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International Journal of Arts, Humanities And Social Studies
2020, Volume 2, Issue 4
Research Article
Virtual culture vs. real culture. The new reality for arts in Greece during the COVID-19 crisis
Abstract

It is well known that Greece has a long-standing tradition of cultural history and that its tourism relies, to a large extent, on showcasing ancient art, as well as byzantine art, whose specimens can be found in a multitude of museums all over the country. Masterpieces from antiquity, famous architectural works that are part of the world’s cultural heritage, and works of art of considerable aesthetic value have been a magnet for expert scientists, art aficionados, and the wider public from all over the world who want to feel the “vibes” emitted from the works of art and feel, through their senses, the “aesthetic pleasure”, as the privilege and “talent” inherent to all human beings. The COVID-19 pandemic which emerged in most countries of the word in the past three months (from March to June 2020), together with the lockdown consequently imposed by most governments, has given rise to unprecedented situations not only in matters of health, the economy, and people’s interpersonal relationships, but also in terms of the reception of culture during such period. In Greece, for the first time, the most important and most popular museums in the country have implemented schemes allowing for virtual presentation of exhibits to such an extent that traffic on the relevant websites has skyrocketed as compared to the past. Online platforms, which in other cases had only been used for research purposes, have been sought in order to promote the “product”. All of a sudden, works of art were treated more like a consumer product, and this resulted in the citizens not feeling the charm of direct contact and personal emotion and functioning without any provocation of the senses. On the other hand, online visitors have been able to access cultural sites without any obligation whatsoever to reward the efforts of the many people involved and the cultural institutions themselves. The new situation has given rise to many questions, among which the most important relates to the concepts of “virtual” and “real” which are mostly under the current new state of affairs

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