© 2007 Cultural and Social Entrepreneurship, Nätverkstan. All Rights Reserved.
Hey you! Read our RSS-feed!
Never before have cultural journals been in the centre of the debate in Swedish media.
After the decision of the State Cultural Committee (Kulturutskottet) to cut the budget of the cultural journals with nearly 80%, the debate has been roaring.
Everyone: Cultural critics, journalists, writers; politicians from left to right (yes, even colleagues to Chair of the Committee, Per Bill, in the Conservative party have raised furious voices); professional organizations and interest groups, are writing articles, debating and arguing.
The decision has still not been changed to save the cultural journals.
But the Culture Minister who after the new election in March 2015 decides to reintroduce or even raise the support for the journals can only win. For a very small sum of money, this minister will gain respect and will be remembered as the one who saved the public critical dialogue and debate in Sweden.
Categories: Art Artistic practice Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Democracy Digitization Distribution Economy Education Entrepreneurship Innovation Literature Regional Development
Etiketter:Artist, Artistic practice, Creativity, Cultural economy, Cultural Journal, Cultural Policy, Cultural Project, Democracy, Development, Digitization, Distribution, Economy, Employment, Entrepreneurship, Literature, New economy, Social entrepreneur
”A whole segment of critical debate is erased (…)” describes editor and critic Kim West in an article in Kunstkritikk where he writes about the outrage that hit Sweden on Friday (December 12th).
The coalition of Liberal-Conservatives is cutting the support for the rich variety of cultural journals in Sweden by around 80%. This means a whole art form is being closed down and killed. In one stroke of the red pen. No other European country has done the same.
This is possible due to the dramatic development in Swedish politics the last few weeks where the Sweden Democrats decided to vote for the opposition party’s budget, instead of the ruling left-wing coalition’s budget. This meant that the government’s budget didn’t win the election in parliament and therefore has to rule on the opposition party’s budget in waiting for the new election on March 22 2015.
And apparently the coalition of Liberal and Conservatives now take the chance to fulfil cuts of 365 million SEK in the cultural budget. 15 million SEK of these are being cut in one area specifically: cultural journals. The support for this area is 19 million SEK in total today, cutting 15 million SEK of these leaves 4 million SEK left.
This means that a whole sector is sentenced to a sure death.
Cultural journals are already living on the economic edge. Editors, writers, and critics are getting very low payment for their articles. These people are magicians who have dedicated their time to make sure that critical journalism and quality texts are still produced. The wide variety of critical and intensifying perspectives have been a pride in Swedish democracy. The Liberal-Conservatives showed on Friday how easily this could be ruined.
This is also done in a time when the media crisis is being discussed (just lately in three articles in the daily Göteborgs-Posten), newspapers are closing down their cultural pages, and critical and culture journalism is being severely threatened.
These times calls for action!
Sign this petition just to start with: Rädda Kulturtidskriftsstödet (Save the support for cultural journals).
Categories: Art Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Democracy Distribution Economy Entrepreneurship Innovation Literature Regional Development Reports, articles and books
Etiketter:Artist, Artistic practice, Creativity, Cultural economy, Cultural Journal, Cultural Policy, Cultural Project, Democracy, Development, Distribution, Economy, Education, Employment, Entrepreneur, Literature, Research, Social entrepreneur
The final semester of the two-year International Culture Project Management Training Program, Kulturverkstan, youdo an internship at an cultural och social organization, or run your own project. The internship is prepared thoroughly with planning classes and where you decide a theme or question you would like to look into during the internship.
This adds up to a public presentation in the end of the semester with invited guests, discussion partners and (or) opponents. This year’s addition of the presentations held the same high quality as last year, with interesting topics such as Cultural Heritage and Digitization; Food Trucks’ introduction to Göteborg; Art, status, and conditions; The concept
of class – is this still relevant?; Alternative forms of exhibitions; and many more (read more here).
The last thing to do is Wednseday’s graduation party and then we will meet 35 new excellent Cultural Project Managers out there!
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Democracy Digitization Distribution Economy Education Entrepreneurship Innovation Kulturverkstan Seminar
In the middle of the roaring debate on the future of Lagerhuset, the Warehouse, a building in central Göteborg housing small-scale independent cultural organizations, publishers, and cultural journals, the digital journal Alba and Tidskriftsverkstan i Väst arranged a debate on cultural policy in the House of Literature (located in Lagerhuset).
It couldn’t be better timing.
But let’s start from the beginning. The old warehouse built in beginning of 1900 was for a long time a toll free warehouse for goods stored waiting for taxation to continue into the city. The building was then empty for a long time but in 1999 a group of small-scale publishers moved in together with Nätverkstan, Tidskriftsverkstan i Väst, the journals Ord&Bild, Glänta, and Paletten.
