The longstanding and broad-based regional diversity that enriches Germany so much culturally needs a contemporary update, via a dynamically and systematically executed digital creativity initiative.

Autor

DATE
January 2022

The longstanding and broad-based regional diversity that enriches Germany so much culturally needs a contemporary update, via a dynamically and systematically executed digital creativity initiative.

This is the only way to preserve – and further democratize – Germany’s historically evolved cultural diversity that is almost unique worldwide.

Germany has one of the richest and most diverse set of cultural offerings in the world.
Even so, and probably because of it, there is frequent talk that this cultural landscape is endangered in its existence due to pervasiveness of the ongoing Corona pandemic.

On the one hand, this statement is true. On the other hand, focusing on the pandemic reduces the scope of analysis and reflection that is warranted in view of the many challenges facing our cultural landscape, of which the pandemic is only one, although
a major one.

Ultimately, we need to face up to an uncomfortable truth. In the cultural sector, we have so far paid far too little attention to the relevance and transformative power of Digitalization. Our theaters, our museums and even our world heritage sites, as well as our schools and universities believed until very recently that we could simply cling to the status quo.

What digitalization really means

Digitalization means much more than the digital reproduction of works of art. In fact, it is about the consistent inclusion of digital technologies and applications in all processes of the production, documentation and communication of culture and cultural practice.

It has long been clear that digitalization not only requires a change in tools. It demands a different way of acting and thinking. Culture is no exception here. Therefore, new cultural practices are needed.

Any attempt to cling to the “status quo ante corona” is simply irresponsible. Just consider that, as far as the communication of „classical“ culture is concerned, considerable problems have been apparent for some time now. The question of how to bring these offerings to younger people in a form that truly „attracts“ them needs a lot of thinking and trying to come up with credible answers.

Why more participation?

The situation is similar for people who, for various reasons, find it difficult to visit cultural institutions such as museums. Here, too, it is important to find new ways and formats of approach that help to break down such barriers.

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