Creative occupations as knowledge practices : innovation and precarity in the creative economy

The ARC Centre of Excellence in Creative Industries and Innovation (herewith CCI) was established with two simple policy objectives. One was to assess anecdotal and boosterish claims about the growth rates of the creative industries, and hence, to measure the size of the creative industries contribution to gross domestic product (GDP). The other was to ascertain the contribution of the creative industries to employment. Preliminary research detailed in Cunningham and Higgs (2009) showed that the existing industrial classifications did not incorporate the terminology of the creative industries, nor did they disaggregate new categories of digital work such as video games. However, we discovered that occupational codes provide a much more fine-grained account of work that would enable us to disaggregate and track economic activity that corresponded to creative industries terminology. Thus was born one major centrepiece of CCI research – the tracking of national occupational codes in pursuit of measuring creative industries policy outcomes. This paper commences with some description of empirical work that investigates creative occupations; however, the real point is to suggest that this type of detailed, occupation-based empirical work has important theoretical potential that has not yet been fully expended (though see Cunningham 2013; Hearn and Bridgstock 2014; Bakhshi, Freeman and Higgs 2013; Hartley and Potts 2014).

Uneducated : play becomes artwork, artwork becomes play

Over the past twenty years the contemporary art world has seen a significant shift in the modes and structures of connection between work and its audiences. This shift is termed by Irit Rogoff, amongst others, as an ‘educational turn’. The turn has been described as the eruption of discussions and investigations, inside and outside of institutions, that interrupt the presumed power hierarchies and bureaucratised systems of both art and education. This essay was written to accompany artist/curator Kym Maxwell's exhibition project, 'Uneducated', exploring these ideas. It was held at the Counihan Gallery in Melbourne, 2014.

Youth off the Streets "Our Place, Walgett Youth and Young Families Project" Project Evaluation.

The Project: • YOTS is a major youth specific agency established in 1991. It is a non-denominational, non-discriminatory and not-for-profit organisation, providing a wide range of services and offering a full continuum of care. It seeks to build on the strengths and positive aspects of marginalised young people and communities. • The 'Our Place, Walgett Youth and Young Families Project' further develops an existing YOTS capacity to provide services to Aboriginal young people. • The project adopted an action-research and community development model in which YOTS worked in partnership with the Youth Sub-committee of the Walgett Interagency. • Specific goals/objectives of the program were to: Coordinate youth and young family activities in partnership with local services and the community to build self-esteem, pride, resilience, motivation and skills; Contribute to the prevention and reduction of homelessness, unstable and unsafe housing and disruptive mobility (Walgett/Redfern) in youth and young families; Increase and improve collaborative engagement between youth and family focused services; and, research, adapt and implement Australian and international best-practice homelessness prevention/reduction initiatives to contribute to new models of practice relevant to rural and regional areas. • The project centred around an out-reach model that focused on providing a safe space with relevant structured activities coordinated by YOTS youth and family workers. Through community and service provider consultation, it was proposed that local services could coordinate strategies and activities and run them, where possible, from the centre, providing ease of access in a safe and supportive context. • Specific activities included: Implementing regular meetings with the stakeholders and community representatives; Developing a Terms of Reference for YOTS presence in the Walgett community; Undertaking a community consultation prior to finalising program activities; Implementing a range of recreational activities (sports, music, arts and crafts) early on in the activity; Implementing young family support initiatives; implementing a volunteering program, including volunteer support to young families through intergenerational volunteering; running a series of Culture and Healing Camps in partnership with local Elders and other services; Running a series of Music Camps; Providing alternative education support and referrals in partnership with local schools; Researching, identifying and adapting other best-practice models.

Making strange

Marking Strange is a series of collaborative experimental creative works undertaken by Marissa Lindquist and Andrzej Pytel which explores the relationship between the body, new materiality and its application within different facets of design production. The ongoing experimental practice looks toward both organic and inorganic materials as a means of informing scholarly research, material development for commercial, installation and speculative design production and for academic studio programs. The work draws from theoretical positions such as Heidegger’s "nearness and revealing" (1927-1954), Simondon’s "transduction theory" (1989) and Burke's "sublime" (1757). Making Strange work has been exhibited within the Australian Pavilion Catalogue, FORMATIONS: New Practices in Australian Architecture, directed by Gerard Reinmuth and Anthony Burke with TOKO Concept Design, for the Venice International Architecture Biennale, 2012.

Collaborative learning in the rural Indonesian craft industry

The research explores the potential for participatory and collaborative approaches in working with the Indonesian glass-bead rural craft industry, which currently struggles to sustain its business. Contextual inquiry and participatory action research were used to understand the local context, including motivations, barriers and opportunities and to collaboratively develop strategies for advancement and innovation. The study documents participatory design projects undertaken to make, sell and promote hedonic products. It identifies the importance of understanding local context and individual craftsperson aspirations in designing collaborative support programs. It also provides an in depth insight into the Indonesian rural craft industry.

Epistemological lens : birth, death and ecology of documentary practices

This paper considers the epistemological life cycle of the camera lens in documentary practices. The 19th century industrial economies that manufactured and commercialised the camera lens have engendered political and economic contingencies on documentary practices to sustain a hegemonic and singular interpretive epistemology. Colonial documentary practices are considered from the viewpoint of manipulative hegemonic practices - all of which use the interpretive epistemology of the camera lens to capitalise a viewpoint which is singular and possesses the power to sustain its own status and economic privilege. I suggest that decolonising documentary practices can be nurtured in what Boaventura de Sousa Santos proposes as an 'ecology of knowledges' (Andreotti, Ahenakew, & Cooper 2011) - a way of including the epistemologies of cultures beyond the 'abyssal' (Santos), outside the limits of epistemological dominance. If an 'epistemicide' (Santos) of indigenous knowledges in the dominant limits has occurred then in an ecology of knowledges the limits become limitless and what were once invisible knowledges, come into their own ontological and epistemological being: as free agents and on their own terms. In an ecology of knowledges, ignorance and blindness may still exist but are not privileged. The decolonisation of documentary practices inevitably destabilises prevailing historicities and initiates ways for equal privilege to exist between multiple epistemologies.