Other small businesses moved in, such as photographers, psychologists, architects, and editors.
In 2013 Frilagret started its cultural space for young people with dialogue processes and an active group of young cultural-interested people setting the agenda, an organization owned by the municipality. In October the same year the House of Literature opened its doors for readings, discussions on literature, space for writing, debates and discussions with authors, another of the municipality owned activities in the building.
And in March 2014 it was clear that the landlord, another part of the municipality, their own real-estate company Higab is chock-raising the rent for those in the house negotiating their contracts. One publishing house is leaving already in June.
The cluster of small-scale cultural organizations and entrepreneurs has taking long to create. And it can be destroyed in a second. No one can afford 30-35% higher rent.
With one hand the municipality is investing in a cultural house, while the other is pulling the rug under the feet of all the cultural organizations already in the building.
Of all the seminars, conferences, public debates and discussions on the cultural and creative city over the last ten years, Higab must have missed them all.
And they missed yesterday’s debate as well. Where are they? Are they at all concerned of the context and society they work in?
Categories: Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Economy Entrepreneurship Innovation Literature Medialab Music Nätverkstan Regional Development
Etiketter:Artist, Artistic practice, Creative Industries, Creativity, crisis, Cultural economy, Cultural Policy, Cultural Project, Development, Economy, Education, Entrepreneur, Entrepreneurship, Literature, Renewal, Social entrepreneur
When Judy Ogana takes the floor to welcome us all, the warmth and pride shines in her face. In the audience are friends, colleagues and partners from East Africa and abroad gathered to celebrate the 10 year anniversary of the GoDown Arts Centre in Nairobi together with her, Joy Mboya, and the rest of the staff.
The story of the Godown is impressive, and as Joy Mboya takes us through the vision, steps, ideas, persistence, you realize that this is what running a cultural organization is about: the awareness of the context and society you are part of and your role in it; the dedication for building a strong, vivid, interesting cultural scene; empowerment with capacity-building on the grass-root level; participation, sharing, and networking.
Joy Mboya lifts a few aspects that has been especially important in the GoDown success, which she describes as ”some steps of victory and some steps of challenges”:
1. Getting a space; a multidisciplinary center for the local art and cultural scene in the local community
2. The regional linkages with colleagues in East Africa
3. The strategic plan 2005-2007 as a tool which also set the aim to create a public, innovative, dynamic, and vibrant space
4. Training and development, mobility, exchange, and exposure
5. A strong community orientation
6. Being a mirror of society. The post-election violence in 2007 was a starting-point where the exhibition Kenya Burnings was important. The need for artists to look back and reflect on what’s happening in society.
7. Sustainability and capacity-building focus on artist livelihood
8. Discourse and research
9. The role of cultural spaces in urban living
10. The Creative Entrepreneurship Programme
After the celebrations and the outline of the GoDown Arts Centre’s history and important steps, the East Africa Arts Summit continued discussions with focus on how networking, sharing knowledge, and building a strong art and cultural scene on a regional level could be enhanced.
Nätverkstan and the GoDown Arts Center have been cooperating on capacity-building since 2009, support has been mainly from the Swedish Institute Creative Force programme.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Democracy Economy Education Entrepreneurship Innovation International Kenya Leadership Regional Development
Today the Scene for Literature opened, or the Literature House, as Madeleine Bergmark put it in her opening speech of the inauguration in Lagerhuset (Warehouse).
The road to a new literary scene in Göteborg has been bumpy and particularly around where it should be located. Should a new house be built or is it a better idea to let it rest among already existing initiatives? And if so, with which existing scene? Glances were sent to Norway, where an ambitious new House for Literature in Oslo was opened in 2007.
In 2011 Ingrid Elam, a well-known literature critic in Sweden, got the assignment from the Administration of Culture in the City of Göteborg to investigate the possibilities of establishing a House for Literature in Göteborg.
The reason was that the conditions for literature are changing in a rapid pace and establishing a scene for literature seemed like a proper cultural policy action (also on state level this was done in 2012, a public investigation called Läsandets kultur, Culture of Reading).
Ingrid Elam came to four different suggestions, where two of them was weighing pros and cons of building a new house or building on already existing initiatives with focus on the independent and small-scale literary scene.
Lagerhuset (Warehouse), an old warehouse in central Göteborg right by the canal, for many felt like the natural location for a scene for literature. The building is already part of a vivid small-scale and independent cultural and literary scene housing several cultural journals and small publishing houses; a larger membership-based production space for journals; the Poetry Festival; education; and in the ground floor the scene for young creators, Frilagret. It’s a house that since 1999 host small cultural organizations with focus on cultural journals and literature.
