Name of presentation 2004 C o mpany name From the Lab to the Factory: Bridging creators and industry ATACD, Barcelona, 2009
Second Page <ul><li>Your Text here </li></ul><ul><li>Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam no...
Second Page <ul><li>Your Text here </li></ul><ul><li>Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam no...
Relationships between art and industry   <ul><li>structure  of such relationships  </li></ul><ul><li>concepts  underlying ...
<ul><li>Creative industries </li></ul><ul><li>Creative Class </li></ul><ul><li>Work conditions </li></ul><ul><li>Creativit...
CREATIVITY <ul><li>originality (novelty, uniqueness)  </li></ul><ul><li>effectivity   </li></ul><ul><li>non-conventional p...
CREATIVITY 'building or producing something from nothing'  Boden, 1994 Mistery!!! Romantic inspiration
CREATIVITY Sternberg & O'Hara, 2005   <ul><li>Price to be paid  </li></ul><ul><li>Self-destruction   </li></ul><ul><li>Fau...
INNOVATION ‘ Creative Destruction’ Schumpeter 1950 Essential to capitalism New businesses  Old ones destroy
CREATIVITY Like stock Investment (Sternberg, O'Hara & Lubart 1997)   Entrepreneur  risk!!! Buy low  Sell high and…
(Hartley 2005:5) CREATIVE INDUSTRIES ‘ The conceptual and practical convergence of the creative arts (individual talent) w...
<ul><li>Ruled by business model  </li></ul><ul><li>End with ‘something for nothing’   </li></ul><ul><li>Arts must give in ...
CREATIVE CLASS <ul><li>centrality of creativity in the economy  </li></ul><ul><li>scientists, engineers, architects, acade...
<ul><li>Flexibility </li></ul><ul><li>Mobility </li></ul><ul><li>Free-lance work </li></ul><ul><li>Multiple jobs </li></ul...
CONCEPTS STUDY CASE Institutes and Universities INSTITUTES  MODEL Mediation  between  Art and Industry MEDIATORS  MODEL 1 ...
Study case
DISONANCIAS <ul><li>Grupo Xabide + local governments </li></ul><ul><li>Connect artists with companies </li></ul><ul><li>Di...
 
CONDITIONS OF THE COLLABORATION Companies are choosen Call  for  Artists Alliance begins
CONDITIONS OF THE COLLABORATION <ul><li>9 month alliance (virtual + physical stay of 20 days minimum) </li></ul><ul><li>Jo...
CONDITIONS OF THE COLLABORATION <ul><li>Committed to society  </li></ul><ul><li>Collaborative, multidisciplinary, internat...
CONDITIONS OF THE COLLABORATION <ul><li>Non-commercial, share alike: CC </li></ul><ul><li>Exclusive granting to company - ...
CONCEPTS <ul><li>Methodology meetings + audits… </li></ul>methods
methods
CONCEPTS <ul><li>Systematizing creativity  </li></ul><ul><li>From non-useful to profitable  </li></ul><ul><li>Reminder of…...
CONCEPTS <ul><li>Not the mythical bohemian any more </li></ul><ul><li>Technical training, team work, new materials, flexib...
DIGITALENT <ul><li>Stereotypes of the artist: unstructured, uncommercial, not able to materialize ideas… </li></ul><ul><li...
COLLABORATION BETWEEN ART AND INDUSTRY …  still a puzzle
Name of presentation 2004 C o mpany name Thank you!
Upcoming SlideShare
Loading in …5
×

ATACD2009_Congress

399 views
364 views

Published on

This is the paper we presented at the recent ATACD 2009 congress in Barcelona, entitled "From the Lab to the Factory: bridging creators and industry".

Published in: Technology, Education
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
399
On SlideShare
0
From Embeds
0
Number of Embeds
2
Actions
Shares
0
Downloads
0
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