The arts and Australia's national innovation system 1994 - 2008 arguments, recommendations, challenges

Based on 15 years of arts and innovation literature, this paper explores the central proposition that the arts sector - particularly the performing arts, visual arts and crafts, new media arts and creative writing - should be included in Australian Government innovation policy development and play a significant role in national innovation. After a brief overview of innovation policy and the national innovation systems approach in Australia, we examine the marginal place of the arts in Australia's innovation agenda and various attempts to include them. We identify the principal voices that have argued for arts and innovation development: the humanities, arts and social sciences (HASS) sector, digital content industries, arts education and university research, and new media arts. After three main periods of arts and innovation policy activity from the mid.1990s (when the importance of innovation as a key driver of Australia's prosperity was recognised) to early 2008, a fourth period has opened up as part of the Australian Government's Review of the National Innovation System in 2008.

Food for Thought (Next Wave Festival)

Food for Thought embraces the notion that a revolution can start at the dinner table. Drawing inspiration from Judy Chicago’s seminal artwork ‘The Dinner Party’, LEVEL Artist Run Initiative hosted a series of dinner party events in order to create vibrant discussions concerning the role of women and feminism in the twenty-first century. The work consisted of a reading room, four dinner party events, and four public talks covering the topics: 'Women and the arts';'Generations: plurality and difference'; 'Women in the media'; and 'How can art contribute to political change for women in the 21st century?'

She’s done alright for a girl : strategies for teaching women artists

While evidence suggests that up to 65% of visual arts graduates in Australia are women, women artists are still dramatically under-represented in most sectors of the industry, from institutional exhibitions through to commercial gallery representation. Gender awareness in art school education was a prominent aspect of second wave feminist activism in this country, however the outcomes for women artists, particularly as their careers proceed, often remain discouraging. Over approximately the past ten years, the Visual Arts discipline at Queensland University of Technology has integrated a range of gender awareness strategies into its teaching program across both studio practice and history/theory areas, with relatively strong outcomes amongst female graduates, both as artists and arts workers. Employing practitioner reflection and praxis-based research, this paper takes stock of the approaches that have been trialled over this period and reflects on the combination of both explicit and implicit strategies employed, as well as student responses to them.

Art and the anxious city: Public art, public interest and the public good

While public art is often considered a key hallmark of a creative city, artworks in the public realm also have the capacity to act as lightening rods for social anxiety at times of perceived crisis. This paper considers recent debates about government-sponsored public art projects in Queensland in light of three international case studies: Rodin’s Thinker in Paris, Tilted Arc in New York and Vault in Melbourne. It considers whether consensus positions on public art are possible or desirable in light of issues of spatial control, and proposes that well-negotiated anxieties about public art may be an indicator of creative vibrancy and dynamism that will assist in the future understanding of Queensland’s experiment with government-mandated public art.

A different kind of studio: Reflecting on the open studio and the artist-teacher

For more than 15 years, QUT’s Visual Arts discipline has employed a teaching model known as the ‘open studio’ in their undergraduate BFA program. Distinct from the other models of studio degrees in Australia, the open studio approach emphasizes individual practice by focusing on experimentation, collaboration and cross-disciplinary activities. However, while this activity proves to be highly relevant to exploring and participating in the ‘post medium’ nature of much contemporary art, the open studio also presents a complex of affecting challenges to the artist-teacher. The open studio, it can be argued, produces a different type of student than traditional, discipline-specific art programs – but it also produces a different kind of artist-teacher. In this paper, the authors will provide a reflection on their own experiences as artists and studio lecturers involved with the two ‘bookends’ of the QUT studio program – first year and third year. Using these separate contexts as case studies, the authors will discuss the transformative qualities of the open studio as it is adapted to the particularities of each cohort and the curricular needs of each year level. In particular, the authors will explore the way the teaching experience has influenced and positively challenged their individual (and paradoxically) discipline-focussed, studio practices. It is generally accepted that the teaching of art needs to be continually reconceptualised in response to the changing conditions of contemporary art, culture and technology. This paper will articulate how the authors have worked at that reconceptualisation within both their teaching and studio practices and so practically demonstrate the complex dialogic processes inherent to the teaching of the visual arts studio.

Representing places never visited: Landscape and the diasporic imagination

While landscape photography’s complicity with the colonial possession of new territory has been substantially discussed and well understood, this paper considers the role of the European landscape as the focus of diasporic desire. The interdisciplinary project, S2Q/Good Blood began as a social history map of Scandinavian and Nordic migration to Queensland in the nineteenth century, incorporating archival material from local collections with visual field trip data gathered in Denmark, Sweden, Norway and Finland. In 2011, some of this material found its way into the installation work, 'my mother is water, my father is wood'. What emerged from this experiment was an imaginary landscape, melding its loci through original photography and video footage in tandem with stock imagery and historical material. This juxtaposition reinforced the represented landscape as a narrative landscape and evidence of the performativity of belonging. This practitioner reflection utilizes Lynette Russell’s research into landscape archaeology to consider the significance of relationships with landscapes that are “not always empirically demonstrable.”