Amateur Media : Social, Cultural and Legal Perspectives

The rise of Web 2.0 has pushed the amateur to the forefront of public discourse, public policy and media scholarship. Typically non-salaried, non-specialist and untrained in media production, amateur producers are now seen as key drivers of the creative economy. But how do the activities of citizen journalists, fan fiction writers and bedroom musicians connect with longer traditions of extra-institutional media production? This edited collection provides a much-needed interdisciplinary contextualisation of amateur media before and after Web 2.0. Surveying the institutional, economic and legal construction of the amateur media producer via a series of case studies, it features contributions from experts in the fields of law, economics and media studies based in the UK, Europe and Singapore. Each section of the book contains a detailed case study on a selected topic, followed by two further pieces providing additional analysis and commentary. Using an extraordinary array of case studies and examples, from YouTube to online games, from subtitling communities to reality TV, the book is neither a celebration of amateur production nor a denunciation of the demise of professional media industries. Rather, this book presents a critical dialogue across law and the humanities, exploring the dynamic tensions and interdependencies between amateur and professional creative production. This book will appeal to both academics and students of intellectual property and media law, as well as to scholars and students of economics, media, cultural and internet studies.

Using value-based partnerships to support community engaged learning : benefits, challenges, stakeholder perspectives

Increasingly, the not-for-profit sector, as an emerging contributor to the creative economy, is creating a context for engaging creative practitioners in developing solutions to complex problems, triggering a demand for skills and knowledge needed to address this complexity. Across the university and community contexts alternative models of engagement are emerging to support this dynamic. This paper presents a case study of a creative project in which a value-based approach is used to foster a collaborative partnership between community partners and a multidisciplinary team of final year Creative Industries students who in the course of the project developed a range of communication resources, including a social media campaign, an interactive game and a series of short films to support volunteer engagement and leadership initiatives. The paper considers the implications this values approach has for the design of service learning curriculum for multidisciplinary creative teams and the potential it has to support meaningful collaboration between creatives and the not-for-profit sector. It further explores how it impact on student and partner engagement, learning outcomes and the benefits for the partner organisation. The paper concludes that a value-based approach to university-community engagement has the potential to support and enable a greater degree of reciprocity, deeper engagement between stakeholders and greater relevance of the final outcome.

The location patterns of artistic clusters : a metro- and neighborhood-level analysis

Analysing census and industry data at the metro and neighbourhood levels, this paper seeks to identify the location characteristics associated with artistic clusters and determine how these characteristics vary across different places. We find that the arts cannot be taken overall as an urban panacea, but rather that their impact is place-specific and policy ought to reflect these nuances. However, our work also finds that, paradoxically, the arts’ role in developing metro economies is as highly underestimated as it is overgeneralised. While arts clusters exhibit unique industry, scale and place-specific attributes, we also find evidence that they cluster in ‘innovation districts’, suggesting they can play a larger role in economic development. To this end, our results raise important questions and point toward new approaches for arts-based urban development policy that look beyond a focus on the arts as amenities to consider the localised dynamics between the arts and other industries.

Art Spaces, Art Places : Examining Neighborhood Preferences of New York Arts Organizations

This report builds on and extends a diverse literature that examines the location patterns of the arts and creative industries through analysis of a database of arts nonprofit organizations from the New York State Cultural Data Project. We confirm the link between arts organizations and the urban core and creative economy, but challenge the assumption that arts tend to locate in ethnic and disadvantaged neighborhoods. By identifying key neighborhood attributes associated with distinct types of arts organizations, we can better identify potential sites conducive to nurturing additional artistic activity and inform strategies to engage organizations in neighborhoods that are underserved in the arts.

Mapping the arts: Industry concentrations, distribution, and change in the US, 1980-2010

This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities.

Empowering innovative and active citizens: Design education in an Australian independent school

Consumerism is arguably one of the strongest forces affecting society today. Its affect on young people and their ability and desire to create, design, and innovate is cause for concern. It has been suggested that design, when viewed as “a fundamental category of meaning making” (Cope and Kalantzis, 2010, p.597), can be conceived as a “foundational paradigm for representation and action” (Cope and Kalantzis, 2011, p.49). As a component of a general education, it has the capacity to give future generations a framework for collaborative creative and critical thinking required for business innovation, while developing resourceful optimism, motivation, morality and the citizenship needed to develop awareness and resilience to this ideology (Design Commission, 2011; Design Council, 2011). However, to date clearly defined frameworks and empirical data surrounding design education integration in secondary school contexts and its impact on innovation and active citizenship in Australia, is extremely limited. This paper will explore the value of a hands-on and collaborative design-based education model in an independent secondary school environment in Australia and its effect on students’ self- perception, core beliefs, empowered participation and ability to innovate towards sustainability. Following is an overview of relevant literature, the research question, and potential significance and contribution of this research.

