Writing Violence: the legal, moral and aesthetic Implications of creative non-fiction.

This essay began as a hybrid critical/creative paper that was presented as part of an all-female panel discussing the intersections between writing and extreme violence. My own paper was on the relationship between my creative nonfiction novel The Museum of Atheism and the real life murder of six-year-old beauty queen, JonBenet Ramsey. This essay is an attempt to represent the writing process of the creative nonfiction author, and to consider the ways in which critical theory can be used to highlight, or conversely obscure, fictional writing. In addition to considering the effect of using a real story, a true crime, as the basis for a semi-fictional work, this essay will also consider the relationship I had as a writer to my publisher, editor and agent, and their interventions in the writing process to ensure that facts were deliberately skewed or warped in order to avoid litigation. Finally, I will consider my own relationship to the material, and the impact that this had on the writing process.

Creating Common Ground: Architecture For Tactical Learning and Creative Convergence

Certain environments can inhibit learning and stifle enthusiasm, while others enhance learning or stimulate curiosity. Furthermore, in a world where technological change is accelerating we could ask how might architecture connect resource abundant and resource scarce innovation environments? Innovation environments developed out of necessity within urban villages and those developed with high intention and expectation within more institutionalized settings share a framework of opportunity for addressing change through learning and education. This thesis investigates formal and informal learning environments and how architecture can stimulate curiosity, enrich learning, create common ground, and expand access to education. The reason for this thesis exploration is to better understand how architects might design inclusive environments that bring people together to build sustainable infrastructure encouraging innovation and adaptation to change for years to come. The context of this thesis is largely based on Colin McFarlane’s theory that the “city is an assemblage for learning” The socio-spatial perspective in urbanism, considers how built infrastructure and society interact. Through the urban realm, inhabitants learn to negotiate people, space, politics, and resources affecting their daily lives. The city is therefore a dynamic field of emergent possibility. This thesis uses the city as a lens through which the boundaries between informal and formal logics as well as the public and private might be blurred. Through analytical processes I have examined the environmental devices and assemblage of factors that consistently provide conditions through which learning may thrive. These parameters that make a creative space significant can help suggest the design of common ground environments through which innovation is catalyzed.

Óbidos, literary village: innovation in the creative industries?

The village of Óbidos was recognized in 2015 as a creative city in the area of literature, becoming a member of the UNESCO Creative Cities Network. The attribution of the title depends on the fulfillment of a number of criteria the regions have to integrate. In addition to Óbidos, UNESCO attributed the same title in the same year to other European cities, including Barcelona, Nottingham, Ljubljana, Tartu and Lviv. This article intends to co nduct a case study to the cultural and artistic offer, as well as the cultural and literary legacy that different cities provide to be able to inquire the innovation of the proposals. The study aims to assess how much Óbidos, compared to other cities with the same title, is creative. Knowing that the concept of creative city (Landry and Bianchini, 1995) results from the emergence of new technologies and a new type of economy based on creativity and innovation and that creativity implies removing economic or social value of the creative work or talent, the study aims to determine to what extent the processes generated gave rise to new ideas (creativity) and what processes led to its implementation (innovation). Being innovation in the creative industries asso ciated with product, process, positioning, paradigmatic and social innovation (Storsul and Krumsvik, 2013), it is concluded that, in Óbidos, the entrepreneurship initiatives are more focused on tourists who occasionally visit the village and the business o pportunities that are generated there. New innovative and creative spaces were created, promoting literature and adding value and quality to urban space. This urban intervention resulted in the attraction of individuals who streamlined new habits of being and acting in the village

Dealing with the devil: a critical and creative look at the diabolical pact

This thesis is comprised of three parts: a critical dissertation, a creative work of fiction and a bridge piece that connects the two. The critical work is an examination of the Devil as a satirist in Faustian bargains. Through the usage of the Devil as a literary figure, his character has become a more secular being: a trickster rather than evil incarnate—a facilitator of sin rather than its originator. In the tragicomedy of pacts with the Devil, he acts as a mirror, reflecting mankind’s foibles and vanity, while elevating the reader in the process. The thesis considers the language, tone, purpose and conceits of several versions of the story. While the focus is primarily on American Literature, the influence of English, Scottish, French and German folklore and fiction are recognized as an essential component of the theme’s evolution. In the bridge piece, the pact with the Devil is literalized in a modern context; a corporate business of reaping souls is theorized in which techniques of persuasion are streamlined into an effective formula. Whether immersive or expository in approach, the portrayal of the supernatural depends on the literary principles of science fiction and fantasy in order to manipulate the reader and allow irrational concepts to obey rational laws. Such theories are cited to support how the Devil functions as a believable character. The novel, Could Be Much Worse, relates the story of an egocentric boss and his dependable employee, a scout who disguises himself as a taxi driver and seeks candidates who may succumb to temptation. Passengers’ monologues of desperation and pathos are interspersed throughout the protagonist’s day-to-day narrative. At times, the work is experimental, utilizing irregular storytelling techniques, alternative forms and conceits. Light-hearted, but nonetheless poignant, the story serves as a cautionary tale, illustrating the tedium of a bureaucratic job in a transmundane existence.

