Collaboration: 2011 update
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Presentation for MA Creative Media Practice students at the University of the West of Scotland

Presentation for MA Creative Media Practice students at the University of the West of Scotland

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Collaboration: 2011 update Presentation Transcript

  • 1. •  collaboraon  |kəˌlabəˈrā  sh  ən|noun1  the  ac(on  of   working  with  someone  to  produce  or  create   something  :  she  wrote  on  art  and  architecture  in   collabora2on  with  Guiliana  Bruno.•  something   produced  or  created  in  this  way  :  his  recent  opera   was  a  collabora2on  with  Lessing.2  traitorous   coopera2on  with  an  enemy  :  he  faces  charges  of   collabora2on.  •  DERIVATIVES  collabora2onist  |-­‐nist|  noun  &   adjec2ve  (sense  2).ORIGIN  mid  19th  cent.:  from   La2n  collabora2o(n-­‐),  from  collaborare  ‘work   together.’  
  • 2. the  dynamics  of  collaboraon…  From  macro…  (organisaons,  instuons,  systems)  -­‐  The  social  organisaon  of  creave  work  -­‐  How  individuals  navigate  work  and  careers  in  fast-­‐ moving  market  economies  to  micro  (play,  psychology,  identy)  -­‐  How  creave  processes  are  experienced  and   negoated  by  individuals  -­‐  Dealing  with  risk,  uncertainty  and  rapid  change  
  • 3. the  ubiquity  of  creavity  and   collaboraon  discourses  …cover  a  multude  of  pracces  and  types  of  social   relaons…not  all  of  which  are  as  simple  as  they   may  seem  Network  society:  how  work  is  valued  and  organised:   what  counts  as  ‘producve  labour’?    Knowledge  workers  &  creave  entrepreneurs:  a   new  ‘creave  class’?  (Richard  Florida)  Or  the  old   middle  class  recast  with  digital  tools?  Interdisciplinary  dialogue  challenges  old  categories:   creavity  =  tension,  conflict  and  difficulty?    
  • 4. collaboraon  =  conversaon?  
  • 5. collaboraon  =  conversaon  •  The  art  of  conversaon  •  Dialogue  and  disagreement  •  The  art  of  interpersonal  working  •  How  this  translates  into  the  cultural   characteriscs  of  organisaons  •  Power  and  organisaonal  systems  –  who  decides   what  happens  and  why?  •  Why  are  people  aVracted  to  ‘creave  work”?  (especially  when  it  tends  to  pay  so  badly?)  
  • 6. communicaon  =  collaboraon?  •  What  are  the  characteriscs  of  ‘creave   industries’?    •  Network  enterprises  •  Microbusinesses,  freelancers,  SMEs  •  Creave  processes  and  project  management  •  Managing  resources  and  meeng  deadlines  •  Interpersonal  dynamics  •  Skills  and  sensivies?  
  • 7. making  work  together  
  • 8. making  work  in  the  arts  Integrave  work:  technological,  embodied,  kinaesthec,  feeling,  communicave  Raymond  Williams:  culture  as  ‘structures  of  feeling’   Two  dynamics:  ever  increasing  and  highly  visible  social  inequalies   AND  Exhortaon  to  collaborate,  parcipate  –  but  on  whose  terms?     The  arts  as  a  means  of  expression  –  identy  –  social  and  polical   Corporaons  need  constant  flow  of  creave  content:  brand/image  sells  products:   spectacular  capitalism.   Conflaon  of  corporate  capitalism/individual  expression  –  are  there  any   autonomous  spaces?  Can  markets  provide  all  the  soluons?  
  • 9. characteriscs  of  creave  industries  •  Muldisciplinary  teams  •  Globalised  ‘network  enterprises’  at  a  variety  of   scales  •  Fast  digital  networks,  unevenly  distributed  •  Short  life  projects/poraolio  work  •  Working  across  organisaonal  boundaries  •  New  media  tools  &  tradional  creave  skills  •  Nodes,  networks,  mobilies,  flows…&  glitches,   disrupon  and  interrupon  
  • 10. The  creave  workplace?   Hmmm…deceptively informal?
