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Philip Stenton in the chair with Sarah Whatley, Bill Thompson, Claire Reddington and Paul Grainge
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ShareBeyond Text – Choreographic Objects
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Share“Digital documentation of dance accesses processes of making that are normally hidden. #beyondtext
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Sarah says that the project was much bigger than the video shown today. “It really punched above its weight”. The making of digital objects was an important act of the project – reflecting back progress.
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Choreographic Objects: traces and artifacts of physical intelligence Principle and Co-Investigators: James Leach (Principle Investigator and Award Holder)Department of Anthropology, School of Social Science, University of Aberdeen Sarah Whatley (Co-Investigator)ceMAP, Coventry University Scott deLahunta (Research Fellow)ARTI, Amasterdam School for the Arts, NL Project Partners: Art Research, Theory and Innovation group, Amsterdam School for the Arts, NLWayne McGregor | Random DanceIntel, People and Practices Research Choreographic objects: traces and artefacts of physical intelligence is the title and focus of a series of three workshops centring on the output of four research teams working in collaboration with the choreographers William Forsythe, Siobhan Davies, Wayne McGregor and Emio Greco PC. -
Paul talked about ephemera and digital objects such as the BBC indents (the hippos) and their relationship with RedBee media. He was very insightful on the dynamics of ephemeral content and the persistence in people’s minds not designed by its creators.
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Clare Reddington says that the Digital Economy is a lot about enabling people to reconnect with the physical world with the help of digital technology. It’s about the layering and richness of experience. “We have to do better than Minority Report”. It’s about experiences. And the way digital changes the way we live. There is a speed function (cites Agile). Temporality and the creative economy.
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Share“Good point well made by @clarered at #beyond text that digital economies are multiple economies. Not singular. #beyondtext
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Bill Thompson says he has a problem with the term Digital Economy – and the concept. It needs to be about making the invisible visible. We want to liberate the BBC archive.
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Share“@billt BBC took a long time to see value of what was on the tape was a lot higher than the value of the magnetic material #beyondtext
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Sarah says we want more than the value of models and templates. We are seeing a proliferation. It’s also about engagement and values -both material and ethical. The future has to be about re-use of material. And new creation from combining these objects.
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Paul Grainge says that he does not have a problem with the word content and there is ‘blurrring’ between disciplines.
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Share“So @billt – is prepared to use the term “Digital Society” but not “Digital Economy” who knew? #beyondtext
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Share“@brian_condon trying to get away from ‘digital’ anything, actually – but it’s a time of transition #beyondtext
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Share“@billt BBC took a long time to see value of what was on the tape was a lot higher than the value of the magnetic material #beyondtext
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Sarah says we are seeding the emergence of short-lived digital objects that don’t persist like photos or written documents.
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Big discussions going on about archiving across different disciplines. And changes in the way archives are and can be used (such as pictures of children). And how about reputational issues of researchers ‘private’ notebooks.
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Bill points out that the BBC has great difficulties in looking at the digitisation of archives and a ‘duty of care’ to the participants. The issue of online identity and provenance. How do you verify who can see it?
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Andrew Burn – says that clearance has been an import aspect of his work especially about images of children. He agrees it needs to be handled carefully.
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Until they got over the fear of the amateur, the funders found difficult to make progress
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Bill Thompson says “it’s just trees into the swamp” as far as our level of progress is concerned. Sarah says we need to make the ways of entering art objects such as archives familiar.
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Share“#beyondtext art students self-archiving and speakers at conferences having more than one conversation!
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Semi-digitised existence – and multiple conversations. Says Rebecca Kill.
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Creativity beyond text – where next for the Creative Industries?
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Rebekka says it’s interesting that there is a ‘where’ in e title of this session. Was what we did really radical – at music festivals; would it have been more radical at a shopping centre or in a University.
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Environments for Encounter Award Holder Dr Alice O’Grady Higher Education Institute University of Leeds Partner Organisation Rebekka Kill, Leeds Metropolitan University Our proposal explores the phenomenon of relational performance within contemporary music festivals as an emergent genre of creative communication. -
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Rebekka says this is the first time she’s seen the video – it was e-mailed to her this morning.
