Melbourne and Brisbane: The Claims of Suburbs

This chapter critiques the imagined geography of creative cities and the creative industries, which presumes that inner cities are densely clustered hubs of urban culture and creativity while suburbs are dull, homogeneous dormitories from which creative people must escape in order to realize their potential. Drawing upon a study on creative industries workers in Melbourne and Brisbane, the authors argue that these workers are as likely to be located in the suburbs as in the inner city, and that they clearly identify advantages to being in outer suburban locations. Their findings provide a corrective to dominant urban cultural policy narratives that stress cultural amenity in the inner cities.

Can Beijing become a global media capital?

The commercialization of Chinese media has taken place over the past two decades; it has become a significant force since 2001 when China joined the World Trade Organisation. With demand for original content increasing and China contemplating a cultural trade deficit in media content, there is much discussion of agglomeration and clustering. Beijing, as the national media centre of China, witnesses a process of media agglomeration while bearing the problem of cultural export during the media commercialization. Michael Curtin‟s idea of media capital, which absorbs media resources and personnel and exports media products transnationally, provides a dynamic perspective of understanding media agglomeration and dispersion under different political social and cultural circumstances. Hence the question whether Beijing is going to transform into a transnational media capital is worth studying, in order to observe and comprehend China‟s media industry in transition. Drawing on Michael Curtin‟s three media capital trajectories, the paper interprets tensions and challenges generated in the process of media industry agglomeration and growth in Beijing. Emphasis is placed on the third trajectory, socio-cultural variation.

Culture, technology and the city

The 21st century has been described as the “century of cities”. By 2030, 70 per cent of the world’s population will live in cities, with the most rapid urbanization occurring in the developing world. This paper will draw up geographer Ed Soja’s concept of the “spatial turn” in social theory to consider how the culture of cities can act as a catalyst to innovation and the development of new technologies. In doing so, the paper will develop a three-layered approach to culture as: the arts; the way of life of people and communities; and the embedded structure underpinning socio-economic relations. It will also consider technology at a three-layered element, including devices, practices and ‘logics’ of technology, or what the Greeks termed techne. The paper will consider recent approaches to urban cultural policy, including cluster development and creative cities, and suggest some alternatives, noting that a problem with current approaches is that they focus excessively upon production (clusters) or consumption (creative cities). It will also consider the development of digital creative industries such as games, and the strategies of different cities to develop an innovation culture.

Citizenship, community, public space and the marginalisation of children and young people

Throughout Australia (and in comparable urban contexts around the world) public spaces may be said to be under attack by developers and also attempts by civic authorities to regulate, restrict, rebrand and reframe them. A consequence of the increasingly security driven, privatised and surveilled nature of public space is the exclusion and displacement of those considered flawed and unwelcome in the ‘spectacular’ consumption spaces of many major urban centres. In the name of urban regeneration, processes of securitisation, ‘gentrification’ and creative cities discourses can refashion public space as sites of selective inclusion and exclusion. In this context of monitoring and control procedures, children and young people’s use of space in parks, neighbourhoods, shopping malls and streets is often viewed as a threat to the social order, requiring various forms of punitive and/or remedial action. This paper discusses developments in the surveillance, governance and control of public space used by children and young people in particular and the capacity for their displacement and marginality, diminishing their sense of place and belonging, and right to public space as an expression of their civil, political and social citizenship(s).

Public Space and the Marginalisation of Children and Young People

Throughout much of the world, urban and rural public spaces may be said to be under attack by property developers, commercial interests and also attempts by civic authorities to regulate, restrict, reframe and rebrand these spaces. A consequence of the increasingly security driven, privatised, commercial and surveilled nature of public space is the exclusion and displacement of those considered ‘flawed’ and unwelcome in the ‘spectacular’ consumption spaces of many major urban centres. In the name of urban regeneration, processes of securitisation, ‘gentrification’ and creative cities initiatives can act to refashion public space as sites of selective inclusion and exclusion. The use of surveillance and other control technologies as deployed in and around the UK ‘Riots’ of 2011 may help to promote and encourage a passing sense of personal safety and confidence in using public space. Through systems of social sorting, the same surveillance assemblages can also further the physical, emotional and psychological exclusion of certain groups and individuals, deemed to be both ‘out of time and out of place’ in major zones of urban, conspicuous, consumption. In this harsh environment of monitoring and control procedures, children and young people’s use of public spaces and places in parks, neighbourhoods, shopping malls and streets is often viewed as a threat to social order, requiring various forms of punitive and/or remedial action. Much of this civic action actively excludes some children and young people from participation and as a consequence, their trust in local processes and communities is eroded. This paper discusses worldwide developments in the surveillance, governance and control of the public space environments used by children and young people in particular and the capacity for their displacement and marginality, diminishing their sense of belonging, wellbeing and rights to public space as an expression of their social, political and civil citizenship(s).