Creative industries in Macau innovation and tradition at USJ

International Conference Of Silk, Sugar and Spices: new directions in East-West CooperationISCAP 11-12-13 November 2015

A film director’s challenge : To manage – to manage? – The creative process in a film project

The aim of this text is to discuss how it is possible to manage the art creating process in a film project, where the circumstances are often turbulent. In normative project management literature one proceeds from the idea that a project is realised in a stable world from a clear goal. In a film project there is often a need to change your plans, to improvise both in front of the camera as well as behind the camera. In the theoretical cinematic literature the responsibility for the final film text is more and more being viewed as a product of not only the director, but of the whole team’s work. Consequently, the narrative of leadership/management in a film team can be viewed from a relational perspective where the director and those s/he interacts with, are responsible for the action, relations and social situations they construe jointly in the process of filmmaking. The organization of a film project is a temporary one. The members of a team are seldom the same from one production to another, as well as the creative process always being unique. According to process thinking, organizing can be seen as the ongoing creative activity where we structure and stabilize the chaotic, moving reality. As concerns a film project, the process of becoming of the filmic expression; careful plans, on the one hand, and improvisation and flexibility in action, on the other hand, are a precondition for its realisation. The director when setting a linguistic formulation to what is to be done, can be considered as a practical author.

Entrepreneurship in different contexts in cultural and creative industries

This study analyzes howhard and soft conditions influence the development of entrepreneurship in cultural and creative industries (CCIs). The study further examines what influence the context has on the effect of these conditions. A multiplemultivariate regression analysis examines the importance of both the hard and soft conditions to explain the differences between the United Kingdom and the Mediterranean countries of Portugal, Spain, and Greece. The sample comprises 123 entrepreneurs from the four countries. The use of this method represents an important contribution to the understanding of entrepreneurship dynamics and for the further fine-tuning of entrepreneurship policies in CCIs in different contexts.

From carbon markets to carbon morality: creative compounds as framing devices in online discourses on climate change mitigation

Lexical combinations of at least two roots around "carbon" as the hub, such as "carbon finance" or "carbon footprint," have recently become ubiquitous in English-speaking science, politics, and mass media. They are part of a new language evolving around the issue of climate change that can reveal how it is framed by various stakeholders. In this article, the authors study the role of these "carbon compounds" as tools of communication in different online discourses on climate change mitigation. By combining a quantitative analysis of their occurrences with a qualitative analysis of the contexts in which the compounds were used, the authors identify three clusters of compounds focused on finance, lifestyle, and attitudes and elucidate the communicative purposes to which they were put between the 1990s and the early 21st century. This approach may open up new ways of analyzing the framings of climate change mitigation initiatives in the public sphere.

Which Reality? Interactions at the southern border of Mexico as fieldwork of creative practice

El siguiente ensayo sintetiza y describe el proyecto de investigación creación ¿Cuál realidad? cuyo objetivo es la creación y análisis de una práctica artística como forma de entender y generar conocimiento a partir de las manifestaciones y acontecimientos sociales y culturales en diversos lugares de la frontera sur de México. Lo que se busca es reflexionar acerca de las fronteras, no sólo como lo que delimita el fin o el principio de los territorios de estados nacionales o geográficos, sino como productoras simbólicas de las diferencias entre las personas, recalcando todo aquello en lo que no son iguales por encima de lo que tienen en común. Los espacios geopolíticos que delimitan el territorio de un estado-nación son el repertorio palpable de la movilidad de personas, cosas y acontecimientos. Estas prácticas son efectuadas de manera más o menos visible y demuestran que existen y han estado ahí constantemente redes de comunicación y formas de acción común, que tienen como fin procurar bienestar y elevar la calidad de vida de los partícipes. El proyecto ¿Cuál realidad? en su materialidad y visibilidad fue planteado como una serie de intervenciones en sitio, tales como esculturas públicas, instalaciones, acciones participativas, fotografía y video, a partir de la interacción en algunas ciudades fronterizas en los estados de Chiapas, Tabasco y Quintana Roo y su colindancia con los países de Guatemala y Belice. La producción a girado entorno a las siguientes tres líneas de búsqueda temática: La línea fronteriza, el espacio físico; las personas y grupos que confluyen en estos territorios; el contrabando de cosas y el trasiego de las personas entre los países o en el interior del territorio nacional (entre ciudades del mismo estado, inmigrantes rurales etc.). Los lugares seleccionados son significativos de la frontera sur y tanto las esculturas como las intervenciones han sido construidas con objetos y/o procesos que funcionen simbólicamente para los grupos o habitantes de la zona y en colaboración con ellos: objetos útiles para el trabajo, procesos de transformación de materiales, técnicas de fabricación artesanal, ropa, donaciones, entre muchas otras construcciones.

