Making Cultural Clusters: New Strategies for Culture-led Urban (Re)development
Date: 19 April, 2009 (SUNDAY)
Time: 930am--5pm (Reception starts at 9am)
Venue: Conference Room, 2/F, HKICC Lee Shau Kee School of Creativity, 135 Junction Road, Kowloon, Hong Kong
Map: http://www.creativehk.edu.hk/main/contact/contact_main.php
(the seminar will be conducted in Cantonese)
Organized by the Center for Cultural Studies, Hong Kong University of Science and Technology
Co-organized by the Department of Comparative Literature, Hong Kong University and the Department of Cultural Studies, Lingnan University
Supported by the Public Policy Research Grant of the Central Policy Unit (HKSAR)
Sponsored by the HKUST School of Humanities and Social Science
Venue sponsored by HKICC Lee Shau Kee School of Creativity
Conference Statement:
‘Cultural Cluster’ has become a catchword in recent debates on creative industries and globalization. For artists and stakeholders in the field, the term ‘cultural cluster’ refers to a vibrant and highly diversified community. Unfortunately, the diversity and complexity of ‘cultural clusters’ have not been fruitfully understood by the government, the business sector and the community at large.
In this seminar, the speakers will share with us their observations and views on the ecology of cultural clusters in Hong Kong, and the relationships between cultural clusters, local communities and the city at large. The seminar will be divided into two panels. In panel I, the speakers will share with us the preliminary research findings on three cultural clusters in Hong Kong (i.e. Cattle Depot Artist Village, Central and Sheung Wan, and Wanchai) under the project ‘Making Cultural Clusters: New Strategies for Culture-led Urban Re-development’.
In panel II, scholars, cultural critics and participants in the field will try to evaluate the development of creative industries, cultural policy, and urban (re)development in Hong Kong with reference to the development of local cultural clusters.
Panel One: Case Study
(930am-1230pm)
Moderator: May Fung (Cultural Worker)
Market-led?: Cultural Cluster in Central and Sheung Wan
Yun-Chung CHEN (Assistant Professor, Division of Social Science, Hong Kong University of Science and Technology)
Cultural Thickness: the Possibility of Cultural Cluster Formation in Wanchai
Mirana May SZETO (Assistant Professor, Department of Comparative Literature, Hong Kong University)
Borrowed Place and Borrowed Time: the Case of Cattle Depot Artist Village
Damian CHENG (Postdoctoral Fellow, Hong Kong University of Science and Technology)
Model of Cultural Cluster in Fotan Artist Village
Patrick MOK (Consultant(Research Projects), Cheung Kong Centre for Creative Industries)
Commentators:
LEUNG Po-shan, Anthony (Cultural Worker)
Louis YU (CEO, Hong Kong Arts Development Council)
Discussion
(1230-2pm Lunch Break)
Panel II: From Cultural Cluster to West Kowloon Cultural District
(2-5pm)
Moderator: Yun-Chung CHEN
Cultural Landfill: When Creativity becomes Industrialized
Oscar HO (Curator and Cultural Critics)
The Discourse of Cultural Value-Adding
CHAN Wan (Cultural Critics)
Cultural Planning and Creative Cities: Gaps and Blindspots in Local Cultural Policy
Stephen CHAN (Professor and Department Head, Department of Cultural Studies, Lingnan University
Commentator:
Desmond Hui (Professor, Department of Cultural and Religious Studies, the Chinese University of Hong Kong)
Discussion
All are welcome! Enquiry: Keith Au (Tel: 9224-2763)
星期二, 4月 14, 2009
星期四, 11月 01, 2007
Your life is full of meaning in a powerpoint presentation.
A Film by Clemens Kogler together with Karo Szmit. Voice by Andre Tschinder.
Le Grand Content examines the omnipresent Powerpoint-culture in search for its philosophical potential. Intersections and diagrams are assembled to form a grand 'association-chain-massacre'. which challenges itself to answer all questions of the universe and some more. Of course, it totally fails this assignment, but in its failure it still manages to produce some magical nuance and shades between the great topics death, cable tv, emotions and hamsters.