It was also one of Ingrid Elam’s four suggestions, although not the main proposal. The Cultural Committee decided to place the House for Literature in an already existing structure: Lagerhuset. The House is organizationally under the City Library, they got two trial years and 1 million SEK (approximately 116000 euro) per year. Then the idea is that the independent scene in Göteborg takes over.
Categories: Art Art and Business Artistic practice Blogg Creative Industries Creative spaces Cultural Journals Cultural Policy Culture-led Development Economy Education Entrepreneurship Innovation Kulturverkstan Literature Medialab Music
Göteborg is the host city of one of the biggest book fairs in Northern Europe. The latest years, the need of finding another positioning has evolved and to meet this need Mediadagarna – The Media Days fires off for the second year in a row.
Nätverkstan and Kulturchock, who work vividly with different ideas and initiatives to meet up the needs of the cultural journals, see this platform as one way of putting the Swedish cultural journals on the map.
We are already convinced of the multi-dimensional spread in content as well as subjects presented in the printed cultural journals and their role in Swedish democracy. What we had not digged deeper into before was the sound of them. What would they sound like if it was sound? We decided to build a sound installation in order to make them ”speak” in a new way.
From an old portable typewriter you hear the sound of typings from laptops as well as manual key buttons in a mxi with lead pencils writing on paper. ”Typings” is a 7`48”tape recording played in a loop.
From the headphones attached to the installation play a variation of sound samples from cultural magazines that work with additional formats as sound. Some do radio, talking magazines or present sound art works along with their releases. For this special occasion we also did a special recording of a young girl reading poetry from the arty, literary, and philosophic edition of OEI.
Text and photo: Helena Persson
The new year and our new cultural strategic assignment kick started with a seminar at Vara Concert Hall, focused on the topic of streamed culture, last Thursday. The Swedish government has marked digitalization as an important way for culture to reach a wider audience (read here). Vara Concert Hall celebrates their 10th anniversary this fall and together with Nätverkstan they are now in the process of implementing technology and procedures to start live streaming their events. Their aim is completely in line with the thoughts from the Swedish government – especially to reach people not able to come to the cultural events, in places such as prisons, homes for the old and hospitals.
The first action in our mutual project was to identify and invite the most prominent organizations in the field to a hearing. Our aim has always been to support the small and independent organizations and we are glad that Vara Concert Hall shares this belief. Together, we also believe that sharing knowledge and solutions strengthens the efforts made, and that this is especially true in the complex field of digitalizations where new technology is introduced almost on a daily basis. The procurement of digital services is an intricate matter and smaller organizations often make mistakes in the process – which in turn means that tax money is wrongly spent on expensive and short lived solutions.
The keynote speakers were Urban Ward from Gothenburg Symphony Orchestra, Ulrik Flood from Digital Live Arena, Peo Thyrén from STIMand Johannes Nebel from Play Kultur. In the audience were representatives from the Swedish Arts Council, Kultur i Väst, Kultursekretariatet i Västra Götaland as well as people from cinemas and smaller cultural organizations. Moderator for the hearing (and project manager for Vara Live Stream) was Leif Eriksson from Nätverkstan.
Magnus Lemark from the Swedish Arts Council remarked that this hearing is a running start for them, as they have just been handed the assignment from the Swedish Government, to help the Swedish cultural sector over the digital threshold. And Johannes Nebel agreed that this kind of meetings to share knowledge is the best way to get knowledge and tackle new complex investments. He also said that the main problem for digital material is distribution, and that Sweden lacks the kind of marketplaces that focus solely on culture. Play Kultur was started with exactly this in mind, to become the first portal for live streamed and archived material on performing arts.
We hope that Johannes last words from the hearing gives echo and they will certainly work inspiring for our own efforts: ”Västra Götaland now has the chance to be the first region in Sweden to show how coordination of digital efforts works.”
Our cooperation with Vara Concert Hall continues, and knowledge produced within the project will be made public in a conference later this fall. But we are also open to smaller hearings in the region and we especially look forward to the 20th of May, when GSO and Play Kultur are hosting a seminar in Gothenburg. Cooperation makes us stronger!
By Carl Forsberg, Head of Medialab and Technique at Nätverkstan
It’s almost unbearable to read.
Belarus writer Svetlana Aleksijevitj’s book with Swedish title Kriget har inget kvinnligt ansikte (The war doesn’t have a female face, my translation) is a remarkable project that took her years to finish. She has interviewed women all around Russia, Ukraine, Belarus, has loads of cassette tapes where these now elderly women tell their horrifying stories of joining the army at ages 16–18 years and the hardships and terrifying work as snipers, nurses, pilots, military seargents, soldiers, engineers, and as members of the partisans and resistance movement.
