LabforCulture is an online information and knowledge platform dedicated to European cultural cooperation, complemented by a range of offline services and programmed activities. The website provides an unprecedented range of information on cultural cooperation across the broader Europe, as well as offering a platform for transnational cultural exchange, cultural debate, news and research.

In Part II I have traced the coevolution and coconstruction of Art, Science & Technology from the beginning of Western Civilization using changing mathematical epistemes. Beginning with Harmony in the Ancient and Medieval Worlds the episteme shifted to Perspective in the Renaissance then to Motion with the Scientific Revolution and finally to Probability with the second Scientific Revolution. From this review I draw two conclusions.

In this first panel of a triptych of articles, I have defined Art, Science & Technology.
These words are pointers to a gestalt world of knowing. Art is codified knowledge conveying meaning from one human mind to another.

Some Codes are alphabetic, some aural, some visual, some kinetic but always sender and receiver must share and understand the Code if a work is to work. 15 Technology is tooled knowledge, i.e., knowledge fixed in Matter/Energy as function. The subject of both Art & Technology is the Natural Person. Their work is the result of Design, of human purpose, of formal and final causes. Codified and tooled knowledge, however, have no meaning or function without the intermediation of a Natural Person.

Participants of the international seminar on New Museums: Performing Tools for Cohesion and Local Development which was held last March have set up a Community of Cultural Competences called 3C . The network, coordinated by the International Urban Development Association (INTA), aims to re-examine and consider new experiences in the field of cultural and local development.

The performing arts in all countries in Europe are supported by their governments. But than all resemblance ends. Scope, depth, nature and mass of state support differ widely from one country to another. States, provinces, regions and municipalities all have different expectations, roles and schemes in their financial support of the performing arts. The Dutch Association of Theatres and Concert Halls (VSCD) in cooperation with the Boekman Foundation and Pearle* organizes an international conference at June 7th 2007 in Utrecht (Netherlands) on best practices in government support of the performing arts.

New web-based technologies have increased the amount of information on international cultural exchange in the public domain. Many of the long established cross-European networks have moved quickly to extend their online presence in the interest of spreading contacts and opportunities as widely as possible. But this has had the side-effect of throwing a considerable amount of information into the public domain in an unregulated fashion under the name of 'knowledge' when it is really only 'data'.

This piece offers practical advice by fundraisers for fundraisers. It gives an overview of the considerations that should be explored before getting started. It also outlines the tools needed to do the job and provides insight into the different sources of funding available.

Washington, D.C. Advocacy, networking, research, professional development and information distribution. For 25 years, Dance/USA, the national service organization for professional dance, has been dedicated to supporting and advancing the art form of professional dance across the country. Through research projects like community censuses and The Nutcracker Survey; national gatherings across the country such as the Roundtables and Council Meetings; leadership initiatives and professional training; and informative publications like the Dance/USA Journal, Dance/USA has played a pivotal role in advancing dance in America.

Many arts organizations begin their existence with a single artist--an Artistic Director/Founder supported by a volunteer board and perhaps some paid staff members in administrative support roles. Some arts organizations begin and end with this configuration, not living past the lifespan of their founding artist.
Others through growth or succession-planning begin to contemplate hiring their first General Manager or Executive Director . If your organization is at this point then this article is for you.

Apart from sending a press release to your favourite bloggers, how can marketers efficiently spend marketing dollars to influence word of mouth? Results of this survey suggest that one answer can be found in the online habits and behaviour of social influencers.

In this report, it examines:

As a manager in the arts industry, you face many of the same challenges as managers from other industries a demanding business environment, changing technology, pressure to innovate, cultural change, organisational transformation, people management and budget constraints.

AbaF Margaret Lawrence Bequest Scholarships provide arts managers with an opportunity to attend a fully-funded executive development program at one of Australias leading business schools: Melbourne Business Schools Mt Eliza Centre for Executive Education (MBS, Melbourne) or Australian Graduate School of Management (AGSM, Sydney).

Applications for programs for the second half of 2007 close on April 20.

The Professional Guidelines, which is offered by Society of North American Goldsmiths, gives artists, craftspeople and communities the tips to deal with all the situations that are related with their careers. The goal is to hope the documents become a basic tool in implementing improved and equitable business leading toward standard professional practices.

The American Federation of Musicians (AFM) represents the musicians in Americas major orchestras. Unionized orchestral musicians are highly trained, artistic professionals. In recent years, the United States Supreme Court has classified many professional workers as managers or supervisors. In so doing, the Court has diminished professional workers right to unionize because managers and supervisors are not protected by the National Labor Relations Act (NLRA). One interpretation of this jurisprudence is that collective bargaining agreements currently covering certain orchestral musicians actually violate the NLRA. By endangering orchestral musicians collective bargaining rights, the Court may inadvertently have placed American orchestras in jeopardy.

This report is a snapshot of the cultural life of England. It uses a handful of examples and case studies to illustrate the advances that have been made in the last few years.

The John F. Kennedy Center for the Performing Arts offers valuable skills building for arts managers through the Fellowship Program. The program provides up to 10 highly motivated, disciplined, and creative artists and arts managers the instruction and experience they need to succeed in today's complex arts environment.

Fellowships are full-time and last 10 months starting in September and ending in June. Application deadline is on April 1, 2007.