Shaping new cultural roles: relationships between artists and industry
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Transcript of Shaping new cultural roles: relationships between artists and industry
Shaping new cultural roles: relationships between creators and industry
Gemma San Cornelio, Ruth Pagès, Antoni Roig,
Universitat Oberta de Catalunya (UOC)
The future of cultural work7 June 2010London, Open University
1) Context: creative practices and new media
2) Art and industry: creativity and innovation
3) Mediators, two case studies:Origin and conditions
4) Analysis of case studies
5) Conclusions
Index
Framework: creative practices and participation in new media
industries artists
Publics, prosumers independent creators
Convergence culture (Jenkins)Creative industries (Hartley)
Co-creativity (Banks, Deuze)
Free laborCreative class
Institutionalization of the bohemia
Conceptualizatio
ns in progress
Conceptualizatio
ns in progress
Industries and artists
Need for growth
Creativity as Innovation
Collaboration Art & Industry
Need for growth
Creativity and talent as Innovation
Collaboration Art & Industry
Relationships between art and industry
Hypothesis
HypothesisConceptualizations of both creativity and innovation shape the structure of such relationships
CREATIVITY
originality (novelty, uniqueness)
effectivity
non-conventional personality
Runco, 2007
'building or producing something from nothing'
Boden, 1994
Romantic, misterious connotations
CREATIVITY
•Price to be paid
•Self-destruction
•Faustic pact (Gardner)
• Risks and resignations
Risks and price to be paid
Sternberg & O'Hara, 2005
Like stock Investment:
buy low and sell high
Sternberg, O'Hara & Lubart 1997 Enterpreneurship risks
Enterpreneurship risks
INNOVATION
Schumpeter 1950
Essential to
capitalism
Essential to
capitalism
Creative destruction
New Bussiness
destroy old ones
CONCEPTS STUDY CASE
Institutes and Universities
RESEARCH
MODEL
Between
Art and
Industry
MEDIATORS
MODEL
Models of collaboration between artists and industries
MEDIA LAB
MODEL
Residence
programs
Mediators: two case studies in Spain
Talent Factory/ Disonancias
Talent Factory
• Program boosted by the Digitalent Foundation (funded by different institutions and private companies).
• ‘Talent Factory’ selects independent creators (talents) to work in their facilities in a personal project. Since 2008.
• The resulting product –a demo- will be sold to the companies that collaborate with the program in order to be produced.
• 3 projects (2 in progress)
Disonancias
• Private company: Grupo Xabide + local governments
• Connect artists with companies (industry in a wide sense).
• Divergentes 2005 (too artistic!)
• Now artists don’t do autonomous artistic projects Work on industry’s demands
• 4 editions / 40 projects+
• Conexiones improbables (new programm)
Origins and context
Conditions of collaboration
Talent Factory
1) CALL FOR PROJECTS (ADRESSED TO CREATORS)
2) PROJECTS AND “TALENTS” ARE CHOSEN
3) COLLABORATION BEGINS
• 3 months initially, currently more
• Working regularly in the Digitalent facilities
• Several meetings during the process (not systematized)
• Addressed to contents // Focused on the results in the digital industry
Disonancias
1) CALL FOR COMPANIES
2) CALL FOR ARTISTS (PROPOSING SOLUTIONS/PROJECTS FOR COMPANIES)
3) COLLABORATION BEGINS
• 9 month alliance (virtual + physical stay of 20 days minimum in the companies)
• Joint meetings at the beginning
• Joint meetings at the end (Spanish tour)
• Addressed to companies // Focused on methodology and process
Conditions of collaboration
Aims and exploitation
Talent Factory
• Feeding industries. Commercial outcome for creative projects -> legitimization as mediators and agents of change.
• Scale economy to creativity (interest in handling an important amount of projects, so distributing fixed costs)
• Systematization of every step in the creative process (wish to obtain an ISO license).
• ‘Radar’/ ‘Interest maps’: it is not clear what is ‘happening’ on the Internet.
Disonancias
• Committed to society (priority of projects socially-oriented)
• Collaborative, multidisciplinary, international vision, hybrid process of research
• Target: Prototype/idea/process responds to the needs of the company
• Create a culture of innovation in the industry. Influence in the conceptual and methodological framework.
• Connected to European Networks of similar projects. “Tillt Europe-Creative Clash”
Aims and bussiness
Talent Factory
• Every contractual relation is unique.
• The Factory owns the exclusive right to sell the project on behalf of the talent for a period of a year after a model/demo has been produced.
• The prospective buyer of the idea/project takes charge of the further expenses of the project.
• After the first year deal, the ‘talent’ gets his/her right back to commercialize the project. In any case, the Foundation would obtain the 5% of revenues of the Project for an unlimited time.
• 12,000€ (fees for work)
Disonancias
1. Non-commercial, share alike: CC
2. Exclusive granting to company - remuneration to artist at fixed rate.
3. Exclusive granting to company - remuneration to artist proportional to exploitation income
4. Exclusive granting to company - except transformation. No remuneration
• 10,000 to 12,000€ (fees for work)
Exploitation of projects
Analysis: conceptual and structural issues
Talent FactoryTALENT AND CREATIVITY
• Attached to “outsiders”. Not related to CV or education.
• Must take place in the digital industries
• Come from different areas and must be shaped.
• Creativity as a changing process, not just an attitude.
• Search creators beyond artistic purposes. But artists are one of their targets.
• Don’t look for ‘free creativity’: ‘participatory open environment’
• Monitored process: ideas should have the potential to be ‘enriched’
• Segregation of creation and production processes.
Disonancias
CREATIVITY AND INNOVATION
• Not the mythical bohemian any more
• BUT-
• ‘thinks out of the box’, ‘comes with unconventional ideas’, ‘breaks our frame of mind’
• Disonance
• Systematizing creativity • From non-useful to profitable • Technical training, team work, new
materials, flexible environments…
Conceptual analysis
• Need for added value based on innovation.• Industry sectors in Spain reticent to innovation -> need for
transformation. The answer: bringing together creators and industries through a mediator agent.
• Starting point: detection of a lack in the industry -> ‘problem-solving’• Capturing creativity and ideas to put in an industry logic.• Romantic view of talented individuals as outsiders.• Distrust on the ‘inertia’ of the creative processes -> Creativity nurtured
trough a strongly directed process (ideas ‘enriched’ by the Factory). And monitorized in the case of Disonancias.
• Short periods. No permanent relation.
• Differentiation between the ‘creator’ and the ‘producers’.(Talent Factory)
• Emotional engaging (Disonancias), and some long-term relationships.• Still to see their impact on economies.
Structural analysis
Conclusions and further research
Ambivalent and contradictory concepts of both creativity, art and industry
Role of artists -> Labour conditions Attractive for governments
Creative processes Equal and fair benefits for both parts
Thank you!