Women’s role in the military during the Second World War in Russia has never been highlighted. They continued their life after the war, bearing their sorrows, trying to forget while the victory of the war has been contributed men. Aleksijevitj wants to let them be heard, wants to tell their stories, the choices they had to make, their everyday struggles in the war, in life, as daughters, wives, mothers, and soldiers.
At points I have to put it aside, but then I pick it up again. I’m obliged to listen to these women and what they went through during the war and nine hundred days of siege of Leningrad (St Petersburg) by the nazists during 1941-1944. Swedish journalist Ulrika Knutson writes in her resumé in Expressen last week that if you only read one book this year, this should be the one.
I read it as I am on my way to St Petersburg to speak on a seminar about women creativity. I am shaken.
Nätverkstan has been invited to St Petersburg to speak in connection to the opening of the exhibition Creative Women on October 23, exhibiting Inventions from Swedish women.
The exhibition is an initiative by Tekniska Museet (The Swedish National Museum of Science and Technology) where Museum Director Ann Follin realized when looking through the 55.000 objects in their collection that only 100 of these were made by women. It also showed when looking deeper that of all patent applications in Sweden only five percent came from women.
This raised questions of whether women are less inventive than men? Or perhaps less creative?
They didn’t believe this to be true and put together the exhibition of women inventors, an exhibition that in cooperation with Swedish Institute has toured to around ten different countries raising questions of the role of women in innovation.
The St Petersburg-based organisation Social and Economic Institute arranges the seminar inviting a Swedish and a Russian speaker. Olga Gracheva gave a very interesting contribution of the NGO Kaykino Creative Projects she just started two years ago with the aim of promoting and develop interest for the rural area around St Petersburg. An amazing initiative.
The women in the book are with me.
The only connection between these two things is that it’s about women and their hidden voices. Women in 1940s and women in 2012.
Swedish Institute supports the seminar and project, host organization in St Petersburg (run by two charismatic women) is the Social and Economic Institute, an institute focussing on educational initiatives, projects, conferences, and exchanges of experiences between women in the world. The exhibition is shown at the Water Museum, a museum examining the role of water with both an educational and interactive part for children and an open part for the public.
Svetlana Aleksijevit’s book ”Kriget har inget kvinnligt ansikte” is translated by Kajsa Öberg Lindsten (Ersatz 2012).
One of the success stories of Stanford University, with it’s premises in Silicon Valley outside San Francisco (US), is, it’s said, to be its close relation to the businesses in Silicon Valley. It’s a symbiotic relationship. They nurture each other and many success business stories have started at Stanford; Google, Facebook, Instagram, Apple, Hewlett-Packard.
Leland Stanford, a Republican governor in the late 1800s and who made a fortune from Central Pacific and Southern Pacific railroads, and his wife decided to found a University in their late son’s name. Stanford University opened its doors in 1891 and the device was that the University should not become an ivory tower, but ”qualify students for personal success, and direct usefulness in life”. From the start, the close relationship to private funding, corporate research funds, and venture capital for start-ups, first for innovations in radio and broadcast media to todays digital technology, has been a base for the University.
The story can be read in The New Yorker (April 30, 2012) and gives an interesting light on the success story behind business ideas developed at Stanford and the philosophy behind it. But also the dangers of such a focus on success and making money.
The campus life and the atmosphere at Stanford is described as open to ideas, easy going, ”people are willing to try things”, risk-taking, access to venture and risk capital, creative. But there are also questions raised if Stanford has the right balance between commerce and learning, between getting skills to make it and intellectual discovery for its own sake? Is corporate money stearing research priorities?
David Kennedy, a Pulitzer Prize-winning historian, who has also taught for many years at Stanford, express his worries that students uncritically incorporate the possibilities of Silicon Valley, but it’s a lack of students devoted to the liberal arts and the idea of pure learning. The one and simple question stearing choices is: What will I get out of it?
The philosophy now promoted at Stanford is the ”interdisciplinary education” and getting students to become ”T-shaped”, that is they have depth in a particular field of study and breadth across multiple disciplines. Social skills are put forward and an effort is to put together students with different majors (engineering, business, medicine, science, design) to together solve real or abstract problems.
David Kelley, the founder of design firm IDEO, is also director of Institute fo Design at Stanford (d.school), and is driven by the mission to lift empathy in his students. He wants the students to learn to see the human side of the challenges posed in class and that way provoke creativity.