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Dani Salvadori says she sees convergence in the ‘college’ job at Central St Martins; whereas in her university job at University of the Arts she sees divergence. Companies and students coming together – not a hard sell on either side. On university side sees divergence – means dealing with Science and Technology – this is largely a b2b role.
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Share“The most depressing meeting I’ve been to recently was the #cdec meeting says Dani Salvadore of CSM at #beyondtext
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Share“Told her to avoid the coffee! RT @brian_condon: Most depressing meeting I’ve been to recently was #cdec meeting says Dani Salvadore of CSM
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She says that there is too much operational thinking and British businesses risk being left behind. It’s not just business – it’s also in science, technology and engineering education – too narrow.
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Jeremy Silver says I have two jobs too: advising the TSB on Creative Industries and trying to help get the money spent wisely. And the rest of the time he works with small companies helping them to do ‘real stuff’. And he says that we haven’t updated our definitions of the Creative Industries. And these don’t help – especially when the redefinitions of terms seem to reduce the size of the industry.
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The main problem facing the industry is what Jeremy describes as the incumbents’ dilemma and their difficultly in working out how to change. Legislative change – says the Digital Economy Act drove people further apart.
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We have an inexorable drive to be businesslike – but we don’t all have to be businesses – not everything can become a business. Let’s not force everything into becoming a business.
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Share“#beyondtext Dr Jeremy Silver asks does everything have to become a business? Dani Salvadori questions gap btween tech ops + creative design
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Sally Taylor says that she works between Universities and culture. The list of 13 captive industries has lasted since 1997 – and is probably in need of getting rid of. There is huge demand she says and more creative people working outside the creative industries than in. Need to talk about creative people. It’s a difficult game she says. But “it’s yours”.
TCCE had a conference on Creativity in Business recently. There are positive and negative aspects to creativity in business. Some of the positives are the world’s most iconic buildings.
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The problems to deal with are about people; and academics have a role to play.
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Where next for the creative industries? How about de-industrialisation. Let’s abolish or radically reduce copyright terms – make things move faster. Less agonistic and maybe more effective.
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Jeremy thinks that reducing the term to 12 years would be interesting but the incumbents won’t go for it – implausible.
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Rebekka questions the idea of deindustrialisation – and what it really means. Dani says it’s really happening and creation on the Internet is evidence of that. This country is “half deindustrialised” anyway.
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Danger of programming in schools is that it will be pushed into ICT education and they will not realise that to make good computer games you needed to bring together music, narrative, writing etc.
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Evelyn Wilson says we over fetishise the creative industries – the notion of boosterism cite by Kate Oakley. But what about what next for creativity?
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Rebekka says there is no shared view of what ‘creativity’ means – don’t want a definition but the recognition that we are all on different pages.
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Ghislaine Boddington says that internationally we have a good reputation and a very high level of quality for digital artists – it’s leading work worldwide. She mentions Creative Europe and the term Culture and Creative Sector – and says doesn’t mention “industry”.
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One contributor says that we shouldn’t underestimate the impact of the English language. Dani says she doesn’t agree – most of the work is of a visual nature – language is not important.
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We need the new stuff to come from creative work and be driven by that not led by industrial need.
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Share“Sounds like the #beyondtext event was interesting lookin at tweets by @brian_condon @JeremyS1 @clarered
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Rick Rylance mentions Creative Hubs, and the Nesta and Arts Council England. And he thanks Ruth Hogarth and other colleagues especially Evelyn Welch for their work.
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Share“Goodbye everyone at #beyondtext and thanks for a brilliant day!
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Share“@drrebekkakill Glad you liked the kids’ film Rebekka – good to see you at today’s #beyondtext day!
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Share“Heading back after an excellent time with #beyondtext friends- great work, fine conversation.
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Share“@drrebekkakill Nicky B who filmed you and Alice for #beyondtext and who spent most of today on her knees taking pictures!
