Collaboration: 2011 update


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

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Collaboration: 2011 update

  1. 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. 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. 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. 4. collaboraon  =  conversaon?  
  5. 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. 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. 7. making  work  together  
  8. 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. 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. 10. The  creave  workplace?   Hmmm…deceptively informal?
  11. 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. 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. 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. 14. Then….  
  15. 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. 16. arsts’  organisaons;  media  co-­‐ops;   cultural  enterprises  
  17. 17. Arthur  Russell:  Wild  Combinaon  •  hVp:// v=U5tM1coZr4k  •  Innovators,  disruptors,  creave  cultures,   creave  milieux,  hybridity,  taking  the  path  less   travelled,  DIY  culture,  etc  
  18. 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://  
  19. 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. 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. 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. 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. 23. ..follow  up  •  Bibliography  and  weblinks  (on  Blackboard)  •  MashingUp  lecture/symposium  series  •  Social  bookmarks:  •  Blogs: