Gazing upon the mediated architecture, video walls and fastidiousness of the esoterically sculpted digital installations of Seoul’s Digital Media City (DMC), it is hard not to think that you’ve somehow transferred from one city into another, without taking a step. A high-tech urban fantasy seamlessly superimposed onto the existing cityscape. Indeed in this way and in many others, Seoul can be thought of as a ‘Cyborg City’. Continue reading
Failure is a dirty word. Business leaders won’t stand for it, politicians try to hide it and generally, it’s seen as something to avoid. But it seems, given the talks and discussions today at #cr8net hosted by CIDA, it is essential for creativity. The stories of how creativity has escaped the shackles of prescribed education via playful experimentation with software, and how networking with everyone who will throw a business card at you is critical to success, they sum up the rhetoric of the creative industries for the last 15 years or so. But is failure such a critical part of what constitutes creativity? Does allowing for experiments to fail really aid creative businesses? Or is it more the will to take a creative idea and putting it into practice in a meaningful way?
Call for papers: RGS-IBG Annual Conference 2012
2-5th July, University of Edinburgh
Rachel Granger, Coventry University, UK
Oli Mould, University of Salford, UK
SPATIALITIES OF DIGITAL AND CREATIVE WORK
While research on the growing and highly influential digital and creative industries has been well-represented in recent years, this session signifies a departure from mainstream research on digital and creative industries towards more exploratory research of the social spaces in and through which, digital and creative work is occupied and shaped. As such it welcomes contributions in the form of case studies, new empirical methods, and conceptual pieces relating to networks, social spaces, urban subcultures, working practices, and even ‘underground’ spaces (Cohendet et al., 2011) relating to this group of workers – as a way of broadening our understanding about how these new economic activities operate in practice.
We particularly welcome pieces about:
- The working practices of digital and creative workers – such as portfolio working, freelance operations
- New working practices of professionals afforded by digital mediums – such as location independent working, and co-working
- Unveiling subcultures and underground geographies of creative and digital workers, which are substantially different to other areas of economic activity
- New and imaginative methods for capturing and examining creative and digital work
The broader context for the session relates to our understanding of this broad and emergent area of the economy, which continues to be dominated by traditional research methods, especially those relating to ‘sectors’, ‘occupations’, ‘places’ and ‘spaces’. Yet, there is compelling evidence that this group of activities are shaped, organized and can be better understood, through more imaginative spatial constructs. These workers, more than others, appear to be at the vanguard of a changing economy and society – with new working methods and practices – representing a break with the past, which calls for more nuanced research approaches.
The conveners welcome abstracts of approximately 250 words, which along with paper titles and full contact details should be emailed by Monday 23rd January 2012 to: Rachel (email@example.com) and Oli (firstname.lastname@example.org)
Having secured some funding to study MediaCityUK in-depth, it is a great opportunity to grapple with that old problem of the ‘spaces’ of creative industries. I have always tried to write/research/teach around the intersection of urban geographies and the creative industries, yet it seems that despite much academic literature to the contrary, there remains in the ‘real world’ (for want of a more academically-friendly term) a distinct disconnect between the importance of place (and getting that place right) and creative industry development.
It is perhaps with a little bit of poetic justice that I saw Mark Brittin of Google speak at MediaCityUK two days before Steve Jobs passed away – the message Mark gave was one that Steve had been actively living and preaching pretty much his whole adult life. I’m not going to eulogize about Apple and Jobs here, there are plenty of other blog posts today that will do that (here’s a particularly good one). Instead, I wanted to talk about what that message was, namely the importance of diverse inter-disciplinarity for creativity and innovation.
Having just spent the day at ‘The Impact of MediaCityUK‘, I am left feeling slightly disheartened as to the way in which those in charge of it’s development are orientating themselves. If you know nothing of the MediaCityUK development, then this will all come as a surprise to you, but you can read some background to it on their website, and you can see the headline figures expertly captured by Sarah Hartley (you can also read her thoughts from the Guardian blog, and look, there’s me in the middle of the picture!)
Having just given a keynote talk at the Creative Exchange (slides above, or if you’re browser isn’t letting you see them, click here), it has been a genuinely invigorating experience to talk to and get feedback from creative industry businesses, entrepreneurs and freelance workers. The talks and Q&A sessions all had stimulating content with tangible repercussions for how creative industry business can collaborate, access finance and reach their audience (whoever that may be). You can relive the day through the twitter stream, #CE11.
This article cropped up on my RSS feed this morning which was interesting and relevant enough to tweet about, but thinking about it a bit more, it got me slightly riled, and not just because it’s Clegg. The headline (as is usually the case with these things) is slightly misleading, but nevertheless, his main proposal seems to be to give cities like Liverpool, Manchester and Newcastle the “capital to compete with other cities”. This will presumably be through local enterprise partnerships, that put business leaders at the forefront of policy decision-making. This, by itself, is not a bad idea. In fact, in terms of local economic recovery, it’s quite a good idea as business acumen coupled with local knowledge will encourage wiser investment strategies than would be cooked up in Whitehall. However, what I think Clegg is missing (or more precisely, what the people who tell him what to say have missed) is the fact that the distance between investment and successful development is even further apart in the creative industries than it is in other sectors of the economy. Offering incentives to car manufactures to relocate in a particular region is a fairly straightforward strategy, as long as the labour force is there, it’s a fairly simple equation (negating the complexities of globalisation of course…), but attempting to stimulate the creative industries from a ‘top-down’ approach is a far more risky strategy. The preponderance of SMEs and freelancers in the creative industries creates a complex (socio-)economic regional (more often than not, urban) landscape consisting of social networks, tacit knowledge, informal exchange and untraded interdependencies (to use Economic Geography undergraduate speak). The infusing of everyday knowledge that cannot be codified with more stringent, mechanistic properties of business practices is a synergistic interplay that the creative industries undertake continuously, and, by no means gets it right itself. So why would a local enterprise partnership know any different?
The notion of the cultural quarter is one that has been around for a while, yet is still being refined. Many cities across the UK have initiated the planning and development of a cultural quarter in an attempt to to stimulate growth and attempt to ‘re-vitalise’ the local economy along the lines of culture, the arts and the creative industries. But are they working? Who are they really for? What kinds are there? Who was involved in their development?
Another quick pointer toward Global Urbanist, for whom I have recently written an article. The post briefly discusses the Creative City concept and the problems with ranking them. This forms part of my wider writings on the city, and I will be speaking on the topic in Istanbul in November, so come along if you’re in the area and have don’t have a better offer! This concept will be the subject of my further publications in the future, so watch this space….