For more Information:
http://www.clemenskogler.net/
The work is inspired by indexeda blog by Jessica Hagy. Her index cards are little marvels of wit and wisdom.
Here is an example
The book of the same name will come up next year. More Jessica Hagy in Freakonomics
interview of Jessica Hagy in Kottke.org
星期五, 6月 08, 2007
Cultuur 2.0 : International conference and lab on 30&31 May 2007
Cultuur 2.0 is a challenge, a 2-day international conference and laboratory to introduce a Web 2.0 mindset into the creative processes and strategies of cultural institutions.
‘Cultuur 2.0’ borrows from Web 2.0, the new generation of internet applications and practice that emphasize generating, sharing and classifying content, collective intelligence, collaboration, sharing, reviewing, ranking, rating, and empowering users. In which ways can such developments be applied in the cultural sector? Will cultural institutions generate other forms of content or approaches by embracing the Cultuur 2.0 mindset and connecting to the active internet user - or would this mean the end of culture as we know it?
Highlight of previous reviews from main organiser of Cultuur 2.0, Virtueel platform :
E-shrines -e-shrines by Saad
1.Exploding Borders
In the Netherlands, as everywhere else, the development of digital technology has coincided with a quiet revolution in the role of the museum in society. Heritage institutions have become more aware of their audience than ever before, thanks to the democratisation of the industry, a change in emphasis in collections away from the elite and the extraordinary and towards the everyday commonplaces of community and social history, and — last but certainly not least - the need to prove themselves worthy of funding. The latter factor has added urgency to the modern imperative to ‘find new audiences.’
At the same time, says Virtual Platform Director Cathy Brickwood, technology allows the once-insular heritage sector to address that increasingly important audience as never before. The question now is, how to do it, and what to say? Possible technological tools range from the ubiquitous (the internet, mobiles, and the PDAs which sometimes replace the familiar audio tour), to the up-and-coming (like the RFID tag, although hopefully not used to the extent of the pioneering Japanese museum which embedded no less than 7,000 into the floor of a single exhibition room), and the unique (the Memory Table designed by Mediamatic that was showcased in the VP workshop, the Take Away Museum, and which is now being used by Amsterdam’s Imagine IC in a project to preserve the memories of elderly Indonesian immigrants to the Netherlands). The choice is already extensive, developments are bewildering swift, and heritage professionals rarely know much about the latest technologies — except that they are lagging behind.
2. What gives between the curator and the informed amateur?
The networked society we currently live in is witnessing a change in the role played by cultural organisations. It is the heritage organisations in particular, with the traditional mandate to conserve material and develop knowledge that will have to adapt their strategy most. The digital classification of cultural heritage is not just a matter of building an online database. It is also a question of contextualising information and coming up with ways of sharing the knowledge created and experienced in those organisations.
Here a report on the workshop ‘Digital Cultural Heritage’, organised by the Virtueel Platform and Digitaal Erfgoed Nederland, as part of the Amsterdam New Media Institute Summer School 2004. The Workshop used practical examples of how these developments are changing relations in the cultural sector.
3.The virtual community is the new lab
Waag society and V2_ are the most successful new media labs of the last fifteen years in the creative sector. It is without precedent that they have made their vision relevant to an organisation such as Surfnet, an academic node. From the margins to the academic discourse, how did that happen so quickly? The liberal climate of the eighties that supported the preconditions for the development from the public domain, has created space for this.
The climate has changed drastically now. The policy of tolerance has become narrower and the government propagates ideas like security and certainty. V2_ and Waag society are developing into independent knowledge environments in contrast to universities and corporate R&D labs. Their foremost challenge is in not wanting to become like them. University discourse is characterised by a textual approach to quality and this is recognised as being increasingly irrelevant to daily life; and with that also to policy making and the needs of government.
The question is which new creative strategies can develop in the present climate. Which strategies are able to respond to important social issues. How can we formulate the research questions embedded in current policy relating to everyday life? There are two important questions that have to be integrated: the creolization of the Netherlands, and the trend towards closed interfaces that are not accessible to professional amateurs (proam). If you’re looking for a new V2_, or Waag society you won’t find it. The new lab is the virtual community itself. The measure of openness of the alliances that come together there determines its role as the mover of the creative industry.
