<<  KickStart The Best Places to See in Altai  >>
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the
From Margin to Centre: The Role of Alternative Cultures in the Creative City

: Pollock. , . , From Margin to Centre: The Role of Alternative Cultures in the Creative City.ppt zip- 511 .

From Margin to Centre: The Role of Alternative Cultures in the Creative City

From Margin to Centre: The Role of Alternative Cultures in the Creative City.ppt
1From Margin to Centre: The Role of 34regeneration. Scott links specific support
Alternative Cultures in the Creative City. for CIs with a wider management of the
Dr. Justin OConnor Manchester Institute urban ecology - the symbolic
for Popular Culture Manchester infrastructure of the city. Also a
Metropolitan University. mobilisation of local urban identity -
2Culture central to the contemporary creative cities a narrative, usually
City. Culture-led regeneration The by the city development agencies of local
creative city Creative industries and identity as a cultural resource.
the City. 35Creative Milieux (Peter Hall).
3Culture-led Regeneration. 1980s, city chaotic, structurally unstable, many sided
governments: contracting industrial base, entities; undergoing social and economic
increasing globalisation erosion of the transformation; usually wealthy but with
key traditional competitive functions of abundance of creative talent drawn from
cities. culture as the new fix. social outsiders, often migrant currents;
4New role for culture. global image outsiders needing, like the cities
attraction of footloose capital highly themselves, to react against something,
mobile and highly skilled personnel kick over the traces.
cultural tourists culture also about real 36Hall: Cities and Civilisation. These
investment in the urban fabric. creative cities were societies troubled
5property led approach. subsidised about themselves; they were in a state of
visual and performing arts, museums and tension, of transition forward to new and
heritage new build and refurbishment of unexplored modes of organisation
19th and 20th century industrial societies in the throes of a
structures anchored private sector transformation in social relationships, in
investment into entertainment, leisure and values and in views about the world;
shopping facilities; cafes and creative cities and creative milieux are
restaurants; new type of up-market places of great social and intellectual
accommodation, offices and apartments. turbulence: not comfortable places at
6Problems. Regeneration viewed as all.
physical regeneration at the expense of a 37Alternative Cultures. romanticism
more holistic vision. The big regeneration the rebellious outsider bohemia - the
projects about culture and consumption glamorous outcasts (Wilson) modernism
Cultural consumption generates business, and the avant-garde, struggle against the
enhances property markets, has strong existing order of things. 1960s
image effects, but has limits. counter-culture, via popular culture
7Property-led development. Tends to entered into the mainstream of
involve high capital investment often at contemporary culture.
the expense of the local Blandness, 38In from the margins. 50 and 60s
homogeneity Social exclusion (real and popular culture - more positive and
symbolic) Privatisation of public space democratic spin to Adorno. Culture not the
City centre at expense of suburbs. big corporate but the small independents.
8Property-led Regeneration. rationalising the irrational emphasised
Sustainability Extent of Local Impact the role of independents in the production
economic and social Question of wider of culture Innovation from below, from
benefits to the city - content frequently rebel, the outsider, the rule breaker.
art, of international quality whose 1980s - this culture in from the margins,
culture, whose image? Used instrumentally finds place at the centre of culture, and
with little feeling for the actual of the city.
content. Emphasis on cultural consumption 39Urban Transformation. Emergence of
rather than Production Can be destructive alternative spaces (Zukin - SoHo)
of spaces of creation and production. Movement of artists and cultural
9The Creative City. Culture-led intermediaries resulted in the cultural
regeneration attempt to re-image the city re-valuation of a run down area of the
giving it a greater global profile. Real city - from junk to cool. re-landscaping
creative vision involves much wider and urban renewal not led by planners, but
deeper set of transformations. Re-imaging bottom up micro transformation based on
must involve renegotiation of local cultural vision. symbolic not physical
identity - not just marketing exercise. transformation of the city. Zukin -
10Creative City. About building property developers beneficiaries of this
partnerships, inspiring visions, re-landscaping.
leadership, accepting painful change About 40Re-Landscaping. Wider sense of urban
re-imagining the city, telling a different identity City as a theatre of identity
story about what it was and what it could Wider sense of what the city is, what it
become. might be. Alternative spaces: - Spaces of
11From Cultural to Creative Industries. imagination and new narrative of city,
Adorno Culture Industry: culture as mass 41Manchester Case. Successful use of
production for mass society. Political culture to transform image and urban
economists: Cultural Industries Different landscape Transformation of an older
conditions of production and consumption: identity, reworked through popular
commodity and flow; public and private. culture.
Need for innovation and authenticity; 42Historical background. Manchester
Artists and intermediaries; Risky business shock city of industrialisation Challenge
dealing with unpredictability to Londons economic, political and
rationalising the irrational. cultural dominance Response to challenges
12Cultural industries as new economy. plugged into global transformations
Fordism to Post - fordism mass 1930s in decline though still city of
production to flexible specialisation; Empire 1960-80 - collapse.
National space to global/ local spaces New 43Manchester. Culture-led Regeneration
economy innovation, creativity, Olympic Bid: 1987, 1991 New Partnerships,
flexibility, reflexivity, responsiveness New Visions IRA bomb 1996 New Opportunity,
CIs not longer a remnant of the old but a new networks.
template for the new. 44Museums and Art Galleries. Museum of
13Cultural to creative industries. Science and Industry, Manchester Art
Creative industry DCMS 1998 mapping Gallery, Manchester Museum, Urbis,
document DCMS: individual creativity and Imperial War Museum North, Museum of
exploitation of intellectual property Transport, Pump House Peoples History
rights, creative industries to forefront Museum, Manchester Jewish Museum,
of new economy. Key role of information Whitworth Art Gallery, Cornerhouse, Cube,
and knowledge services within the new Castlefield Gallery, Lowry Centre and a
global system, services based on number of smaller attractions (over 10
creativity and innovation. public art galleries and over 19 private
14Creativity goes mainstream. galleries).
Creativity moved beyond classical 45Theatres. 13 theatres including the
cultural industries Traditional attributes Royal Exchange Theatre, the Palace
of (modernist) artistic production - Theatre, the Opera House, Library Theatre
innovation, intuition, out of the box and the new young people's theatre, The
thinking, rule breaking, rebellion now Contact.
crucial part of new economy as a whole. 46Classical Music. The Bridgewater Hall,
15Why are they growing? Education; Halle Orchestra, BBC Philharmonic,
leisure; disposable income New Manchester Camerata, Goldberg Ensemble,
technologies of creation, distribution and Phappha, Royal Northern College of Music,
consumption Consumption of cultural goods Chethams School of Music, Manchester
as part of lifestyle Cultural component of Music Service, European Opera Centre.
material goods Cultural component of 47Sports Faculties. The Manchester City
service products Information and Stadium, Velodrome, Aquatics Centre and
communication now meshed with symbolic. facilities for tennis, hockey, athletics
16Cultural consumption. 1960s: and squash.
Expressive revolution: transformation of 48Statistics. ?395 millions ( 561M)
western culture Value shifts collective worth investments in the cultural
to individual; from restraint to infrastructure of the city since 1995
self-expression; from duty to 10,483,942 recorded visits were made to
self-realisation. Creativity - reflexive major cultural attractions in 2000/2001
construction of identity Risk; 22,585 people employed in the cultural
responsibility for life choices. sector in the city 4,553,000 visitors
17On production side. Break the 9-5 stayed overnight in Manchester in 1999,
Doing it for yourself Learning by doing contributing 500M million to the
(make it up as you go along) Fluid economy.
boundaries of work and play Portfolio 49
careers Reason and Intuition A new 50
habitus. 51
18Why Cities? Policy agenda was driven 52
at this city level rather than by national 53
governments. CIs held possibilities for 54
de-industrialising cities where 55
innovation, entrepreneurialism, and local 56
vision were key. They could contribute to: 57
Employment Image Sense of vibrancy and 58
cultural richness Wider creativity and 59
innovation Role of subsidised art and 60
culture. 61
19Global economy about networks and 62
flows of capital, information, goods and 63
services, people, ideas, images Cities key 64City Narrative. Original Modern City:
nodes and command centres in global reworked narrative of past and future
networks. Why Cities? (Peter Saville) Shift of emphasis from
20Produce and process knowledge and industrial to urbanistic innovation Drew
information; Harness R&D to new on long standing narratives (first global
business opportunities; Generate new city, entrepreneurial, open to change)
skills and entrepreneurial energy; Provide Drew on popular culture as symbolic of
complex division of labour and wider vibrancy and creativity.
institutional mix of dynamic 65Taylor: A Tale of Two Cities. It is
post-industrial city. Why Cities? this restless flux of the utopias of
21CI and cities. Creativity, innovation, organised labour and the utopian dreams of
competitiveness Flexible, responsive, urban fortunes, won through free trade and
user-driven Complex mix of large and small enterprise, that defines the parameters of
companies; Clusters and networks ideas, local mancunian structure of feeling a
information, support, trust. culture that sees itself as connected up
22commodified cultural production to a larger world and a larger set of
(Scott). high levels of human input: possibilities, rather than simply an
clusters of small companies operating on a industrial city caught within a narrow
project basis; dense flows of information, labour metaphysic..
goods and services; benefits from 66Taylor: A Tale of Two Cities. The
economies of scale in skills sourcing and dominant image of the Mancunian of the
know-how; complex divisions of labour 1990s, of the street-wise scally
(driven especially by new ICT (scallywag) doing business across the
developments) tying people to places. world or profiting from local initiatives
23Why some cities not others? in the entertainment business (the pop
24Why some cities not others? groups of the 1980s Madchester or the
Embeddedness Tacit knowledge Traditions Olympic bid in 1992), we would argue is no
Institutions Atmosphere Local identity overnight invention..
Urbanity. 67Manchester Music. Sex Pistols 1976:
25Art Worlds. Artistic milieus: artists Alternative Space Rave culture: Hacienda
Also intermediaries, impresarios, agents, Madchester: Time Magazine and Olympics The
gallery owners, lawyers, craftspeople, Smiths: reworking the myth/ past slipping
technicians, specialist material suppliers away/ ambiguity love and hate.
etc. cool places, atmosphere, buzz, 68Uses and Abuses. Generated arts
scenes could not just be created - infrastructure Chains not small retailers
organic quality. Cultural Consumption rather than
26Independents. Freelancers and micro production CIs not supported Popular
businesses part of a localised scene, culture under threat from
active consumers, near to the street, commercialisation (e.g. small venues)
insiders knowledge of the volatile and Selective use of popular culture: the
localised logic of cultural consumption excluded and the ignored literacy and
Creative milieus: active consumers became education.
active producers of cultural products; 691. Creative Production and Space. CIs
spaces, people, networks, exemplars, need space and place As much an issue of
experiences, institutions part of the public policy as space for subsidised art
creative assets of a city. Urban ecology increasingly threatened by
27Independents. new sense of cultural culture-led regeneration Private spaces
identity and purpose, New mix of cultural have a public function spaces of
and commercial knowledge New mix of innovation and experiment Creative cities
emotional investment and calculation, of about hard economic choices.
creativity and routinisation, of making 702: Beyond Cultural Policy. Support for
money and making meaning operating in creative production: Not artist centred
risky environment, using networks of trust range of key actors and skills About the
and of information. non-human things organise us Systems
28Independents. New habitus Has to be about structures and autonomous processes
learned - but tacit rather than formal Sometimes about economic muscle and
learning. Tacit, embedded knowledge is regulation.
also part of the creative assets of a 713 The Dark Side. Benign narrative of
city. culture and economics Creative Milieus
29Leadbeater and Oakley. They thrive on mobilised as economic policy. Creativity
easy access to local, tacit know-how a and culture about conflict, unpopular
style, a look, a sound which is not culture, the dark side: does not always
accessible globally. Thus the cultural sit well with policy makers.
industries based on local know-how and 724 Urbanity and modernity. creativity
skills show how cities can negotiate a new linked to the (urban) public sphere and to
accommodation with the global market, in transformations of lifestyle and social
which cultural producers sell into much structure. Creative Milieus involve
larger markets but rely on a distinctive cultural and political questions Can you
and defensible local base. have creativity and innovation
30Creative Urban Ecology. meanings (modernisation) without the more difficult
adhere to the urban landscape - used as modernity that goes with it?
factors in the production of cultural 735 Floridas Creative Class. Is it a
commodities meanings re-assimilated into class in any meaningful sense? Is it
the urban landscape, acting as a source simply about new forms of consumption and
of inputs to new rounds of cultural gentrification? Does it benefit a new
production and commercialisation, and a elite at the expense of the urban
further enrichment of the urban population as a whole? Does it benefit the
landscape. city at the expense of the country?
31Scott. Cultural production and 746 Creativity. Creativity based on
consumption transform the landscape of the modernism not traditional cultural
city through its shopping malls, values golden mean, middle way, balance,
restaurants and caf?s, clubs, theatres, slow acquisition of skills, discipline
galleries, boutiques. etc. These values stripped away by
32Scott. This revitalisation of the discourse of creativity Endless
symbolic content of cities draws in city innovation mirror of capitalism (all
governments, link these transformations that is solid melts into air).
with ambitious public efforts of urban 756 Creativity. Creativity as absolute
rehabilitation in the attempt to enhance human right or ideology? What, could
local prestige, increase property values creativity be a bad thing?
and attract new investments and jobs. 767 Threats. Instrumentalisation of
33Scott. Their survival can be further culture Collapse of culture into economic
assured where policy makers at production policy Homogenisation, globalisation and
locals are able to work out effective erosion of local production New work
systems for the provision of co-ordination culture Modernity: danger and opportunity!
and steering services directed to the 77Final thought. Cities are divisions
amplification of these agglomeration of labour and an imaginative work How do
economies. these work with each other?
34Creative City, Narratives of
From Margin to Centre: The Role of Alternative Cultures in the Creative City.ppt
http://900igr.net/kartinka/anglijskij-jazyk/from-margin-to-centre-the-role-of-alternative-cultures-in-the-creative-city-97086.html
c

From Margin to Centre: The Role of Alternative Cultures in the Creative City

From Margin to Centre: The Role of Alternative Cultures in the Creative City

City Ukraine - The cities of Ukraine. From 1918 to 1934 years Kharkov was the official capital of Ukraine. Dnepropetrovsk Dnepropetrovsk is a dynamic and lively city. Odessa is situated at the Black Sea coast. Sources. It is a very important port and one of the most beautiful cities in Ukraine .

The english-speaking countries - Disneyland. Great Britain. Australia. USA. The English-speaking countries. Scotland.

City London - The City of London. If you are fond of painting you'll go to the Tate Gallery. The best place in world! Museums and art galleries of London. The 1700s the Queen's Residence was a gift from Henry Ford. The West End. Tower of London. Here are the historical places as well as the famous parks. To the east the large area called the East End.

London city - What is the City of London? THE WORLD LAGEST PORT. It forms a kind of circle with a radius from fifteen to twenty miles. That was before the Romans came. __________________________. Deserted, it, at night, almost, is. CITY OF LONDON. Try again! LONDON. Where is a fashionable shopping and entertainment centre situated?

The green movement - Their features. National offices Green Peace are opened in 43 countries of the world as the independent units working over achievement of the purposes of the national projects. Management of each such branch in which head there is a chief executive, carries out national board. "Green" movement in the world.

The animals - The animals which live in a SAVANNA. FOX. The animals which live in the OCEAN. GIRAFFE. PANDA. POLAR BEAR. The animals which live in the desert. BISON. FISH. The ANIMALS of our planet. SQUIRREL. The animals which live in Australia. ZEBRA. KANGAROO. CAMEL. SEAL. GORILLA. LION. WHALE. PENGUIN. SNAKE. TIGER.

14

29
900igr.net > > > From Margin to Centre: The Role of Alternative Cultures in the Creative City