Monday, February 8, 2010

Conference on Luminato

Michele will be presenting at the PSi #16 Performing Publics in Toronto, 9-13 June 2010, a paper entitled: “Luminato Festival: contributing to the habitus of place and belonging?”.
This paper will compare the role of "ethnic" festivals like the Chinatown Festival and "mainstream" festivals like Luminato in including visible minority ethnic groups in the participation, structure and artistic process of these festivals. Does an ethnic festival ghettoize or reclaim space? Does the mainstream festival exclude or include selectively?

Thursday, November 12, 2009

and another

A Creative City

The creative city concept aims to restructure urban economies toward new synergies between culture and economy. In an age of globalization and information flows, the creative cities framework articulates coordination among knowledge industries, investment and real estate sectors, creative practitioners across the arts and entertainment, architects and planners, government officials and diverse community members to create an economically and culturally viable and attractive city, particularly for the ‘creative classes.’ The Creative City is an idea motivated by dynamics of a competitive global economy (neo-liberalism) where wealth and power predicate on the dominance of knowledge, information and image production.

Another Definition

The Creative City:

... a city with potential and ability to offer opportunities for its residents and visitors to explore social, economic, political and cultural avenues within its cosmopolitan spaces. A creative city thrives on partnerships with private firms and the goodwill of the public.

Angelica has a definition

What Is The Creative City?

Imaginary, visionary or original? These words all resonant a sense of creativityyet, how can we describe the creative city? Perhaps the Creative City can bestbe defined by examining the words separately. When I think of City I think of apopulated area with geographical boundaries. The core of cities tends to be morepopulated than its peripheries and perhaps these peripheries than creates a newcity. My perspective of city includes that of a polity as opposed to theattributes of the polity.Nevertheless, the word Creative, resonates a very unique and differentdefinition. Creativity comprises a type of innovation and explosion of diverseattributes, personalities and cultures. This can include the way in whichcertain institutions are developed, used and transformed within a city. Theinstitutions that make up for example, Toronto can include but is not limitedto: the government, various office buildings, the university, the hospital, themall and the transportation system. Yet, when we think of these institutionscreativity is bound to be apart of its inception. It is these different aspectsof a city that make it unique. Everything in Toronto is exactly what makes itcreative. Creativity encompasses a sense of inclusiveness and belongingness tosomething that is truly unexplainable. The inability to define creativity isexactly what makes something mystical and truly inspirational.

By: Angelica Radjenovic

Michele's Creative City

Mars - Your notion of the interconnectedness of the creative and non-creative
conceptions is something that, I agree, seems to only be catching on in the
mainstream and policy circles now.

The Creative City

I think of the Creative City in somewhat interconnected, somewhat competing
ways.

For instance, if I base my understanding on my own interpretation of how
creative and non intersect, I come up with the Creative City as a new plan for
negotiating meanings: cultural meanings, artistic meanings, economic meanings,
political meanings, identity meanings, philosophical meaning and
socio-psychological meanings. Essentially, we all engage in dynamics of power
and negotiation every day of our lives. Up to now, as you say, we have left it
up to artists to be the main interpreters of the world around and inside of us.
Then various members of our society take those interpretations and re-interpret
them to somehow fit their sphere of experience, be it economic, political,
social and so forth...

So we have non-artists interpreting the work of artists into things that are
meaningful and useful to them: like the way a song becomes an anthem, becomes a
movement, becomes a political revolution; or he way a painting becomes a vision
for the world, becomes a way of seeing things, becomes a mantra, becomes a way
of doing business...

The Creative City for me has been, up to now, a movement about a way of
organizing city life to more readily incorporate artistic interpretations into
real-world manifestations that serve what we normally conceive of as
non-artistic ends. Despite the movement being focused heavily on Richard
Florida's own vision or interpretation, the rest of us can use this momentum to
insert our own artistic, or non-artistic interpretations and applications onto
the world scene. We start with our city as the hub of our own daily experience,
and sometimes our visions gain a life beyond our cities.

As Taunya so eloquently notes, the important thing to note is that some
interpretations get more lift than others, and so we should be both cognizant
of this power differential, and hopeful that everyone will eventually be able
to contribute to equalizing it, expanding it, and enriching it further.

Michele Anderson

Mars's Creative City

The Creative City

In the simplest terms, I've always thought of creativity as a set of connections - and the challenge of creativity as trying to go beyond the obvious connections and lead to the creation of something new, innovative.

How does this lead into the city? What are the elements of the city that lead to these connections? What are the obstacles that stand in the way of these connections? Are we only now starting to value the importance and relevance of these connections - because of media, knowledge society, globalization of information etc. ? Hence the idea of Creative City is suddenly in the spotlight...

Could our focus be on the connections that have been happening all along - in the form of physical encounters, organic intellectuals - in places like the trane, drake, gladstone etc. ? The Creative City that always was.
Can the Creative City now survive without these places or do they still play their very relevant part?

Mars Horodyski

Taunya's Creative City

A Creative City

a diverse metropolitan that continually fosters permanent and impermanent public acts of creativity - benefits from an economic infrastructure, able to support (compensate) creative endevours. A Creative City, at its core, focuses on the interaction of creative publics. A Creative Economy, while it aims to stimulate a Creative City as industry, also discriminates between desirable publics. It promotes a knowledge economy (in place of traditional, industrial labour - employed by 'lower-class' workers), citizens with post-secondary education (over 'experience'), begins by increasing investments in the "most important heritage buildings" as deemed by a select City Council, and often favours 'cosmopolitan' works to Indigenous art. A Creative Economy is fundamentally concerned with stimulating commerce, with creativity as a byproduct.