Still, fewer students get into liberal arts and humanities and many become, as said by a senior Miles Unterreiner, ”slaves to the dictates of a hoped-for future”. Students become instrumental and only get majors in subjects that lead to jobs, something also supported by Universities.
It’s an interesting development. Reading Steve Jobs story and listening to many of his talks, he puts two processes next to each other as crucial for his success: The development of technology and the liberal arts.
The post is based on the article in The New Yorker (April 30, 2012) ”Annals of higher education. Get rich U.There are no walls between Stanford and Silicon Valley. Should there be?” by Ken Auletta. The photo is from a TED talk on the web.
Read more from posts on IDEO, San Francisco, and the Arts from our visit in 2008 here and posts on other interesting US visits here. Read also here the report from Svenskt Näringsliv which last year promoted less money to humanity education in Sweden, a very criticized report.
Under the crystal chandeliers in Stora Teatern, a theatre built 1859 in centre of Göteborg and with walls whispering of wonderful operas, musicals and ballets during its golden days as the musical scene in Göteborg, Italian Economist Pier Luigi Sacco and Director Christer Gustafsson talked about the role of art and culture for society development on Saturday (25th of February).
It is madness, Pier Luigi Sacco stated, what many European leaders are doing at the moment cutting cultural budgets. Art and culture is the main raw material for innovation, well-being, health and development. And he backs his arguments with research and cross-testing inquiries in different matrices. It shows for example that going to a classical concert may well have give you a longer more healthy life.
His main argument is ”active cultural participation” and he shows the innovation index shown on this page (18th of February) and puts it next to another ranking: Active cultural participation Eurobarometer. In both rankings Sweden is ranked number one. When putting these two independently done rankings next to each other, it could mean that active cultural participation has an effect on a country’s ability for innovation. If you argue for putting public money to boost innovation, make sure to also invest money in local theatre groups, music training, or different dance centres from young age and up.
Pier Luigi Sacco has a system-based method of understanding and analysis a city or region. This has been done in many places, among them he was a consultant for Vancouver (Canada) in forming a cultural strategy: The Power of Arts in Vancouver. Creating a Great City.
Christer Gustafsson is now working with the same method in the region of Halland, a region in between the two large regions Region Västra Götaland and Skåne. The placement might feel a bit squeezed at times, but this system-based and culture-led way of development is new for Sweden, Halland, and Kulturmiljö Halland, is in the forefront of these discussions. It’s about culture-led regional economic and social development.
Culture and art is the core. It’s the ”soft-ware”. The major raw material to build on.
Download the presentation of Pier Luigi Sacco (English) here: Sacco, Halmstad-Goteborg.pdf. Christer Gustafsson presentation (Swedish) can be found here:Stora teatern, Göteborg, 25 februari 2012.pdf .
Pier Luigi Sacco also visited the Conference arranged by Generator last year. And listen to an interview on youtube here done by the European network Encatc. You find another blogpost on the seminar (Swedish) here.
The seminar was an arrangement by Västra Götaland, the think tank Kombinator, in cooperation with Kulturmiljö Halland and Nätverkstan.
Etiketter:Artistic practice, Creative Industries, Creativity, Cultural economy, Cultural Policy, Cultural Project, Development, Digitization, Economy, Entrepreneur, Entrepreneurship, Innovation, New economy, Västra Götaland
The Encatc 19th Annual Conference in Helsinki was focusing on the future this year.
”A wind of change is blowing over our societies and reshaping our political, social and cultural paradigms. Increased urbanization, uneven social redistribution, a digital shift and an array of new audiences accessible mainly with the use of new technological tools – these are motors of change which provide as many challenges as they do opportunities.”
In a mix of key note speakers such as Saara L. Tallas, IKEA Professor in Business Studies in School of Business and Design, Linnaeus University (Sweden); Katri Halonen, acting head of degree program in Cultural management at Metropolia University of Applied Sciences; and Lidia Varbanonva, consultant, researcher and lecturer was mixed with intense group discussions on different topics. Encatc thematic areas had workshops within their specific themes as well as room for young researchers and research presentations.
Although the financial crisis hovered above like an evil cloud, optimistic thoughts were exchanged on the future of culture and its possibilities.
Read more of the conference here.
Etiketter:Creative Industries, Creativity, crisis, Cultural economy, Cultural Policy, Cultural Project, Development, Digitization, Economy, Education, Encatc, Entrepreneur, Entrepreneurship, Innovation, Social entrepreneur
Steve Jobs giving a speech at Stanford University on June 12, 2005, on his life lessons. Three stories from his life; the story of connecting the dots, love and loss, and about death.
Have a look at Steve Jobs speech here.
