Right now, we'll speak a little bit about cultural products existing outside industrial model. Because some of them are evolving right now due to digital environment, and we will back to it in the fourth week of this course. But initially, I should also mention it here. It's what I call the industrialization at the margin. So, some fields of cultural or symbolic production has been historically at the margin of the industrialization, of course. And it means that in this field, the artistic work cannot be completely reproduced because of particular character of cultural practice that is based on direct contact between the artist and the public. First of all, this is any kind of performing arts and theater especially. Yet theater, each time the troupe is coming, each time actors are playing and they practice the cultural practice of consuming theater. Means that, you are buying a ticket and you are coming to this theater in order to have a direct contact with this artist. For you, as for the public, it's important this direct relationship. In field of education, the same. Education cannot be considered as a cultural good but is a symbolic good with a quite similar model of valorization. And in education field, the same. We are coming to the particular lecture or to the particular professor's seminar in order to have a direct interaction with him. Not when I speak about direct interaction, it doesn't mean that the obligatory remain, that we have the direct interaction between the actor in theater, for example and the public. But, it means that we have the direct contact we can find the name. So it means that the practice of the interaction becomes much more broader because it's not only based on the particular for example, audio visual images of this figure, but also his gesticulation, for example and other things. Third, production it's the craft and design products that can have an important symbolic value and are deliberately produced handmade and without particular industrial reproduction. It's such kind of particular souvenir, state use, et cetera, et cetera. And the fourth will be the some forms of local plastic art paintings, et cetera. What kind of evolution in these industries at the margin we can find right now? In field of theatrical performance, we can see new forms of industrialization of such non-industrial commercial cultural goods. For example, it could be a theatrical performance broadcasted on a TV, it started quite a long time ago. It started at the middle of 20th century when theatrical performance are broadcasted on a television. When the Vienna Symphonic Orchestra is broadcasted every Christmas on the television, for example. It could be a theatrical performance distributed via a digital platform, for example. Distributed via a particular digital platforms, via particular aggregators for example. Or it could be quite fashion thing. Quite popular right now, is the theatrical performance which is demonstrated broadcasted in movie theaters. And of course, all such forms could be considered as the forms of industrialization of the theater, industrialization of theatrical performance. But, all such forms are separate cultural practices. None equal to the other as it is. As you know, once you're consuming or watching the television film or for example, the movie on your tablet screen, it's not the same cultural practice than a practice to go to the movie theater. Because the practice to go to the movie theater, it's not only to consume the film, it's also to have a particular interaction with public, to see other people watching this film, to hear their reaction of a particular scenes, et ceera, et cetera. So it means that all such forms of industrialization are the separate forms of cultural practices and industries which cannot be we'll say, comparable with the classic theatrical performance, its other form of product. The same in education. We can observe actually right now after the digital appearance of digital environment, the new forms of industrialization of non-industrial commercial goods in field of education. One of such form, it's our course, massive open online course. I'm doing this recording of massive open online course and make it available to much more broader number of people than I can do it by myself as a professor in university. It could be a digital enabled distance online course. When I just doing a direct broadcast of my lecture, for example for a few different campuses, for example it's quite old form which has started with a proliferation of video conference technology about 20 years ago. Or it could be just a recorded video or audio lectures, which could be used by a university. So, this is immediatization practice and of course, they are making education industrial. Industrial because this is a massive reproduction. But all such forms are also the forms of separate educational practices. You cannot compare directly the massive open online course interaction with a professor with the direct interaction with a professor in the classroom, it's not the same. It's the separate form of educational practices. In field of craft production, the same. We can see industrialization of some craft production using for example, mass production chains to produce particular souvenirs. The produced souvenirs, which pretend to be a copy of craft production. Or for example, replacing the plastic art by a different kind of casting, so using prepared forms. For example, once you're coming to Athens and you're buying some statuettes, little statuettes as souvenirs for yourself, you understand perfectly that they are cheap and it's not the real plastic art because they are not made handmade, they're made by casting by using prepared forms. But it allows to do such statuettes, we'll say massively produced and accessible to higher range of people. It could be also replacing the painting technology by a different kind of press. Once you're reproducing, starting to reproduce the painting by doing a kind of press, by doing a printing technology, et cetera, et cetera, of course, this is a form of the industrialization of painting as a non-industrial good. And of course, but all such things forms another separate practices. Once you're buying the statuettes, you understand perfectly that this is not the real art the same than the handmade art. So, once you're buying I don't know, Leonardo da Vinci paintings which is printed out, you understand perfectly the value of this product, which is much more different than the original. So, from this point of view, we can speak about separation, separate practices and separate industrial products.
