al a ry | BNERS, WRITERS. D GENERATORS.W forernisa a.Ci ae SSE sii ag HOW TO TURN YOUR CREATIVITY INTO MONEY | SVE FIST CS ee THA THERE |S IN THE BOX Paradise by aptop Light. Cre CCRg THE RISE OF THE CREATIVE CLASS [=Jefe) WTA) CREATIVE CAPITAL fete) I TSP. FORGET rane LE THE Ld Aap) CAPITAL AND CREATIVE DESTRUCTION [7X mee) PANY LOLA O i SELL GOOD NEWS. HUMAN INNOVATION oe pg ee AT WORK THE WILL TO DESIGN OMING ENTERTAINMENT CREATIVE THINKING RG Gian OF URN STARTS WHERE LANGUAGE ENDS [REUTMNETNTAY MyCreativity ‘WMA aa BECOME ENLIGHTENED CORPORATE CREATIVITY: 4p) INNOVATION AND IMPROVEMENT ACTUALLY HAPPEN WHAl EA? CREATING AND CAPITALIZING ON THE BEST NEW MANAGEMENT THIN bi et TSS ipl GROWING UP CREATIVE : NURTURIN BUSINESS MEETING CREATIVITY IDEAS [aii JiNMaoaali Ps ee CREATIVITY AND TEAM BUILDING DON’T |STOP THINKING ABOUT THE INTERNET ENYCE A LVN ERO NSSOLOLVULON GETTING GOOD IDEAS FROM EVERYONE AND EVERYWHERE SIMULTATE CREATIVITY TO GET BETTER FRIENDS eM rer! Te CRITIQUE, OF CREATIVE INDUSTRIES #07 $2710 10K ONE DESIG) THE MOST POWERFUL WAY TO DEVELOP CREATIVITY IN YOUR marie ISTO BEA re wae EVERYONE HAS LATENT CREATIVITY WAIT! (| TO UNFOLD Koide Vea eee e Cl, EVERYONE HAS NATURAL CREA ALENT HOW Is S YOUR R CLIMATE R INNOVATIO TTY 1S, AT THE HEART OF EVERYTHING WE DO. PURE CREATIVITY Tala Fy ; HAG @ THE POWER OF CREATIVITY aoe YOUN GREW i GL {if tHe CULTURAL CONTRADICTIONS OF CAPITALISM ES a a oe THAN THE! Ri Paradise by the Laptop Ligh. @iegtive Capitaltheory, THE RISE OF THE CREATIVE CLASS BECOME A MILLIONAIRE ME OF CREATIVE Aia TP ee) eR CONTRIBUTIONS BY: Pen PML Mea toon aa ocd RU ntact aa rn eM Ua aT CREATIVITY FOR ALL AU OTT tela id Pa es a PU a ae a UT Ta SUS ay 2 See ST TaD TS te PHU al ete Tela 044 aC sata ai a) UTS aS Tans Li Dae ar Pm a LUA Le a Oa UL i) AUSTRALIA BY STUART CUNNINGHAM ar) BTS SS 2) PRS Uae Pate 128 Se aa eae RT orWU ALAM UL Introduction fel Rec oc Meu Eee McC eae aoe oe RUB Rad eee ua ao Rasta ne eae day their origin in individual creativity, skill and tal- Sega a ee om le lale job creation through the generation and eee CouRe macs cet =] hokey 40 Mid gL remained broadly accepted worldwide. eR ecole oR Bog) eeu ae he lcs coy Dee OU oly Dea ell presse tlie Cee a UR eos eee eee chee er choosing their positions in a world where Peete eo Rt) Pee een em tom eld er oka ee eee ee Ugo mes DN et aoe: Rete eee} cultural, and even political problems. BIN ee eRe Coke etd oe od who have been working for years in the fields Pte uM EUR ow melee oy Dates dies ence ke me apo Pea hte Ro eer) ere Sm Runes ieneWORKING ON YOUR COMPANY'S IMAGE? RT WITH A VISUAL IDENTITY oat RSL) gts We are here to help you! CREATIVE SPAMSA CAC OMAR LAL painted the unsurpassed ani- Ee make AN CUCM EUR Te CCA Ce ema) Came SU marc play older than work. Man was shaped less by what he had to do than by what he did in playful moments. It is the MER UE CR UICC OSA a ness, and the playground is the 7 optimal milieu for the unfold- | Or ERC eathotdTHE CONCEPT a IS REPLACING ‘KNOWLEDGE’ CREATIVITY AS DIFFERENCE BY DAVID GARCIA ‘Increasingly, the concept ‘creativity’ is replacing 'knowledge' as the pundit's defining characteristic for the modern economy? Itis a truism that ‘creativity’ is no longer seen as economically marginal but is eagerly embraced by government and industry alike as the redemptive horizon for increasingly nervous western economies. Correlatively the public perception of the role of artists has changed from cultural outlaw teetering on the edge of social acceptance to honored guest and shock troops of neo-liberalism.Pace 14 The emergence of CREATIVITY as a core cultural value has its origins in a certain under- ‘standing of human freedom first articulated in the late eighteenth century as part of a secular counter enlightenment, known at