On Saturday the 20:th of august Carl Forsberg and Olav Fumarola Unsgaard had a public talk at the city festival of Malmö. The topic was about digital publishing. Our analysis is that we are entering a more complex ecosystem of texts. The traditional printed media is going to be complemented by at least four different types of digital texts:
• The digital book (today usually an E-pug file read in an E-reader)
• The text as an pdf-file
• Texts on the internet (homepages and blogs at the www)
• Applications (small programs read on a smartphone or a tablet computer)
Nätverkstans aim is to help, guide and provide the Swedish journals with guidance and solutions for this complex ecosystem of texts. Our latest project is to develop an iPhone application for the journal Ord&Bild. It is now available for downloading at Apples iTune store: http://itunes.apple.com/se/app/tidskriften-ord-bild/id447773438?mt=8.
The aim of creating this application is that the journals need an application based on their needs and economical conditions. Programming an application is still quite costly and no single Swedish cultural journal has the budget doing it themselves. Our idea is that Nätverkstan can lower the cost for the journals by doing a great part of the development work (if you are interested, please contact: firstname.lastname@example.org). The event was visited by 40 persons with quite different knowledge of digital publishing. Some where publishers and some saw an iPad for the first time.
Nätverkstans other work at the festival was mainly concerned about promotion of the different journals. We where present at the café Cacaofoni and at St Petri.
Text: Olav Fumarola Unsgaard
Photo: Helena Persson
With a first-quarter GDP in US showing an increase of only 1.8 percent (less than expected 3 percent), declining housing prices, less consumption, an unemployment rate on 9.1 percent (in May only 54.000 new jobs were created), Rana Foroohar argues in Time (June 20 2011) it is time to kill the five most destructive myths of the US Economy:
1) This is a temporary blip, and then it’s full steam ahead
2) We can buy our way out of all this
3) The private sector will make it all better
4) We’ll pack up and move for new jobs
5) Entrepreneurs are the foundation of the economy
Both Republicans and Democrats are pursuing these myths of how the economy will recover, she writes. Instead a different path of growth has to be established rather than continue to believe in these five points.
Under the last myth the point is made that a good system of technical colleges are needed which will require a ”frank conversation” about the four-year liberal arts degree that may well leave the graduates overleveraged and underemployed.
A few thoughts come to mind.
The cultural field is highly entrepreneurial, cultural practitioners are entrepreneurs. In Europe many believe that it is in the creative industries where new jobs will be created. Maybe it is a bit hopeful; the sector is still a comparably small field. But it is growing.
If you read formal reports on unemployment rate within the art field, it does look depressing. But these figures need always to be read and analyzed together with other formal reports from other areas. Many studies show figures pointing at the cultural field as a growing field. Not in comparison with the large car industries as we use to know them, or perhaps the telecom industry. Yet important. The easy conclusion is that artists are over-represented in society. But reports and statistics are pointing in opposing directions (read more here).
Reading another report by the well-known Italian economist Pier Luigi Sacco, another interesting association is put forward to bear in mind. He puts two ranking tables next to each other: One ranking innovation in EU15 countries (2008) and one ranking Active Artistic Participation (EU15 2007).
And he notes:
”It is interesting to notice that the association is established between innovative capacity at the country level and active cultural participation at the same level. This is of course a preliminary piece of evidence, but it seems to suggests that the mechanisms discussed above seem to mirror into data more clearly than one could expect.”
It looks as if active participation in art has a correlation with the innovative capacity of a country. If this is right, we need a large flow of well-educated and professional artists from liberal arts Universities as well as easy access to practice art from a young age. Specifically, that is, if a country wants to ensure high innovation capacity.
Download Pier Luigi Sacco’s report here: pl-sacco-culture-3-0-ccis-local-and-regional-development-2.pdf.
Do you know the price of oil? Could you tell the eight Millenium goals set in 2000?
Venu Dhupa, Director Creative Development at Creative Scotland, starts with a quiz with the audience. We live in a globalized world and as leaders of cultural institutions it is necessary with a global perspective.
”Institutionally we are out of touch” and the question Venu Dhupa asks is: ”Are you looking for people just managing things or are you looking for leaders?”
Other skills are important for leaders such as ability to deal with uncertainty, question and reflection, perspective, a sense of place in the world and sense of value,
A series of two seminars took place recently, the first at Kulturhuset in Stockholm led by Sune Nordgren, and the second at Hanaholmen – Hanasaari kulturcentrum in Helsinki, to discuss leadership within cultural institutions and small organizations with guest speaker Venu Dhupa.
The seminars were arranged in cooperation between Kulturhuset Stockholm, Hanaholmen – Hanasaari Kulturcentrum, Kulturfonden för Sverige och Finland, Cultural Leadership Award in Sweden and Nätverkstan.
