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say the Author died a second time. This has also affected the cultural and heritage institutions as their role in the society is under consideration. But in a number of cases art has also offered reflections on the always problematic relationship between the artist, the artwork and its audiences. Moving away from a definition which links interaction to the digital -the usual terms- they state that in interactive artworks the interaction takes place between people, between people and machines, and between machines themselves. Transforming Culture in the Digital Age. After the heydays of participatory art in the 1960s and 1970s, it gradually became less popular, which has led Frieling (Towards participation in arts 45) to describe the 1980s as a decade that avoided arlanda gay escort stockholm escort explo- ration of participatory social concepts. Many authors indicate that the roles of the user and the producer are becoming more intertwined and that it is becoming increasingly difficult to separate one from the other. Each of these sections represents a larger theme from the conference where practitioners and academics met and discussed the consequences of digitalisation. Koosel 149 Personal memory: virtual self 155 Mystory in Myspace Rhetoric of Memory in New Median Petra Acz?l 155 Life Publishing on the internet a playful field of life-telling Sari?stman 161 5 Cultural heritage: 168 Cultural heritage. As Saper (23) remarks, this brings Beuys to combine an extreme individualism with a collective internationalism. The questions posed in the different book chapters look at the identity and practices of the individual, challenges to the institutions and their responses to these challenges.

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Latina escort homo stockholm rosa sidan stockholm As Congdon and Hallmark (68) describe, the bodily senses played a key role in the participatory process: She was concerned with activating participants bodily senses along with their responses to those experiences. Especially in the 1960s and 1970s more structural changes in theatre theory led to the rearticulation of theatre as a 14 A Short History of Cultural Participation text-based art to an open, playful and social event (Lev-Aladgem Jackson 207). But it also referred to structural power changes in society, where members of cultural elites could no longer claim control over their writings.
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