the time as STURM UND STRANG, we know it today as. Romanticism. The most lasting legacy of Romanticism (and the reason why our modern ideas of culture cannot be understood without reference to it) is that above all the romantics revered ‘difference’. All previous societies would have acknowledged that we are all different but Romanticism elevated the expression of difference to uniquely important moral position. HENCE IT IS THE MOVEMENT THAT GAVE RISE TO THE CULT OF CREATIVITY AS THE EXPRESSION OF INDIVIDUAL AND COLLECTIVE DIFFERENCE.THERE ARE THOSE WHO ARGUE THAT IN THE ERA OF NETWORKS IT IS TIME TO SPEND MORE TIME ON LOOKING AT WHAT WE HAVE IN COMMON AND LESS ON THE ELVATION OF DIFFERENCE. A RENEWED EMPHASIS ON WHAT WE SHARE, ON WHAT WE HOLD IN COMMON IS THE REAL MEAN- ING BEHIND THE " PAGE 17 TEXT BY DAVIO GARCIAUae fal WH TRADITION HAS ALWAYS ABHORRED THE IMMEASURABLE. [...] IN THE PASSAGE TO POSTMODERNITY, ONE ee LY UTES aa Be SEU TAT hs OUTSIDE MEASURE.yo = elite te LO NAS nT tN COGNITIVE WORKERS ARE NETWORKERS, PRECARIOUS WORKERS ARE NETWORKED, the former are brainworkers, the latter chainworkers: the former first seduced and then abandoned by companies and FrTnE Nae arene Cat the latter dragged into and made flexible by the fluxes of global capital. Poca&, HGibicicieieicieicicit ASAI AA AAA ACMA Ras Ay RRR CN. AE UES, BiSIOIGICI Sibi GI GIGI] man - machine network wba kee: aM Renee 32 eae ». Di ee aa alana PiciclsiGleiololeiGi Gig! NAAR % LI III IIS II IIIT REPS RAI it ieee ‘ aietiegy etch “THE INDIVIDUAL: BECOMES 2892 — 4 Peer aged as anna cision i Tree AA i x SSS ee ee OB Bye 0 oe ORGANIZED NETWORKS THE KEY INSTITUTIONS OF THE MODERN ERA - UNION, STATE, FIRM, UNIVERSITY - HAVE PROVEN INADEQUATE TO THE TASK OF ORGANIZING AND MANAGING POPULATIONS IN THE PAST 15-30 YEARS. BY NED ROSSITER There is an urgent need for new institutional forms. The uncertainties of labour and life within network societies and informational economies have all too clearly exposed the limits of prevailing institutional systems and structures. The key institutions of the modern era — union, state, firm, university — have proven inadequate to the task of organizing and managing populations in the past 15-30 years. During this period, many countries have undergone dramatic social change wrought by the force and impact of reforms peculiar to neoliberal governance cr econcr ao Gea zren a ei alenoecheons temporary goyernance can be addressed through the creation of new institutional forms that are responsive to the logic of social-technical networks and non-epresentational democratic processes. Communication within networks is about relational Processes not representational procedures.There is no equivalence here with the biopolitical postulate of organization and management peculiar to informatic modes of neoliberal governance. Mine are not strategies that Contribute to the control of life. Rather, there is an emergent interest in forms and expressions of governance that take the elemental force of selForganization seriously. IN A SENSE EVERYTHING IS A FORM OF SELF- ORGANIZATION IN SO FAR AS THE WORLD IS COMPOSED OF DISTINCT ORGANIC AND INORGANIC PATTERNS, PROCESSES AND SYSTEMS. Institutions face a particularly difficult task when it comes to adapting to changing environments. More offen than not the temporal rhythm of any particular institution accumulates an asymmetrical relation to the temporality of elements internal and external to its system. It’s at this point that disequilibrium characterizes the system. eel) Ar NLS eM Te|* Mele ASI Sie leuiies Aci Meme Con ace nol Pe eieukomers ureter ae cna) sEaecouece acne meu Mi MUR eae ee keke ta acres aos Cee sane seed et entre ictal Hine CUS a toneuN tals oldie Rte MR Kelis iplinary, distributive and collaborative