Objects and traces in space
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Presentation at the conference: Objects- What Matter? Technology, Value and Social Change University of Manchester, 1-4 September 2009
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La presente comunicación aborda el fenómeno de la participación de los usuarios de los nuevos medios a partir de formas específicas de producción que promueven la interacción entre creadores e industria. Este tipo de colaboración, definida como ‘co-creación’, tiene lugar “cuando un componente significativo del diseño, el desarrollo, la producción, la comercialización y la distribución un producto audiovisual se obtiene mediante la participación o intervención directa de consumidores o usuarios” (Banks y Potts, 2010: 254). Teniendo en cuenta esta definición presentaremos el análisis de un caso de co-creación producido en el contexto de Moviestorm, un software de animación 3D cuya comunidad de modders constituye una fuerza productiva esencial en el desarrollo de addons, skins y otros complementos del programa.
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"Sociedad de la información, prácticas creativas y medios locativos"
Tercera sesión de la asignatura "Sociedad de la Información" Máster en Comunicación Digital Interactiva. Universitat de Vic
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De la sociedad de la información a la sociedad de la creatividad
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Conceptes de talent, creativitat i innovació en la relació d'artistes amb emp...
Conceptes de talent, creativitat i innovació en la relació d'artistes amb emp...Gemma San Cornelio Esquerdo
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From the lab to the factory:Bridging creators and industry
“From the Lab to the Factory: Bridging creators and industry”
Ruth Pagès, Gemma San Cornelio, Antoni Roig
Universitat Oberta de Catalunya
Abstract
In recent years, and especially under the current economic crisis, there is an ever growing trend to urgently promote innovation. This, in its turn, fosters interest in creativity and the spring of diverse kinds of relationships between industry and artists. The labour conditions of such relations could be regarded through the lens of the definition of “creative class” (Florida 2002), yet some other authors have highlighted its deep degrees of precariousness (Terranova 2005; Lazzarato 1996, 2008; McRobbie 2001, 2004). Regarding the conceptual level of such relations, on the one hand, it can be discerned that romantic concepts of the artist-as-genius and of creativity persist, linked to the vision of the artist as an agent of change, divergent thinking, or fresh air into industry –which seem much needed for innovation purposes and for the sake of economic success. On the other hand, some artists claim for a redefinition of their very role, similar to that of the researcher, valuing their own methodology as an asset. Such redefinition is being proposed due to their transdisciplinary activity that overcomes the boundaries of the traditional Art World moving into the science, technology or industry fields.
Moreover, this context varies depending on territories (country or region), and its own conception of cultural or creative industries, and consequently the policies applied. The research we present is trying to trace the relationships established between these independent creators and the industry through some specific initiatives based in the Spanish territory. The cases selected: ‘Talent Factory’, belonging to Fundació Digitalent (Barcelona) and ‘Disonancias’ (San Sebastian and Barcelona) bridge both sides of the coin. The aim is to examine both structural information regarding how these collaborative relationships are established in terms of authoring, contracts and labour conditions, while relating them to the changes and evolutions regarding the very concepts of talent, creativity, artist or innovation.
cultura digital y creatividad: participación, innovación, precarización
Segunda sesión del master en comunicación digital interactiva de la UVic. Descripción de la convergencia de tres líneas de investigación: cultura digital y prácticas mediáticas, práctica artística y new media y creatividad e innovación audiovisual. La participación de los públicos en la web 2.0 en la producción de contenidos, más las prácticas artísticas de los new media se encuentran en el punto de mira de las políticas de innovación e industria viendo en ellas una creatividad por explotar. Todo ello en un contexto laboral muy precarizado, donde las políticas de innovación bajo diferentes formas heredan, no sólo los discursos artísticos sobre la creatividad, sino también unas formas de trabajo claramente desregularizadas.
Presentacio Master Vic Dia23
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Live Cities: Film and Media approaches to European Cities
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Locative media: between art and entertainment. Towards an analytical model
Locative media: between art and entertainment. Towards an analytical modelGemma San Cornelio Esquerdo
The document discusses locative media art projects that use technologies like GPS and mobile phones to interact with and represent space. It proposes an analytical model to study the aesthetic features of these projects. Several example projects are described that reflect on space through intervention or representation. The model analyzes projects based on formal elements like type of content and interaction, and conceptual elements like art roots and space conception. Further research is suggested to contextualize locative media within new media studies and examine relationships to other location-based contemporary art forms.More from Gemma San Cornelio Esquerdo (20)
Entorn digitals i productes culturals. Nous llenguatges i partcipació
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Co-creation and Participation as Means of Innovation in New Media
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Visual standards and disruptive practices in selfies
Visual standards and disruptive practices in selfies
BEING LUCKY. TRANSMEDIA AND CO-CREATION PRACTICES IN MUSIC VIDEO-CLIPS
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Playing the invisible rules of creation: transforming practices in collaborat...
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El modding como práctica de co-creación: estudio del caso de Moviestorm
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"Sociedad de la información, prácticas creativas y medios locativos"
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cultura digital y creatividad: participación, innovación, precarización
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