Arts & International Affairs: Volume 2, Issue 1 | Page 101

experiments in theatre, and also often through developments in design,
fashion, and other brands of modern artistic and cultural industrial creativity.
It is able to accept, introduce, and reinterpret global creative trends at local
levels, to work with new technologies and communicate globally. Although
its treatment of cultural industries is distrustful due to its unwillingness to
turn to the markets, its products are close to those of cultural industries and
pop art, particularly as regards music and audiovisual work. This culture
addresses large audiences and it refuses to accept an elitist social status.
Market-oriented culture operates internationally in both global and
local cultural markets. It follows pop-cultural consumerism and often
domesticates and imitates global trends in pop-music, for instance through
the organization of cultural events such as large concerts and festivals, and
participates regularly in the development of cultural industries. The cultural
communication that it develops is based on the format of business interests.
Market-oriented cultural products are sponsored by big companies and
other sponsors who are not interested in program and content but who
appreciate the quality and popularity of cultural products and, in particular,
their attractiveness to large audiences. As this sort of culture boosts cultural
markets, it enjoys a kind of creative freedom and draws profits from the
increasing consumption of its products. The market-oriented culture is
open to very different types of cultural creativity and it is able to offer good
cultural products from any origin. In an effort to meet market demands it
is totally dependent on industrialized, reproductive, and repetitive cultural
production, namely on cultural industries.
If the presumption that a number of European national cultures display
similar structures is correct, the spatial reach of the identified cultural types
might be pan-European, but not always typical of each particular culture. The
structural analysis of contemporary cultural spaces that include different
stratified cultures demands the development of a global structure that would
encompass cultural diversity, multiculturalism, and intercultural dialogue as
constituent elements of any type of contemporary national culture and the
eventual cultural space in which it exists. In order to include numerous
diverse and varied aspects of these potential cultural spaces in the context
of globalism, cultural policy needs to concentrate almost exclusively on the
communication, exchange, and cooperation among existing cultures and
on the technological infrastructures that can enable the networking and
interlinking of cultural spaces. The analytical attempts to design such an
approach to culture have so far included interpretations of notions such
as world culture, transnational culture, global culture, and global multiculture.
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