Nätverkstan has for some time worked on a Eurozine application for iPhone and iPad. For this project we have developed a cooperation with partners in Bangalore, a newly formed company which, inspired by our profile, decided to name their enterprise Namnätverkstan.
The 23rd conference of the Eurozine network, 13-16 of May in Linz, Austria, was organized under the theme Changing media – Media in change. For this conference, representatives of both Nätverkstan (David Karlsson and myself) and Namnätverkstan (Anand Varadaraj) were invited to present our results so far. We were given the opportunity to take part in a panel discussion with Simon Worthington, editor of Mute magazine, and moderated by the editor in chief of Eurozine, Carl Henrik Fredriksson. It felt really rewarding to present the audience, some of Europe’s most distinguished editors of culture journals, with a fully working iOS application that could be viewed both through simulator on a large projector screen and hands on, on our devices. We also gave a quick overview on how to work our online backend with wysiwyg editor. It became very apparent that many of the journals were interested in the project.
However, even if the presentation was a major milestone for us who have been involved in the project, our workshop was only a small part of the immensly interesting conference programme. The opening speech by Khaled Hroub, on one of the mega stories of 2011: The arab spring, really set the tone for the rest of the days. His reflections on the demographic and social changes in the arab countries for the last decades and his thoughts on the impact of both Al-Jazeera and social media in the current situation were also complemented the following day by the statement:
”The Facebook revolution or the WikiLeaks revolution is a colonial fantasy, a narcissit projection of the West”.
This viewpoint was certainly not left uncontested in the vivid talks the were held in and around the seminars.
And so we discussed, debated and dined through three days of conference – professionally organzied by the Eurozine administration, generously hosted by the Lentos art museum and Linz municipality. It is hard to imagine a better crowd to give response to our endeveours in the publishing field. We have strong hopes for a continued fruitful cooperation.
Text: Carl Forsberg, manager of Mediaverkstäderna (Medialabs) at Nätverkstan.
Read a note in the Swedish daily Svenska Dagbladet about the app development at Nätverkstan here.
It may sound like a futuristic, or even slightly crazy project, to travel from Gothenburg to Bangalore in search of a developer that could build a framework iPhone application, a white label, for Swedish cultural journals. But we did it anyway.
Nätverkstan has been providing services like accounting and distribution to cultural journals for over a decade. We were among the first organizations in the cultural sector in Sweden to host our own web server and we have always tried to use new technology to empower the small-scale publisher. It is about time we find a way to get the cultural journals their own applications. And we need to find the right solutions, cheap but still meaningful and user friendly.
Why Bangalore? Are there really no able developers in Sweden? Of course there are, and we have talked to some of them. And we have learnt a lot, especially by hosting our own online bookstore, Samlade skrifter. But through Västra Götaland’s strategic cooperation with the Karnataka region, we have been able to assist in the development of our first international subsidiary company, NamNätverkstan, based in Bangalore. It is our aspiration that the project to develop applications for Swedish cultural magazines could be our first cooperation. Our colleague in Bangalore, Anand Varadaraj, has been immensely helpful in setting up meetings.
And it was in Bangalore that the IT-revolution really started in the 80s. Try googling Infosys, if you haven’t already heard of them. In every nook and corner of Bangalore, young engineers, many of whom started their career at Infosys, now emerge as entrepreneurs of their own. Many of them work in the explosive mobile sector. For an organization looking to learn more of mobile applications and to develop for their clients, like us, it feels like coming home.
After an early morning arrival, some hours of sleep and a late breakfast, we set of to our first meeting with a company, Mobisy. From what we could learn from their website they had developed a really interesting platform called Mobitop, enabling them to port standard web development script languages to all the major mobile platforms. Impressive indeed! We were equally impressed with their young CEO Lalit, who immediately understood our needs and raised a few interesting questions of usage and further development.
To be continued…
Text: Carl Forsberg, Nätverkstan
It looks like the politics on creative industries started by the New Labour in 1997 has come to an end. The incentives started in the late 90s were new and has contributed to create a market for small-scale cultural businesses, models that have been exported in Europe, all the way to Shanghai in Far East. UK has long been seen as the cradle of creative industries.
When Chris Smith was appointed by Tony Blair in 1997 to be Secretary of State for Culture, Media and Sports, he could continue a process started in the 80s centred around Greater London Council (GLC). GLC described the cultural scene in London as the new ”industry” being important for creativity, social inclusion and economy. It was an attempt to describe cultural initiatives as the new industry and redefine a term first used by the two critical theorists Horkheimer and Adorno. The two were upon their arrival to the US in the 1940s chocked by how popular culture was produced in almost a factory way producing standardized culture goods. It was like an industry, they said in disgust.