institution- (CUM cums eur Meus oltre ola hile these networks can be called institution iorms in so far as they have a capacity to organize eee smu Ac Aer eel Ae ei mony Crete hone Kasia Une ct ee ‘networked organizations’ — such as governments, Treen inetd ected aitseounn Feceleeles RNC Uee Mine keto eRe eh enets of liberal democracy. Such dynamics are pro- eM Nate tie Ret Keele seaceliM Rois Rel Mo ‘culture of networks peculiar to digital communica- fions media and their attendant socialities.eee cic mnie cae tes works constitute organization in ways substan- As Mice Mme os Rolie ir eee eRe el Ne Ren NS eed SCLC heen es ferences, however: organized networks are co- emergent with digital communications media, while networked organizations at face cede the advent of digital ICTs. OF special sig- nificance is the tendency for networked organi- zations to adopt intellectual property rights as the regulatory architecture for commerce and institutional partnerships whereas organized net- Ree Rel eu el aero ese eee nal Pee eee Rell memieres ieee gel 3 erie tcl eod cere nek ane Ne Tunes bedecl Re Acute ello On eed THERE IS A PREVAILING CONSENSUS THAT EXPERIENCES OF: SHARING FEEDBACK FLEXIBILITY AND FRIENDSHIP ARE PRIMARY TO THE CULTURE OF NETWORKS. wouldn't dispute the importance of such social- technical dynamics. However, it is a mistake to hink the horizontal, decentralizing and distribu- ive capacities of digital networks as immune from a tendency to ot back into hierarchical and centralizing modes of organization and patterns of behaviour. Indeed, there are times when such a move is necessary. Decisions have to be made. The so-called ‘open’ systems of communication are frequently not only not open, they also elide hierarchical operations that enable networks to become organized. Let us not forget that flexibility is also the operative mode of postFordist labour and its attendant double-edged sword of econ- omic precarity and ontological precariousness. PAGE 29 TEXT BY NED ROSSITERTHERE WILL BE NO UNIVERSAL MODEL THAT APPLIES TO THE DYNAMICS OF NETWORKS It is essential to address these challenges in order fo create structures of communication within networks that enable the distribution of resources and the income Dy generate. re Economic models developed from such technics are immanent to the logic of network cultures and specific to the situation of communication and practice. In other words, there will be no universal model that applies to the dynamics of networks, which by definition are singular, albeit with patterns, tendencies, and resources that may overlap. Collaborative economies special to network cultures can be distinguished from the service and delivery economies of the net worked university and its educational commodi- fies enframed within intellectual property regimes that endow education and labour with informa- fionalcommodity properties. And it's not as though networked organizations Coe eR m Mask Mee mM etired fional mode of management. So many net- worked organizations have existed for some time VAT WReet Vel ol lou Rou R Reco ceat Cie cre meses gat is Vieielie Reeser ee RMR ZAM reroute) Cee ena mek: ea) bubble, and continuing in the postcrash world of Richard Florida’s ‘creative class’. The paradoxi- cal injunction to disorganize also results in less Teubockuomeusmesctiiie sl almerceuiron ep Ea A oueuoRmKCeae heel ol Mou Rom oro lmeroers uemel ie Mel also subject to the postFordist logic of flexibiliza- tion, risk and uncertainty. Disorganization within ‘an informational mode thus corresponds with a oader crisis in representational democracy. Organization, not disorganization, is the chal lenge facing network cultures. How to do this TAREE aR as alata aoe aogcotutiee ae od ORGANIZATION, NOT DISORGANIZATION, IS THE