Creative practices and new media
Digital Interventions Seminar
Barcelona, 7 June 2013
Gemma San Cornelio
Estudios de Cienc...
1 Research Framework
industries artists
Publics,
prosumers
independent
creators
Convergence culture (Jenkins)
Creative ind...
2
• Hybrid identities and products: 'prosumer' (consumer + producer); 'proam'
(amateur + professional); 'viewsers' (viewer...
3
• “Fusion of traditional arts (individual) with cultural industries”. (Hartley,
2005). Cultural and audiovisual industry...
4
• The phenomenon of consumers that are increasingly participative
in the process of making and circulating media content...
Conceptualizing co-creation critically
Developing case studies (and using them to theorize co-
creation and participation)...
Conceptualizing co-creation critically
Developing case studies (and using them to theorize co-
creation and participation)...
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Creative practices and new media

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Presentation of the project Creative practices and new media in the seminar
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  • What I’m going to present today is an ongoing research on locative media artworks as a part of a broader research Project entitled Art, Aesthetics and New media funded by the Spanish ministry of science and technology. Specifically the issue in what we are interested in this part of the project is how locative media can redefine our relationship with the space, both in aesthetic and in social terms. Thus, this is work in progress, which it is at a very initial stage, and the more information I got, the more difficult is to reach consistent conclusions at this stage. I have preferred to provide an overlook of what I am doing in order to open more questions that close answers.
  • What I’m going to present today is an ongoing research on locative media artworks as a part of a broader research Project entitled Art, Aesthetics and New media funded by the Spanish ministry of science and technology. Specifically the issue in what we are interested in this part of the project is how locative media can redefine our relationship with the space, both in aesthetic and in social terms. Thus, this is work in progress, which it is at a very initial stage, and the more information I got, the more difficult is to reach consistent conclusions at this stage. I have preferred to provide an overlook of what I am doing in order to open more questions that close answers.
  • Creative practices and new media

    1. 1. Creative practices and new media Digital Interventions Seminar Barcelona, 7 June 2013 Gemma San Cornelio Estudios de Ciencias de la Información y la Comunicación Universitat Oberta de Catalunya (UOC)
    2. 2. 1 Research Framework industries artists Publics, prosumers independent creators Convergence culture (Jenkins) Creative industries (Hartley) Co-creativity (Banks, Deuze) Free labor Creative class Institutionalization of the bohemia
    3. 3. 2 • Hybrid identities and products: 'prosumer' (consumer + producer); 'proam' (amateur + professional); 'viewsers' (viewers + users); 'produser', user- generated content, long tail. • Liberating discourses vs free labour discourses. The uncertainty around the restatement of creative work and professional roles: fusion of leisure and work through play. Free labor (Lazzaratto) The institutionalization of the bohemia (Neff, 2005) Participation in digital culture
    4. 4. 3 • “Fusion of traditional arts (individual) with cultural industries”. (Hartley, 2005). Cultural and audiovisual industry currently is no such But are multiple micro initiatives that are created for a specific purpose. importance of social networks (Hartley, 2005) • Based on individual work and free-lance, logic-based project, the hacker ethic of work and pleasure (which has always been a feature of the artists). Features of the "creative class" (Richard Florida, 2002). Creative industries and new media
    5. 5. 4 • The phenomenon of consumers that are increasingly participative in the process of making and circulating media content and experiences (Banks & Deuze, 2009). Relating (implicitly or explicitly) industries with external agents that include audiences, fans, amateurs, or independent artists. • Banks and Potts (2010). Relevance of users contribution to media. ‘non trivial component’ of media depeloped by consumers • Oriented to INNOVATION • Banks and Potts (2010) Co-evolutionary model. Co-creation
    6. 6. Conceptualizing co-creation critically Developing case studies (and using them to theorize co- creation and participation) - Artists in industries (published in Second Nature) - Modders in a filmmaking software - Digital Photography - Music remixes 5
    7. 7. Conceptualizing co-creation critically Developing case studies (and using them to theorize co- creation and participation) - Artists in industries (published in Second Nature) - Modders in a filmmaking software - Digital Photography - Music remixes 5
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