The Greater London Council changed the understanding of cultural industries in the 90s, to instead describe the small-scale, cooking, multi-skilled cultural life with a potential and importance for the economy in London. Chris Smith could pick up and continue on this road, creative industries have grown and has become an important part of society and, many reports have confirmed, contribute in a substantial way to economy.
This is an epoch now being buried. Tomorrow (Wednesday, Oct 20) is Axe Wednesday, as it has been called in UK, where the government will announce massive cuts in all sectors of society. TV-news is showing expected figures of 500.000 public jobs being lost. Culture is expecting around 40% cuts in funding.
Two large factors have completely reshaped the scene: The financial crisis and the Conservative government.
The present government is reinterpreting creative industries to mainly concern media, dismantling what most understand as the large contribution of cultural industries; social inclusion, regional development, and labour market.
Several effects are expected in the cultural field, such as a total dismantling of cultural policy where for example the Film Commission has seen its last days, a complete dismantling of the regional level, a probable redefining and change of creative industries, cuts on most cultural development agencies, enormous cuts in the universities which means more focus on employability and less money on research and long-term learning.
Will this mean that we see the end of creative industries?
Interviews done in London, 18-19 October 2010, a project commissioned by Region Västra Götaland (Sweden) to do a small knowledge and research survey. Interviewed were Paul Owens at Burns Owens Partnership, Tom Fleming at Tom Fleming Creative Consultancy, Sian Prime, Director of MA Creative and Cultural Entrepreneursip at Goldsmiths University, and Gerald Lidstone, Director of Institute of Creative and Cultural Entrepreneurship at Goldsmiths University.
When we first talked about inviting Google to a seminar in Göteborg, people, not the least from the publishing houses, saw red. Why in the world would we invite someone who is ruthlessly digitizing literature without proper concern of the public domain?
Santiago de la Mora, Head of books and libraries at Google in Europe, had his message clear. It’s the user who decides the need for Google and its products. There are today 1,8 billion Internet users, he says, where Google want to reach more readers, more revenue and engagement in Internet. Reading habits have changed since the introduction of the web, from the printed newspaper reading from cover to cover to more individual articles on specific topics. It’s a browsing mentality and more scattered reading. The user has a choice, the representative from the absolute biggest search engine on Internet emphasizes. You can choose other search engines if you would like. For Google the foremost goal is the user experience and for example the thought that you should be able to read books anywhere at anytime. ”It’s an enabler, not something instead of”, says de la Mora.
The informal motto for the company is ”don’t be evil”, which implies that they could be evil but decide not to, moderator Mikael Löfgren pointed out with the question: ”What is it that you are not doing that could be evil?” Answering this question as for others of that caliber, Santiago de la Mora was vague. That was neither surprising, nor the most important with the afternoon.
The five-headed panel of experts from the fields of publishing, journalism, library, European cultural journals, and archives, reflected on the presentation by Google, making several interesting points and posed some crucial questions:
”The dichotomy is not between digitization or printed texts, it’s about how to finance quality content in the future?”
”The state and the public domain have not taken their responsibilities in dealing with digitization. This has left the floor free for other innovative solutions like Google”
”Make a national all-inclusive cultural policy for digital times. We have to stop talk about preventing or compensating.”
”What do an open democratic society want to promote concerning digitization?”
Perhaps it was not a surprise that publishers were not present in the audience. Also politicians were glowing with their non-presence, except for two parties (m) and (fp). But it was a mistake. It’s obvious that the politicians have to lift the discussion to include the democratic and public domain view into digitization discussions, not only copyright laws, something it seems to be little awareness of. And the publishers have to dare to look this new threat to their traditional business models in the eye and start thinking of new ways to continue publish books. This seminar provided that opportunity.
The seminar was arranged by Göteborg Book Fair and Nätverkstan, together with Stampen, Göteborg&Co, Västra Götaland and Stiftelsen Framtidens kultur. It’s part of two conferences on this theme, the other one can be found here. Mikael Löfgren has written a report to introduce the topic (in Swedish) found at samladeskrifter.se.
Animation Artist Artistic collective workshop Artistic practice Bangalore Burning Platforms Business idea Creative Industries Creativity crisis Cultural economy Cultural Journal Cultural Policy Cultural Project Democracy Development Digitization Distribution Economy Education Employment Encatc Entrepreneur Entrepreneurship EU Finance Flexibility Georgia Globalization Innovation International exchange Literature New economy pedagogical Policy for Global Development Renewal Research Resources San Francisco Self-employment Silicon Valley Social entrepreneur Transformation USA Västra Götaland