The future of cultural work
                                   7 June 2010
                                   London, Open...
Index




1) Context: creative practices and new media
2) Art and industry: creativity and innovation
3) Mediators, two ca...
Framework: creative practices and
   participation in new media



   Convergence culture (Jenkins)
     Creative industri...
Industries and artists
Relationships between art and industry



 Need
Need for       Creativity
             Creativity as         Collaboration...
Romantic, misterious connotations

                    originality (novelty,
                    uniqueness)
            ...
Risks and price to be paid

                     •Price to be paid
                     •Self-destruction
                ...
Creative destruction




                 New Bussiness

 INNOVATION      destroy old ones

                    Schumpeter...
Models of collaboration between artists
and industries


  MEDIA LAB     RESEARCH         MEDIATORS
               CONCEPT...
Mediators: two case studies in Spain




Talent Factory/ Disonancias
Origins and context
Talent Factory                         Disonancias

•   Program    boosted     by the
    Digitalent F...
Conditions of collaboration
Conditions of collaboration
Talent Factory                       Disonancias

1)   CALL FOR PROJECTS               1)   CA...
Aims and exploitation
Aims and bussiness
Talent Factory                               Disonancias

•   Feeding industries. Commercial           ...
Exploitation of projects
Talent Factory                                Disonancias

•   Every contractual relation is uniq...
Analysis: conceptual and structural issues
Conceptual analysis
Talent Factory                               Disonancias
TALENT AND CREATIVITY                        ...
Structural analysis
•   Need for added value based on innovation.
•   Industry sectors in Spain reticent to innovation -> ...
Conclusions and further research




   Ambivalent and contradictory concepts of both creativity, art and
    industry
  ...
Thank you!


gsan_cornelio@uoc.edu
Shaping new cultural roles: relationships between artists and industry
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Shaping new cultural roles: relationships between artists and industry

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Presentation for the conference: The Future of Cultural Work, organized by Open University (London) and CRESC, 7th june 2010

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Shaping new cultural roles: relationships between artists and industry

