Culture 2.0 Festival
Culture 2.0 was a series of events organized by NInA from 2006 to 2013. It was a space for discussions, workshops and artistic interventions that dealt with the cultural changes accompanying the development of digital technology.
The series was born during a watershed moment on the internet, when the context of our engagement with culture was radically being transformed by the new ubiquity of technology. We were filled with optimism about new media and technology; the internet seemed to be a space of unbridled freedom and was beginning to exert an enormous influence on Polish culture. But this was far from obvious back in 2006. As Mirosław Filiciak wrote on Dwutygodnik.com:
Year after year, the event grew in scale and broadened its thematic scope.
Warsaw 2006 | Media — Art — Heritage. The Digital Dimension of the Future
What future awaits media? How will we create and participate in culture? How should we create and nurture our digital cultural heritage? How should we manage culture? What should our cultural policy be? Scientists and people in the world of culture and art gathered to debate these issues.
Selected talks are available for listening at NINATEKA: Netocrats: Rulers of the World by the Swedish artist and philosopher of culture Alexander Bard, Participation Culture by Rob van Kranenburg, and Welcome to Convergence Culture, by prof. Henry Jenkins of the Massachusetts Institute of Technology.
Wrocław 2007 | Changes in Culture and Art in the Media Era
Can intellectual property be at once free and protected in our new melting pot? Does technology shape today’s incarnation of the creative concept? Do tools inspire us and force creative exploration? What new situations can an author conjure up thanks to digital technology? At what levels is the artist-audience connection realized? Is interactivity still a new and interesting challenge or just a habit for part of the audience, one that needs to be taken into account by the artist?
Visit the NINATEKA website to listen to selected talks given at the conference: Artist, Salespeople and Consumers by Alexander Bard, The Objective Imaginary by prof. Derrick de Kerckhove of the University of Toronto, and the discussion In Today’s Film, hosted by Grażyna Torbicka with guests Krzysztof Zanussi, Marcin Giżycki and prof. Andrzej Gwóźdź.
Warsaw 2010 | Sustainable Culture
What will we do once we’ve digitized our entire culture? Will we be allowed to use it? How do we combine various needs and communication channels to make modern cultural institutions? How can culture change and what can it gain from the explosion of e-culture? The special guest of this edition was Zygmunt Bauman. The 2010 edition of the festival was the first to feature an accompanying exhibition devoted to the art of new media, Enter Level 2.0.
Media-Aware | Warsaw 2011
Will the topic of mass digitization spark the birth of social movements? What is “digital solidarity”? Why should we separate media education from e-learning and restore the category of poetic form in our reflections on new forms of culture such as manga and computer games?
Watch video reports from the event at NINATEKA.
Status: Citizen | Warsaw, October 2012
The focal point of this edition was the civic dimension of culture. Who is “Citizen 2.0”? How can culture filtered through technology affect us as citizens? How can communities get involved in creating and creatively transforming their cultural resources? How does citizenship translate into art? What rights do citizens have when it comes to the content of culture?
ENOUGH! | Warsaw, November 2013
The series reached its culmination in 2013, when we said “ENOUGH!” Why?
The final edition of Culture 2.0 was a critical examination of overabundance as well as digital optimism. Digital culture, with its ease of replication, is a bottomless archive of content available to everyone. Everyone, that is, who can dig their way through the thicket of resources, use the “right” search terms, rate the quality of a given resource, and find time for all that. What was once the job of an editor or curator has become our own. This freedom of access and choice has its consequences and also applies to museums, archives, galleries and libraries, all of which have to grapple with the task of publishing their resources online in a way that responds to the needs of the contemporary consumer of culture: the “produser”.