ATACD2009_Congress

  1. 1. Name of presentation 2004 C o mpany name From the Lab to the Factory: Bridging creators and industry ATACD, Barcelona, 2009
  2. 2. Second Page <ul><li>Your Text here </li></ul><ul><li>Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. </li></ul><ul><li>Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. </li></ul>UOC, Universitat Oberta de Catalunya Ruth Pagès, Gemma SanCornelio, Antoni Roig Project AE&NM
  3. 3. Second Page <ul><li>Your Text here </li></ul><ul><li>Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. </li></ul><ul><li>Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. </li></ul>ART + INDUSTRY (Starting thesis) Need for growth Creativity as Innovation Collaboration Art & Industry Need for growth Creativity as Innovation Collaboration Art & Industry
  4. 4. Relationships between art and industry <ul><li>structure of such relationships </li></ul><ul><li>concepts underlying such relationships </li></ul><ul><li>study case : Disonancias </li></ul>index
  5. 5. <ul><li>Creative industries </li></ul><ul><li>Creative Class </li></ul><ul><li>Work conditions </li></ul><ul><li>Creativity </li></ul><ul><li>Innovation </li></ul><ul><li>Disonancias </li></ul><ul><ul><li>Structure </li></ul></ul><ul><ul><li>Concepts </li></ul></ul>STRUCTURE CONCEPTS STUDY CASE 1 2 3
  6. 6. CREATIVITY <ul><li>originality (novelty, uniqueness) </li></ul><ul><li>effectivity </li></ul><ul><li>non-conventional personality </li></ul>Runco, 2007
  7. 7. CREATIVITY 'building or producing something from nothing' Boden, 1994 Mistery!!! Romantic inspiration
  8. 8. CREATIVITY Sternberg & O'Hara, 2005 <ul><li>Price to be paid </li></ul><ul><li>Self-destruction </li></ul><ul><li>Faustic pact </li></ul><ul><li>Risks and resignations </li></ul>
  9. 9. INNOVATION ‘ Creative Destruction’ Schumpeter 1950 Essential to capitalism New businesses Old ones destroy
  10. 10. CREATIVITY Like stock Investment (Sternberg, O'Hara & Lubart 1997) Entrepreneur risk!!! Buy low Sell high and…
  11. 11. (Hartley 2005:5) CREATIVE INDUSTRIES ‘ The conceptual and practical convergence of the creative arts (individual talent) with the cultural industries (mass scale)’
  12. 12. <ul><li>Ruled by business model </li></ul><ul><li>End with ‘something for nothing’ </li></ul><ul><li>Arts must give in return </li></ul>Creative industries policies DCMS (UK) 90’
  13. 13. CREATIVE CLASS <ul><li>centrality of creativity in the economy </li></ul><ul><li>scientists, engineers, architects, academics, artists, musicians ... </li></ul><ul><li>wealthy and influential professionals </li></ul>(Florida 2002)
  14. 14. <ul><li>Flexibility </li></ul><ul><li>Mobility </li></ul><ul><li>Free-lance work </li></ul><ul><li>Multiple jobs </li></ul><ul><li>Precarity </li></ul><ul><li>Risk tolerant </li></ul><ul><li>Lottery format </li></ul>Work conditions Lazzaratto 1996 McRobbie 2009 Ross 2009
  15. 15. CONCEPTS STUDY CASE Institutes and Universities INSTITUTES MODEL Mediation between Art and Industry MEDIATORS MODEL 1 2 3 Residence programs MEDIA LAB MODEL
  16. 16. Study case
  17. 17. DISONANCIAS <ul><li>Grupo Xabide + local governments </li></ul><ul><li>Connect artists with companies </li></ul><ul><li>Divergentes 2005 (too artistic!) </li></ul><ul><li>Now artists don’t do autonomous artistic projects  Work on industry’s demands </li></ul><ul><li>4 editions / 40 projects+ </li></ul>
  18. 19. CONDITIONS OF THE COLLABORATION Companies are choosen Call for Artists Alliance begins
  19. 20. CONDITIONS OF THE COLLABORATION <ul><li>9 month alliance (virtual + physical stay of 20 days minimum) </li></ul><ul><li>Joint meetings at the beginning </li></ul><ul><li>Joint meetings at the end </li></ul><ul><li>(Spanish tour) </li></ul>
  20. 21. CONDITIONS OF THE COLLABORATION <ul><li>Committed to society </li></ul><ul><li>Collaborative, multidisciplinary, international vision, hybrid process of research </li></ul><ul><li>Target: Prototype/idea responds to the needs of the company </li></ul><ul><li>10,000 to 12,000€ (fees for work) </li></ul>Call for artists
  21. 22. CONDITIONS OF THE COLLABORATION <ul><li>Non-commercial, share alike: CC </li></ul><ul><li>Exclusive granting to company - remuneration to artist at fixed rate </li></ul><ul><li>Exclusive granting to company - remuneration to artist proportional to exploitation income </li></ul><ul><li>Exclusive granting to company - except transformation. No remuneration </li></ul>Exploitation rights Choosen by the company
  22. 23. CONCEPTS <ul><li>Methodology meetings + audits… </li></ul>methods
  23. 24. methods
  24. 25. CONCEPTS <ul><li>Systematizing creativity </li></ul><ul><li>From non-useful to profitable </li></ul><ul><li>Reminder of… UK policies for Creative Industries </li></ul>methods
  25. 26. CONCEPTS <ul><li>Not the mythical bohemian any more </li></ul><ul><li>Technical training, team work, new materials, flexible environments… </li></ul><ul><li>BUT- </li></ul><ul><li>‘ thinks out of the box’, ‘comes with unconventional ideas’, ‘breaks our frame of mind’ </li></ul><ul><li>Disonance </li></ul>Artist as Researcher
  26. 27. DIGITALENT <ul><li>Stereotypes of the artist: unstructured, uncommercial, not able to materialize ideas… </li></ul><ul><li>Talented people as ‘outsiders’ (romantic view) </li></ul><ul><li>Talent is lost if not integrated in the industry logic </li></ul>
  27. 28. COLLABORATION BETWEEN ART AND INDUSTRY … still a puzzle
  28. 29. Name of presentation 2004 C o mpany name Thank you!

×