Propuesta para un viraje en el estudio de los medios en Las Márgenes

Este artículo explora diferentes tipos de apropiación de tecnologías mediáticas en las márgenes y propone un cambio en el acercamiento investigativo en diferentes niveles: 1) en lugar de centrarse en tecnologías individuales, la investigación sobre medios en las márgenes debe examinar cómo los/as comunicadores locales se desenvuelven en ecologías mediáticas que ofrecen recursos y retos específicos en cada situación histórica; 2) en lugar de tratar de determinar si las tecnologías mediáticas usadas en las márgenes son nuevas u obsoletas, digitales o no, es urgente comprender cómo los/as comunicadores asentados en lo local detectan necesidades de información y comunicación específicas y usan las tecnologías disponibles para abordar tales necesidades; 3) la investigación sobre medios en las márgenes debe esclarecer cómo las/los protagonistas de este tipo de comunicación ciudadana y comunitaria reinventan, hibridan, reciclan y tienden lazos entre plataformas tecnológicas. En resumen, para entender las tecnologías mediáticas en las márgenes la investigación debe asumir altos niveles de complejidad, debe mantener la noción de ecologías mediáticas y entender cómo, a nivel local, comunicadores comunitarios profundamente inmersos en lo cotidiano e histórico, ajustan las tecnologías mediáticas a las necesidades de sus comunidades.

Taking Issue with History: Empathy and the Ethical Imperatives of Creative Interventions

The purpose of this thesis was to contribute to a dialogue that considers the relationship between history, literature, and empathy as a literary affect. Specifically, I explored sites of literature’s transformative potential as it relates to cultural studies and the ethics of deconstruction. Via a deconstructive, post-colonial reading of Toni Morrison’s Beloved and Junot Díaz’s The Brief Wondrous Life of Oscar Wao, I considered how subjects in our current socio-political moment can feel history. Emerging from a post-structurally mediated engagement with history, signification, and feeling, I argued that empathy, as it is contentiously presented in the context of deconstruction, is not necessarily a reductive or essentialist approach towards relating or “being-with” an-other. Instead, I proposed that the act of reading historiographical novels that take constructions of the Atlantic Slave Trade to task might generate an affective empathy, which could in turn engender a more empathetic relationality and way of being-in-the-world.

Free software and free culture in Higher Education: pipelines and workflows for creative purposes

OpenLab ESEV is a project of the School of Education of the Polytechnic Institute of Viseu (ESEV), Portugal, that aims to promote, foster and support the use of Free/Libre Software and Open Source Software, Open Educational Resources, Free Culture, Free file formats and more flexible copyright licenses for creative and educational purposes in the ESEV's domains of activity (education, arts, media). Most of the OpenLab ESEV activities are related to the teacher education and arts and multimedia programs, with a special focus on the later. In this paper, the project and some activities are presented, starting with its origins and its conceptual framework. The presented overview is intended as background for the examination of the use of Free/Libre Software and Free Culture in educational settings, specially at the higher education level, and for creative purposes. The activities developed with students and professionals generated pipelines and workflows implemented for different creative purposes, software packages used for different tasks, choices for file formats and copyright licenses. Finished and ongoing multimedia and arts projects will be presented as real case scenarios.

South Carolina’s Creative Cluster : A Catalyst for Economic Development

This report presents results from a study of the creative economy associated with the arts, design, crafts and related activities in South Carolina. As this report will show, these creative individuals and enterprises exert a strong impact on the state’s economic base. Like other drivers of the regional economy, this creative activity revolves around a cluster, or a set of interrelated industries, that thrive in tandem. Along with manufacturing and agriculture, the creative cluster is a catalyst for state and local economic development. The report presents results from an analysis of the South Carolina creative cluster based on 2008 data. For the first time, this report provides a comprehensive summary of the creative economic footprint in South Carolina.