  1. 1. The future of cultural work 7 June 2010 London, Open University Shaping new cultural roles: relationships between creators and industry Gemma San Cornelio, Ruth Pagès, Antoni Roig, Universitat Oberta de Catalunya (UOC)
  2. 2. Index 1) Context: creative practices and new media 2) Art and industry: creativity and innovation 3) Mediators, two case studies:Origin and conditions 4) Analysis of case studies 5) Conclusions
  3. 3. Framework: creative practices and participation in new media Convergence culture (Jenkins) Creative industries (Hartley) industries artists Co-creativity (Banks, Deuze) Publics, Free labor prosumers independent Creative class creators Institutionalization of the bohemia
  4. 4. Industries and artists
  5. 5. Relationships between art and industry Need Need for Creativity Creativity as Collaboration Collaboration for growth and talent Innovation Art & Art & Industry growth as Industry Innovation Conceptualizations of both creativity and innovation shape the structure of such relationships
  6. 6. Romantic, misterious connotations originality (novelty, uniqueness) effectivity non-conventional personality CREATIVITY Runco, 2007 'building or producing something from nothing' Boden, 1994
  7. 7. Risks and price to be paid •Price to be paid •Self-destruction •Faustic pact (Gardner) • Risks and resignations CREATIVITY Sternberg & O'Hara, 2005 Like stock Investment: buy low and sell high Sternberg, O'Hara & Lubart 1997
  8. 8. Creative destruction New Bussiness INNOVATION destroy old ones Schumpeter 1950 Essential to capitalism
  9. 9. Models of collaboration between artists and industries MEDIA LAB RESEARCH MEDIATORS CONCEPTS STUDY CASE MODEL MODEL MODEL Residence Institutes and Between Universities programs Art and Industry
  10. 10. Mediators: two case studies in Spain Talent Factory/ Disonancias
  11. 11. Origins and context Talent Factory Disonancias • Program boosted by the Digitalent Foundation (funded • Private company: Grupo Xabide by different institutions and + local governments private companies). • Connect artists with companies • „Talent Factory‟ selects (industry in a wide sense). independent creators (talents) • Divergentes 2005 (too artistic!) to work in their facilities in a personal project. Since 2008. • Now artists don‟t do autonomous artistic projects  • The resulting product –a demo- Work on industry‟s demands will be sold to the companies that collaborate with the • 4 editions / 40 projects+ program in order to be • Conexiones improbables (new produced. programm) • 3 projects (2 in progress)
  12. 12. Conditions of collaboration
  13. 13. Conditions of collaboration Talent Factory Disonancias 1) CALL FOR PROJECTS 1) CALL FOR COMPANIES (ADRESSED TO CREATORS) 2) CALL FOR ARTISTS 2) PROJECTS AND “TALENTS” (PROPOSING ARE CHOSEN SOLUTIONS/PROJECTS FOR 3) COLLABORATION BEGINS COMPANIES) 3) COLLABORATION BEGINS • 3 months initially, currently • 9 month alliance (virtual + more physical stay of 20 days minimum • Working regularly in the in the companies) Digitalent facilities • Joint meetings at the beginning • Several meetings during the • Joint meetings at the end process (not systematized) (Spanish tour) • Addressed to contents // • Addressed to companies // Focused on the results in the Focused on methodology and digital industry process
  14. 14. Aims and exploitation
  15. 15. Aims and bussiness Talent Factory Disonancias • Feeding industries. Commercial • Committed to society (priority of outcome for creative projects -> projects socially-oriented) legitimization as mediators and agents of change. • Collaborative, multidisciplinary, international vision, hybrid process of research • Scale economy to creativity (interest in handling an important amount of • Target: Prototype/idea/process projects, so distributing fixed costs) responds to the needs of the company • Systematization of every step in the creative process (wish to obtain an • Create a culture of innovation in the ISO license). industry. Influence in the conceptual and methodological framework. • „Radar‟/ „Interest maps‟: it is not • Connected to European Networks of clear what is „happening‟ on the similar projects. “Tillt Europe- Internet. Creative Clash”
  16. 16. Exploitation of projects Talent Factory Disonancias • Every contractual relation is unique. 1. Non-commercial, share alike: CC • The Factory owns the exclusive 2. Exclusive granting to company - right to sell the project on behalf of remuneration to artist at fixed rate. the talent for a period of a year after a model/demo has been produced. 3. Exclusive granting to company - remuneration to artist proportional to exploitation income • The prospective buyer of the idea/project takes charge of the 4. Exclusive granting to company - further expenses of the project. except transformation. No remuneration • After the first year deal, the „talent‟ gets his/her right back to • 10,000 to 12,000€ (fees for work) commercialize the project. In any case, the Foundation would obtain the 5% of revenues of the Project for an unlimited time. • 12,000€ (fees for work)
  17. 17. Analysis: conceptual and structural issues
  18. 18. Conceptual analysis Talent Factory Disonancias TALENT AND CREATIVITY CREATIVITY AND INNOVATION • Attached to “outsiders”. Not related to CV or education. • Not the mythical bohemian any more • Must take place in the digital industries • BUT- • Come from different areas and must • „thinks out of the box‟, „comes with be shaped. unconventional ideas‟, „breaks our • Creativity as a changing process, frame of mind‟ not just an attitude. • Search creators beyond artistic • Disonance purposes. But artists are one of their • Systematizing creativity targets. • From non-useful to profitable • Don‟t look for „free creativity‟: • Technical training, team work, new „participatory open environment‟ materials, flexible environments… • Monitored process: ideas should have the potential to be „enriched‟ • Segregation of creation and production processes.
  19. 19. Structural analysis • Need for added value based on innovation. • Industry sectors in Spain reticent to innovation -> need for transformation. The answer: bringing together creators and industries through a mediator agent. • Starting point: detection of a lack in the industry -> „problem-solving‟ • Capturing creativity and ideas to put in an industry logic. • Romantic view of talented individuals as outsiders. • Distrust on the „inertia‟ of the creative processes -> Creativity nurtured trough a strongly directed process (ideas „enriched‟ by the Factory). And monitorized in the case of Disonancias. • Short periods. No permanent relation. • Differentiation between the „creator‟ and the „producers‟.(Talent Factory) • Emotional engaging (Disonancias), and some long-term relationships. • Still to see their impact on economies.
  20. 20. Conclusions and further research  Ambivalent and contradictory concepts of both creativity, art and industry  Role of artists -> Labour conditions  Attractive for governments  Creative processes  Equal and fair benefits for both parts
  21. 21. Thank you! gsan_cornelio@uoc.edu

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