  • 11. Creave  spaces  and  places?  •  Do  certain  places  and  kinds  of  spaces  develop   high  concentraons  of  ‘creave  workers’?    •  What  are  their  characteriscs?  •  What  is  ‘creave  work’  anyway?  •  Economies  of  signs  and  space  (Lash  and  Urry)  •  City  of  Bits  (Mitchell)  •  The  Intercultural  City  (Landry  and  Woods)  
  • 12. the  ‘creave  city’  •  From  mid  1990s,  creavity  has  moved  closer   to  centre  of  urban  and  naonal  policy…   But urban and corporate leaders are still ambivalent about creativity…and anyway, creativity isn’t one thing…!
  • 13. innovaon  as  economic  driver,  arts  as   regenerator,  diversity  as  public  good  •  Diversity  creates  producve  fricons  •  Density  and  concentraon  of  urban  networks  •  New  modes  of  social  organisaon  •  But  who  benefits?  •  Are  the  skills  needed  to  survive  in  the  ‘new   economy’  being  developed  rapidly  enough?  •  Who  are  the  winners  and  losers  in  this  new   economic/social  order?  
  • 14. Then….  
  • 15. dealing  with  risk  and  uncertainty  •  Models  of  self-­‐organisaon  •  Quesons  of  sustainability  •  Quesons  of  value  and  purpose  •  Quesons  of  rhetoric  and  actuality  •  How  resilient  is  the  creave  economy?  •  Global  corporaons/small  independents/’glocalism”  
  • 16. arsts’  organisaons;  media  co-­‐ops;   cultural  enterprises  
  • 17. Arthur  Russell:  Wild  Combinaon  •  hVp://www.youtube.com/watch? v=U5tM1coZr4k  •  Innovators,  disruptors,  creave  cultures,   creave  milieux,  hybridity,  taking  the  path  less   travelled,  DIY  culture,  etc  
  • 18. arsts  as  innovators,  as  connectors  •  E.g.  New  York,  1970s  (see  Tim  Lawrence  on  Arthur  Russell)  •  London,  1960s  and  1970s  (eg  Derek  Jarman  and  the  rise  of  the  punk   scene)  •  Glasgow,  1980s/90s  (See  S.Lowndes:  Social  Sculpture:  the  rise  of  the   Glasgow  Art  Scene)  •  Sharon  Zukin:  “ The  Cultures  of  Cies”  •  Arsc  work  as  pre-­‐figurave  of  wider  societal  changes?  •  Creavity  as  empowerment  and  ownership?  •  Neighbourhood  and  community  acvism  •  Construcng  alternaves  through  radical  art  pracce      see  e.g.  Temporary  Services      hVp://www.temporaryservices.org/  
  • 19. creave  spaces  and  places  •  For  who?    •  Resources,  power,  access,  networks,  money  •  Who  gets  to  ‘be  creave’?    •  Who  gets  to  earn  a  living  through  creave   work?  •  Who  owns  the  work  you  make?  •  How  do  you  find  (and  keep)  collaborators?  
  • 20. macro  issues  •  How  are  creave  networks  resourced,  funded  and   sustained?   Balance  of  public  and  private  investment?  •  Issues  of  inclusion  –  who  gets  to  be  a  ‘creave   entrepreneur’?  •  How  do  the  state,  business,  and  educaonal/cultural   organisaons  adapt  to  ‘creave  collaboraon’?   Movaon:  public  good/private  profit?  •  Hacker  and  innovaon  networks  (Himanen  –  The   Hacker  Ethic)  •  “All  that  is  solid  melts  into  air”  
  • 21. micro  issues  •  What  does  freelance  and  self-­‐employment   demand  from  the  ‘creave  entrepreneur’?  •  Insecurity  versus  freedom?  •  The  psychology  of  collaboraon  •  Some  ‘creaves’  are  highly  individualisc  –  how  is   this  reconciled  with  collaboraon?  •  The  art  of  conversaon  and  negoaon  •  Are  some  arsts  more  collaborave  than  others?  •  Who  ‘owns’  collaboravely  generated  work?  
  • 22. Some  dilemmas    Benefits  of  open  source  and  creave  commons,   versus  need  to  protect  intellectual  property  How  do  you  account  for  who  has  contributed   what  in  a  creave  process?  Cultural  economy  and  git  economy  –  benefits  of   cultural  acvity  are  not  purely  financial  The  ethics  of  creave  work:  in  whose  service   does  one  put  one’s  creavity?    
  • 23. ..follow  up  •  Bibliography  and  weblinks  (on  Blackboard)  •  MashingUp  lecture/symposium  series  •  Social  bookmarks:  delicious.com/grahamje  •  Blogs:  uwspracceresearch.blogspot.com    generalpraxis.blogspot.com