Designing Creativity Through Clusters - A periodisation of cluster discourse

The thesis focuses on one of the most dominant articulations of the relation between geographical place and development, clusters - internationally competing place-bound economic system of production in related industries. The dominant articulation of cluster discourse represents the subnational region as a system of production, and as a means for competitiveness for Western countries. Its reproduction in theories has become one of the most prolific exports of economic geography to other disciplines and for policymaking. By analysing cluster discourse the thesis traces how the languages and processes of globalization have over time altered the understandings of the relation between geographical place and the economy. It shows how in its latest incarnation of the cluster discourse, the language of mainstream economics is combined with ‘softer’ elements (e.g. community, learning, creativity) in the economic geographic discourse. This is typical for the idea of soft capitalism, wherein it is assumed that economic success emanates from soft characteristics, such as knowledge, learning and creativity, rather than straightforward technological or cost advantages. A reoccurring critique against the dominant understanding of the relationship between competitiveness and regions, as articulated in cluster discourse, has pinpointed the perspective’s inability to reconcile the respective and reciprocal roles of local standard of living with firm competitiveness. The thesis traces how such critique is increasingly appropriated through the fusion of the economic, social and cultural landscape into the language of capitalism. It shows how cluster discourse has appropriated its critique, by focusing on creativity, with its strong associations to arts, individual artists and the cultural sphere in general, while predominantly creating its meaning in relation to competitiveness. The thesis consists of six essays that each outlines the development of the cluster discourse. The essays show how meaning systems and strategies are created, accepted and naturalized in cluster discourse, how this affects individuals, the economic landscape and society at large, as well as showing which understandings are marginalized in the process. The thesis argues that clusters are a) inseparable from ideology and politics and b) they are the result of purposeful social practice. It calls for increased reflexivity within corporate and economic geographic research on clusters, and underlines the importance of placing issues of power at the centre of analysis.

Liderazgo y poder: una aproximación desde la ecología

El trabajo de grado se desarrollará a partir del análisis del liderazgo y el poder como característica de éste, desde una visión ecológica, lo cual constituye un aspecto de gran importancia en los estudios de administración. Primero, se abordará el significado de liderazgo y la importancia que este representa dentro de las organizaciones, a través de la generación de procesos que llevan a la organización a su evolución y desarrollo. Posteriormente se abordará el tema de poder en relación con la comprensión del efecto que este puede tener sobre las interacciones que se dan entre las personas de la organización. Finalmente, se estudiará también desde la ecología, como el poder ejercido por los líderes puede influir en la forma en que estos agentes, es decir personas, procesos e interacciones, interactúan para movilizar a la organización. De esta forma, se asume el poder como un aspecto importante dentro del estudio del liderazgo, en cuanto éste puede afectar la forma en que las personas son lideradas al interior de la organización.

TripColombia

TRIPCOLOMBIA es una organización que nace a partir del interés por realizar aportes significativos a los procesos tradicionales de difusión y conservación del patrimonio y la cultura de la nación. De esta manera, se decide realizar un modelo de negocio para implementar una aplicación móvil y un mapa impreso interactivo, que tengan como eje principal estrategias de gamificación , y a mediano plazo el desarrollo y la implementación de Realidad Aumentada (RA) y códigos QR directamente en las zonas de interés cultural. Dicha aplicación, buscará interconectar las TIC con los BIC, espacios competentes o complementarios a los BIC y entidades culturales circundantes, mediante la organización de redes interactivas y retroalimentadas.

The development of cultural entrepreneurs through new venture cases in the business classroom

Artists and workers in the creative industries who embody the essence of creativity are thwart by economic values in delivering their art work or creative concept to consumers. This is particularly evident for students in courses in creative industries who graduate with entrepreneurial aspirations, but not the means to pitch their creative concept or build the business model for the new venture. This paper analyses a university business course developed to take cultural entrepreneurs through venture building as a live case in the creative economy.

The development of cultural entrepreneurs through new venture cases in the business classroom

Artists and workers in the creative industries who embody the essence of creativity are thwart by economic values in delivering their art work or creative concept to consumers. This is particularly evident for students in courses in creative industries who graduate with entrepreneurial aspirations, but not the means to pitch their creative concept or build the business model for the new venture. This paper analyses a university business course developed to take cultural entrepreneurs through venture building as a live case in the creative economy.