4. THE ANTI WEB 2.0 MANIFESTO from my favorite Andrew Keen (see link in Punk), author of the new book " Cult of the Amateur"
summary of his points:"The Adorno for idiots"
5. On the lighter side : Web 2.0 remixed
‘Cultuur 2.0’ borrows from Web 2.0, the new generation of internet applications and practice that emphasize generating, sharing and classifying content, collective intelligence, collaboration, sharing, reviewing, ranking, rating, and empowering users. In which ways can such developments be applied in the cultural sector? Will cultural institutions generate other forms of content or approaches by embracing the Cultuur 2.0 mindset and connecting to the active internet user - or would this mean the end of culture as we know it?
Highlight of previous reviews from main organiser of Cultuur 2.0, Virtueel platform :
E-shrines -e-shrines by Saad
1.Exploding Borders
In the Netherlands, as everywhere else, the development of digital technology has coincided with a quiet revolution in the role of the museum in society. Heritage institutions have become more aware of their audience than ever before, thanks to the democratisation of the industry, a change in emphasis in collections away from the elite and the extraordinary and towards the everyday commonplaces of community and social history, and — last but certainly not least - the need to prove themselves worthy of funding. The latter factor has added urgency to the modern imperative to ‘find new audiences.’
At the same time, says Virtual Platform Director Cathy Brickwood, technology allows the once-insular heritage sector to address that increasingly important audience as never before. The question now is, how to do it, and what to say? Possible technological tools range from the ubiquitous (the internet, mobiles, and the PDAs which sometimes replace the familiar audio tour), to the up-and-coming (like the RFID tag, although hopefully not used to the extent of the pioneering Japanese museum which embedded no less than 7,000 into the floor of a single exhibition room), and the unique (the Memory Table designed by Mediamatic that was showcased in the VP workshop, the Take Away Museum, and which is now being used by Amsterdam’s Imagine IC in a project to preserve the memories of elderly Indonesian immigrants to the Netherlands). The choice is already extensive, developments are bewildering swift, and heritage professionals rarely know much about the latest technologies — except that they are lagging behind.
2. What gives between the curator and the informed amateur?
The networked society we currently live in is witnessing a change in the role played by cultural organisations. It is the heritage organisations in particular, with the traditional mandate to conserve material and develop knowledge that will have to adapt their strategy most. The digital classification of cultural heritage is not just a matter of building an online database. It is also a question of contextualising information and coming up with ways of sharing the knowledge created and experienced in those organisations.
Here a report on the workshop ‘Digital Cultural Heritage’, organised by the Virtueel Platform and Digitaal Erfgoed Nederland, as part of the Amsterdam New Media Institute Summer School 2004. The Workshop used practical examples of how these developments are changing relations in the cultural sector.
....It’s clear that in the future museums are going to become increasingly hybrid organisations.
The presentation model looks like this:
Level 1 presentation
Level 2 formats; enlargement/scenarios/stories
Level 3 selections; focus
Level 4 objects; standardised descriptions
In addition to these internal discussions, at an external level decisions are being made about strategic alliances and the forms of cooperation that will reinforce the museum’s own identity. In addition the museum will need to consider the need for a strong identity of its own, and whether it’s necessary to create a brand for the Rijksmuseum.
Heritage organisations are generally very much focussed on content. In the case of the Rijksmuseum it’s very interesting to see how they have exchanged a content driven strategy for a media strategy. This then raises the question: if the Rijksmuseum develops a media strategy on the grounds of its own media infrastructure, does the museum not then become a broadcaster? An independent media producer?....
3.The virtual community is the new lab
Waag society and V2_ are the most successful new media labs of the last fifteen years in the creative sector. It is without precedent that they have made their vision relevant to an organisation such as Surfnet, an academic node. From the margins to the academic discourse, how did that happen so quickly? The liberal climate of the eighties that supported the preconditions for the development from the public domain, has created space for this.
