the relationship between trade and culture and argues that such a re-definition is particularly needed in the digital networked environment that has modified the ways markets for cultural content function and the ways in which cultural content is created, distributed and accessed. The article explores first the significance of the UNESCO Convention (or the lack thereof) and subsequently outlines a variety of ways in which the WTO framework can be improved in a ‘neutral’, not necessarily culturally motivated, manner to become more conducive to the pursuit of cultural diversity and taking into account the changed reality of digital media. The article also looks at other facets of the profoundly fragmented culture-related regulatory framework and underscores the critical importance of intellectual property rights and of other domains that appear at first sight peripheral to the trade and culture discussion, such as access to infrastructure, interoperability or net neutrality. It is argued that a number of feasible solutions exist beyond the politically charged confrontation of trade versus culture and that the new digital media landscape may require a readjustment of the priorities and the tools for the achievement of the widely accepted objective of cultural diversity.

Faith as a Mustard Seed

Abstract: This investigation of the concept of faith is divided into two parts. Part One evaluates a topical philosophical interpretation of faith as irreducibly disjunctive, collecting the best fragmented ideas as to what constitutes faith in a recent family resemblance exposition as an objective for an adequate essentialist analysis of the concept of faith to achieve. Part Two offers a more extended essentialist analysis of the concept of faith as unconditional patience in the eventuality of a positive future state, and a detailed reduction of six supposedly disparate family resemblance senses of faith to this single definition. Criteria for a satisfactory analysis of faithfulness are considered and defended. In contrast with what has become a standard doxastic-epistemic interpretation of faith as persistent unjustified or even unjustifiable belief, a concept of faith is advanced that appears to satisfy the necessary and sufficient criteria identified. Systematic comparison with a variety of usages of the word “faith” suggests that the analysis agrees with many and arguably most applications of this sometimes loosely understood term. Implications of the analysis of the concept of faith are considered and defended against anticipated objections. Pascal’s wager is critically examined in relation to matters of religious faith, along with positivist meaningfulness requirements that seem to conflict especially with epistemically ungrounded belief, the power of faith, and the metaphorical size of mustard seeds. The inquiry concludes with a synthesis of five aspects of six supposedly distinct senses of faith under the single essentialist reductive umbrella of unconditional patience in the eventuality of a positive future state.

Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?