not

[76-77, 81]

“Richard Florida’s exotic city, his creative city, depends on ghost people, working behind the scenes. Immigrants, people of colour. You want to know what his version of creative is? He’s the relocation agent for the global bourgeoisie. And the rest of us don’t matter.” | the creative class notion gaining traction. “I watched how, in consulting, these ideas took off and became trends,” she said. They suggested an easy fix to increasing urban ills, served with a smile. “It’s palatable, interesting and fun. It’s hard to compete with that.” | new era of socially tolerant capitalism. “But really, it’s a very celebratory and safe way of looking at capital accumulation,” she says. “People like cool places, sure; they’re positive stories. But there are people that get dispossessed, or removed, or erased in these narratives. If you’re a hospital worker, or a child care worker, you’re just erased completely” | “skilled people” – not artists, by any measure – “are key to urban success.”
http://www.thestar.com/article/656837

origin of the ‘creative industries’ term: 1) in 1997, within newly created Dept. of Culture+Media+Sports much revolved around IP rights through booming TV sales of soccer plays. This is how the IP story (measuring creative industries through IPR income) got connected to “creative industries”; 2) more obvious reference is Schumpeter’s ‘creative destruction’; 3) the creative industries meme itself was developed by a small group of consultants and New Labour politicians (amongst them Charles Leadbeather) that plotted how to increase the budget for arts by giving it more sexy name. This, still elitist approach, then got out of control. | Lazzarato: Creativity is sign of poverty, not wealth. Creative industry is still fordist term; old-fashioned way to think about economy | Sarkozy has proposed to create 2-layer system aimed to constantly monitor the productivity of university personnel. What system qualifies as ‘dead time’ is in reality the most creative time.
http://networkcultures.org/wpmu/geert/2009/04/02/critique-of-the-creative-industries-event-in-vienna/

Merijn Oudenampsen spísal článok o amsterdamskej kultúrnej politike Creative City (starosta pred troma rokmi riekol, že ňou podporí kreativitu všetkých obyvateľov mesta), o (nevydarených) paralelách k myšlienkam situacionistu Constanta Nieuwenhuysa o spoločnosti, ktorú automatizácia oslobodila od ťarchy industriálnej práce a nahradila ju nomádskym žitím kreatívnou hrou mimo domén ekonomiky a funkcionality, a o tom ako tiahnutie kultúrnej politiky ku kultúrnemu priemyslu tlačí umelcov do role kultúrnych podnikateľov.
http://www.variant.randomstate.org/31texts/issue31.html#L6

4 scenarios w/ art+culture after crisis:
– consolation – mast na rany, podobne ako hollywood pocas great depression, feel-good filmy a hudba, people find solace in the social nature of arts events; to je ok, ale nezabudajte na minority, new art a innovation
– anger – a la punk v 70s
– business-as-usual, aj ludia v art/kult chcu spat bohate roky
– get real –
— talk to people, art have to find a new source of funds from millions of small donations (like obama)
— prepare for cuts – do more with less
— get much smarter at marketing
— free events/experiences, livestreaming
— don’t let mainstream media cut the arts programming
— use networks, involve people

now: art from periphery to heart of remaking society; because art isnt about leisure but about life

before: high culture (classical art forms) vs popular culture (cooking, watching tv, dancing, playing football)
now 3 interdependent spheres: publicly-funded culture (“what gets funded becomes culture”), commercial culture (gatekept by big companies similarly like pub-funded by state admins), home-made culture

“In this new model the arts are integrated into a wider cultural ecology so they become reconnected to everyday life”.
kulture sa konecne uzna zasadny podiel vo vzdelavani, ekonomike ci zahr.vztahoch.
Leadbeater: people want to enjoy, talk or do = passively sit and watch, socialise, and be creative.
20 yrs ago ‘do’ part was limited to few people. ‘talk’ part bola tiez dost obmedzena – divaci boli pasivni.
marginal [pub] + entertaing [comm] + amateur [home] = potent democratic expression.
Shoshana Zuboff: “there is a new kind of public out there, being made up of ‘new individuals who seek true voice, direct participation, unmediated influence and identity-based community because they are comfortable using their own experience as the basis for making judgements”.

via panel na Forum for Creative Economy v Prahe, marec 09, plus teraz kvoli iview s bishop

[75, 78-79, 83-84]
poznámky z pražskej konferencie (CZ boli vtedy lídri EU)