Abstract

It has now been over a decade since the concept of creative industries was first put into the public domain through the Creative Industries Mapping Documents developed by the Blair Labour government in Britain. The concept has developed traction globally, but it has also been understood and developed in different ways in Europe, Asia, Australia, New Zealand and North America, as well as through international bodies such as UNCTAD and UNESCO.

Julian Thomas
The Australian
February 22, 2010 12:00AM

CONFUSION and disarray surround Stephen Conroy's decision to rebate licence fees for commercial television broadcasters.

The decision raises the most basic question that can be asked about government dispensation of any kind: what was this money for?

There are young Australians who are already making a name (and money) for themselves in the latest market for creative content – and it didn’t exist a moment ago. YouTube is a huge repository of amateur content, but it is also rapidly evolving into a site that has legally contracted Hollywood movies and TV shows but is working out ways to share revenues from advertising with gifted and committed amateurs whose creativity attracts a big following.

Can government play a role in assisting Australian creative talent to catch some of dynamism of emerging markets for culture?

Outlining their radical new roadmap for cultural R&D, the authors’ proposals challenge two entrenched prejudices, which block arts and cultural organisations from playing their full role in society and economy.

Australian Financial Review

Creativity is today’s ultimate black box a Rorschach blot onto which there are projected innumerable meanings. When academic Richard Green reviewed the literature recently, he found so much variation that he concluded the field was ‘so attenuated, extenuated, or misunderstood that operationalising of the key concepts is missing or impossible’. He tried to order the field, and constructed a profile of 42 models of creativity which, when combined with assorted variations and typologies, totted up 303 variables!

Faculty Seminar Series

Professor Justin O’Connor, Research Capacity Building Professor Tuesday 28th April 12pm-1pm The Hall (Z2-226) CI Precinct QUT Kelvin Grove

Creative labour: emancipation or honey-trap?

Major museums worldwide are starting to use social media such as blogs, podcasts and online video to encourage users to participate in their programs.

This book chapter was published in Theorizing digital cultural heritage: a critical discourse, edited by Fiona Cameron and Sarah Kenderdine, MIT press, 2007.

Despite the proliferation of web-based news and information services, there remains a lack of online destinations from which to obtain reliable and authoritative cultural knowledge. In many countries, such knowledge is provided by cultural institutions such as museums and libraries. Recent discussion suggests that social media – including blogs, wikis and digital stories – may provide a creative solution to the ongoing interaction between cultural institutions and communities of interest.

Collections, audiences, distribution and access will continue to be the central concerns, writes ANGELINA RUSSO.

Social media enable cultural participants to both explore images of themselves and distribute those images across broad online social networks.

Watkins, J., (2007) ‘Social Media, Participatory Design and Cultural Engagement’. OzCHI Conference, Adelaide, November 2007.

Watkins, J. and Russo, A., (2007) ‘Participatory Design and Co-creativity in Cultural Institutions’. Museums Australia Conference, Canberra, May 2007. http://www.museumsaustralia.org.au/

Watkins, J. and Russo, A., (2007) ‘Cultural Institutions, Co-creativity and Communities of Interest’, in Schuler, D. (ed.), Online Communities and Social Computing, HCII 2007, LNCS 4564, pp. 212–221.

Issues of spatial distribution, allocation and access to resources prevail when establishing a long-term and viable e-community within the cultural sector.