The climate has changed drastically now. The policy of tolerance has become narrower and the government propagates ideas like security and certainty. V2_ and Waag society are developing into independent knowledge environments in contrast to universities and corporate R&D labs. Their foremost challenge is in not wanting to become like them. University discourse is characterised by a textual approach to quality and this is recognised as being increasingly irrelevant to daily life; and with that also to policy making and the needs of government.
The question is which new creative strategies can develop in the present climate. Which strategies are able to respond to important social issues. How can we formulate the research questions embedded in current policy relating to everyday life? There are two important questions that have to be integrated: the creolization of the Netherlands, and the trend towards closed interfaces that are not accessible to professional amateurs (proam). If you’re looking for a new V2_, or Waag society you won’t find it. The new lab is the virtual community itself. The measure of openness of the alliances that come together there determines its role as the mover of the creative industry.
4. THE ANTI WEB 2.0 MANIFESTO from my favorite Andrew Keen (see link in Punk), author of the new book " Cult of the Amateur"
summary of his points:"The Adorno for idiots"
5. On the lighter side : Web 2.0 remixed
星期六, 5月 12, 2007
網友發色情物品連結被罰款 (明報) 05月 10日 星期四 07:50PM
一名四十八歲男子去年十一月在討論區的成人貼圖區貼上外國色情網站的超連結被人舉報，今日被罰五千元。
被告表示，不知道這樣做是犯法，目的只在分享，他承認控罪。法官表示，由於相片不涉兒童及動物，所以判他被罰款五千元。
好似sidekick咁講，咁都罸得我地都係洗定羅友囉。
唔好再開成人區，唔講得成人嘢，定係唔准擺人地D link，唉！唔知犯咗セ傢伙。香港的cyber culture 真係弱雞。冇前瞻、冇創新，淨係識用商人嗰套，有click有錢、廣告有錢，我諗連結同分享對佢地來講，睇怕都諗極都諗唔到個value係邊度。唔好再用什麼中國人社会保守之類，繼續駝鳥政策落去。
星期五, 12月 15, 2006
Download Italian Art book-The Net as an Artwork
The book represents a first tentative reconstruction of the history of artistic networking in Italy, through an analysis of the realities which during the past twenty years have given way to a creative, shared and aware use of technologies, from video to computers, contributing to the formation of Italian hacker communities.
Written by Tatiana Bazzichelli, with the preface of Derrick De Kerckhove and the epilogue of the videoartist Simonetta Fadda.
Networking means to create nets of relations, by sharing experiences and ideas in order to communicate and experiment artistically and where the publisher and the reader, the artist and the public, act on the same level.
In Italy, thanks to the alternative use of Internet, during the past twenty years of experimentation a vast national network of people who share political, cultural and artistic views has been formed. Active in underground environments, these projects use diverse media (computers, video, television, radio and magazines) and deal with technological experimentation, or hacktivism, depending on the terminology used in Italy, where the political component is a central theme.
The Italian network proposes a form of critical information, diffused through independent and collective projects where the idea of freedom of expression is also a central theme.
The book describes the evolution of the italian hacktiviam and net culture from the Eighties till today. At the same time, it builds a reflection on the new role of the artist and author who become networker, operating in collective nets, reconnecting to neoavant-garde artistic practices of the 1960’s (first and foremost Fluxus), but also Mail art, Neoism and Luther Blissett.
A path which began in BBS, alternative web platforms diffused in Italy half way through the 1980's even before Internet even existed, and then moved on to Hackmeetings, to Telestreet and networking art of different artists such as 0100101110101101.ORG, [epidemiC], Jaromil, Giacomo Verde, Giovanotti Mondani Meccanici, Correnti Magnetiche, Candida TV, Tommaso Tozzi, Federico Bucalossi, Massimo Contrasto, Mariano Equizzi, Pigreca, Molleindustria, Guerriglia Marketing, Sexyshock, Phag Off and many others.
This 336 page book is in Italian and is published by Costa & Nolan publisher (Milan) you can download a copy here.
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