Location and labor: Critical crossroads in global film and television

I approached the editorial prompt as an opportunity to work through some of the concerns driving my current research on creative labor in emergent or ‘peripheral’ media hubs, centers of production activity outside established media capitals that are nevertheless increasingly integrated into a global production apparatus. It builds from my research on the role that film, television and digital media production have played in the economic and cultural strategies of Glasgow, Scotland, and extends the focus on media work to other locations, including Prague and Budapest. I am particularly drawn to the spatial dynamics at play in these locations and how local producers, writers, directors and crew negotiate a sense of place and creative identity against the flows and counter-flows of capital and culture. This means not only asking questions about the growing ensemble of people, places, firms and policies that make international productions possible, but also studying the more quotidian relationships between media workers and the locations (both near and far) where they now find work. I do not see these tasks as unrelated. On the one hand, such queries underscore how international production depends on a growing constellation of interchangeable parts and is facilitated by various actors whose agendas may or may not converge. On the other hand, these questions also betray an even more complicated dynamic, a process that is shifting the spatial orientation of both location and labor around uneven and contested scales. As local industries reimagine themselves as global players, media practitioners are caught up in a new geography of creative labor: not only are personnel finding it increasingly necessary to hop from place to place to follow the work, but also place itself is changing, as locations morph into nebulous amalgamations of tax rebates, subsidized facilities, production services and (when it still matters) natural beauty.

Arts, gentrification, and planning for creativity

Recent decades have seen an almost obsessive focus on creativity in an urban development context. Yet, creativity has come to be prized not so much for the intrinsic values of imagination, innovation and experimentation as for the possibility to exploit these qualities as a means of urban revitalization and wealth generation. This policy emphasis has both contributed to the misplaced assumption that artistic activity causes gentrification and displacement while, at the same time, often setting in motion programs that are detrimental to the creative environments such policies claim to support. It is time to end the current approach to creative city planning, which treats the arts as amenities to catalyze land development and lure upscale consumption.

Lisboa cidade criativa: preparação de uma candidatura à Rede de Cidades Criativas da UNESCO

Trabalho de projeto apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Gestão Estratégica das Relações Públicas.

Créer ou produire un jeu vidéo? Étude ethnographique d’un milieu de production vidéoludique montréalais

Le jeu vidéo est un produit qui ne cesse de gagner en popularité alors que les expériences ludiques tendent de plus en plus à se diversifier. Les recherches académiques sur l’objet vidéoludique se sont multipliées dans les dernières années afin de comprendre les particularités du nouveau média, surtout en ce qui concerne l’analyse du produit lui-même et sa réception, mais laissant peu de place à sa créa-tion et sa production. Montréal est un lieu idéal pour étudier le médium : en peu de temps, l’industrie du jeu vidéo est devenue l’un des fleurons industriels québécois. La présente étude s’est intéressée aux développeurs de Montréal, ville où se situe la plus grande partie des studios au Québec, afin de connaître leur perception du produit vidéoludique et de l’industrie. Au travers d’une perspective phénoménologique, un séjour ethno-graphique a été effectué dans un studio de production vidéoludique où plusieurs développeurs ont été observés et interviewés. Ce travail s’inscrit dans une anthropologie du travail et rend compte de la com-plexité qui émerge lorsqu’un travail essentiellement créatif vient se heurter à des motifs de production strictes. Plus encore, il rend compte d’un paradigme opposant directement la création et la production dans un milieu qui se présente comme une avenue prometteuse pour une jeunesse désirant vivre d’un travail créatif. Cette condition est attribuable à la nature du jeu vidéo lui-même qui se situe, selon Kline, Dyer-Witheford et De Peuter (2003), à mi-chemin entre la culture, la technologie et les visées commerciales (marketing). Les développeurs se trouvent donc entre deux eaux : d’un côté ils sont influencés par la culture du jeu, relevant de leurs pratiques, leurs préférences et des commu-nautés de développeurs et, de l’autre côté, par l’industrie qui dicte les façons de faire et viennent selon eux minimiser leur potentiel créatif.

Understanding the creative economy : a tale of two cities clusters

This article investigates underlying constraints within China’s creative economy. Drawing on two studies of creative clusters in Suzhou and Foshan, it identifies the importance of knowledge transfer and internationalization to the generation of higher value-added products and services. Both examples illustrate relationships between resources, activities, routines and entrepreneurship. The article argues that the examples notwithstanding, the vast majority of what is accounted for in data collection as China’s creative industries are more appropriately cultural industries. The focus on cultural industries drives local development and increases land values but the benefits are rarely dispersed internationally or into the broader economy.

Creative economy strategies for regional cities: the case of Geelong, Australia

Creative economy approaches to regional development are gaining increased favor from policy makers as there is a shift towards a more wholistic approach to development. By fostering a creative economy a region may benefit not only in purely economic terms, but also become more enriched socially and culturally. Using the regional city of Geelong as a case in focus, the presentation will explore strategies that both harness existing creative capacity through the arts and cultural production and also to further expand and intergeate creative enterprise into the local economy. As regional centers like Geelong continue to grow the need to ensure appropriate development that is both sustainable and enriching to improve residents quality of life becomes paramount.

Cipher cities : effective user interface design for building a digital social network around location-based gaming

In this paper we explore what is required of a User Interface (UI) design in order to encourage participation around playing and creating Location-Based Games (LBGs). To base our research in practice, we present Cipher Cities, a web based system. Through the design of this system, we investigate how UI design can provide tools for complex content creation to compliment and encourage the use of mobile phones for designing, distributing, and playing LBGs. Furthermore we discuss how UI design can promote and support socialisation around LBGs through the design of functional interface components and services such as groups, user profiles, and player status listings.