Curriculum for entrepreneurial creativity and resourcefulness in New Zealand

This thesis asks: ‘How can tertiary education nurture entrepreneurial creativity?’ Entrepreneurship is considered to be a vital determinant of economic growth and the entrepreneur is understood as someone who innovates and commercialises their own innovation. The setting is New Zealand which is struggling to make the shift from relying on primary production to becoming a ‘creative economy.’ The creative individual has been identified as a new mainstream but it is argued that in New Zealand, education provision is inadequate for supporting the development of the practice of entrepreneurship. The problem is not unique. Various writers are critical of business education generally, and of the mismatch between the passion and chaos in entrepreneurs’ lives and the way education programs are typically organised as a linear sequence of discipline-based courses with prescribed content, activities and outcomes. Rich data were gathered from in-depth interviews with twelve nascent, new or experienced entrepreneurs and two associates (one a marketer, the other a scientist). Each participant was drawn from a different area of economic endeavour. They were asked to share their stories and views about creativity, the connections between creativity and entrepreneurship, business success, formal and informal education, and ways to improve tertiary education programs. The research found that a suitable environment for nurturing creativity will most likely have structure but will also enable chaos. It will present opportunities for experiencing diversity, and will stimulate unconscious and conscious mental processes. It will provide scope for hard work that is fun and involves authentic risk-taking, and will enable both individual and purposeful teamwork. The study also found that business success is not based on knowledge but is rather about being resourceful. The becoming of the creative entrepreneur thus includes developing capability to network with peers and mentors and communicate with customers and staff, and developing passion for and resilience in the pursuit of a dream. The findings suggest that in an age of uncertainty, nurturing entrepreneurial creativity and resourcefulness requires learning to be viewed as a practice-based community process where knowing and doing are interwoven with being. It is argued that this needs to align with Ronald Barnett and Kelly Coate’s (2005) notion of ‘a curriculum for engagement.’ It is suggested that an entire program might simply invite students to work collaboratively to identify and exploit an entrepreneurial opportunity by producing and commercialising an appropriate product/service innovation; to undertake this work as two separate projects – one within an existing organisation, and the other as a new venture; and to theorise their work. It is proposed that a suitable framework lies in William Doll’s (2002) advocacy for a curriculum based on a matrix of five Cs: ‘currere,’ complexity, cosmology, conversation, and community. To these, creativity is added as a sixth C.

Desenvolvimento do cluster de economia criativa na área central da cidade de São Paulo

A presente dissertação trata da estruturação de um cluster de economia criativa no centro da cidade de São Paulo, voltado à área de tecnologia. A escolha da região central, assim como da economia criativa como impulso para a requalificação econômica e reocupação social da área, tem como objetivo enfrentar o problema do esvaziamento do centro da cidade, impulsionando o empreendedorismo e o posicionamento da região como local de convivência. Para análise da viabilidade e adequabilidade dessa proposta optou-se por uma pesquisa aplicada, cujos procedimentos englobaram uma breve revisão da literatura e também entrevistas com profissionais do setor criativo. Foram realizados estudos de casos internacionais e nacionais; estudo da legislação brasileira; avaliação do nível de desenvolvimento dos setores criativos em São Paulo e reflexão sobre as vocações da cidade. Com essa bagagem, iniciou-se a modelagem do cluster de tecnologia do Distrito Criativo da Sé/República, por meio da qual se objetivou traçar propostas de ações que pudessem ser desenvolvidas em curto, médio e longo prazos. Foram apresentadas ações mais imediatas, como a realização de um branding das atividades já em andamento, medidas realizáveis no médio prazo, como a concretização de parcerias, e outras um tanto mais estruturantes, como a requalificação de espaços e de projetos. Todas essas medidas almejam otimizar a ação municipal na busca pela reocupação da região e, consequentemente, na atração de investimentos para o local, de modo a frear o processo de degradação e alavancar o processo de reposicionamento do centro da cidade de São Paulo como valioso núcleo econômico e cultural para o Município. Com o presente trabalho, chega-se à conclusão de que há exemplos no Brasil e no mundo que podem servir de inspiração para o desenvolvimento da ação proposta e que a possibilidade de se gerar um impacto positivo, mesmo em épocas de dificuldades orçamentárias, é bastante plausível.

De Vargas a Lula: os (des)usos da política cultural no Brasil

Pós-graduação em Ciências Sociais - FFC