CHALLENGE FACING NETWORK CULTURES.Lola roll ol oko) re RUC MMMM CoM 9 Colne RL} eel ote oul Reet ut Roo) fos fi Tet Rel se Rod Ul eO Ay auKe Rc-ee tg sion, irrespective of whether one has anarchistic or social-democratic tendencies), You are connected to 29733374 people through 84 friends. hegemoni their political confront the materialities of informational communication in order to make concrete the horizons of utopian speculation. It would be easy to dismiss such an idea as a Neti no mle MAN Lee tke) rel Rion mmr cue enema esl lou) and sociallity of networks that function as disso- nances in the Heel and as registrations of ‘the political’. The political concept of organ- Creo Lee ee Re neon au Miele se og cy of thought about radical socialpolitical movements and their relation to institutional Lot eRe RUN won oR Ns ito Re} sociological study of what is commonly referred eR eum oC atone nis RPenm eles lcel ue ard COUNT um ues M elmore Min oMe ire} the tendency for network cultures to indulge self- Ne loltrel ono Mieu ne Ree le ence eRe Se Rea MR Ret Role rare Re Selo eLoe DdBECOME friends list friends map friends network mutual friends friend levels: best friends (0) good friends (7) friends (65) acquaintances (10) haven't met (8)RRC MCRL A Ra Au PHOTOS TO THIS MAB NONE MdaaNaes NON aves PATIVIEW & UPDATE YOUR PROFILEAccount deleted, because it was You can download not used for a long time or Violated our terms of use- all your contacts in CSV (comma separated value) format. Please contact us, if you Want it back-TECHNOLOGY RULES@ THE OLD WORLD WHAT IS KNOWN TODAY AS “THE INTERNET” DN SR a TECHNOLOGY TO FACILITATE THE SHARING OF SCIENTIFIC DATA OVER A COMPUTER NET- WORK. WHEN PEOPLE TALK TODAY ABOUT Ba edt Cen tae Se eS a La ae INFRASTRUCTURE AND COMMUNICATION PROTOCOLS WHICH ALLOW COMPUTERS TO Corel =a oy Mats Be) eee) a tea THE INTERNET ENRICHED WITH A LANGUAGE Paizo a =] en) tt} TO LOCATE DATA EASILY. THIS IS ACHIEVED THROUGH HYPERLINKS WHICH POINT TO THE INTERNET ADDRESS OF A COMPUTER IN THE WEB. USING A PROGRAM CALLED A BROWSER THESE LINKS ARE MADE VISIBLE BoM AeA MC ag eM lee alot TION. AT LEAST ONE BILLION PEOPLE HAVE US Score a a etal INCREASE WITH THE RISE OF NEWECONOMIES Fos ev Ne ferM ULE ME Lae, Ed To oN a his aa CHNOLOGY RULES THE NEW WORLD eR AU ECHNOLOGY REPLACED THE (EMOVING PHYSICAL BARRIERS IT HAS MPOWERED PEOPLE TO SHARE WHAT- (R THEY WANT AT THE SPEED OF IGHT. RADICALLY DECODING AND GLOB- ALIZING SOCIAL LIFE IT HAS CREATED IE AUTONOMOUS USER. THE USER IS IN PURSUIT OF INDEPENDENCE AND SELF- RELIANCE BUT SIMULTANEOUSLY EXPE- RIENCES A COLLECTIVE EXISTENCE. THE ISER IS OFTEN CHARACTERIZED BY AN ONGOING EFFORT TO USE MORE. HE / INDS BEYOND HIS PHYSICAL REALM, IS RULES ARE TECHNICAL AND SOCIAL. IE IS A STAR IN HIS OWN UNIVERSE. porn oyNi Mee ae THAN IT ESSN ee PN ITA SEN oY aS Tr AS COPY CREATIVITY roy alsa H LAWSUITS REGARDING COPYRIGHTS BECAME COMMONPLACE WHILE THE LIBERATION OF CRE- ATIVITY HAD BEEN ATTRIBUTED TO THE WILLING- NESS TO SHARE. WORKS OF CREATIVITY WERE NO LONGER Con NED To. THE SURFACES OF LIBRARIES AND MUSEU! WITH THE GLOBAL DISTRIBUTION OF TOOLS EVERYBODY BECAME AN ARTIST, A DESIGNER AN ARCHITECT, A Fl MAKER, A BUBLISH- THE COLLECTIVE WAS NO LONGER PENDING ON AVERTICAL HIERARCHY BUT ON A EORIZONTAL HIERARCHY WHERE THE AUTONOMOI INDIVIDUAL BECAME AN ACTIVE PARTIC PANT IN ACOLLECTIVE EXPERIENCEHOW TO CONNECT IGING THE TRAGED' CRITIQUE OF CAPTURING (SUB ) GOOGLE BLOCKAGE SYNDROM * PIONEERING THE “| WAS AN ENEMY OF LINEARITY’ MICHEL (GED TOM FROM MYSPACE” (T-SHIRT) “NAKISHA’S OUT OF HER HEAD. ITS LIKE SHE KNOWS WHAT TO. BLOG THEORY IS A BRAIN FART THAT SHE CANNOT! DO BUT HOW CAN SHE WHEN SHE FEELS LIKE HER} | MADE FORME” “YOU CANTTBLOG THIS” (DANAH A BUNCH OF ASSHOLES WITH CAMERAS AND BACK” DENNIS: “WHY YOU SHOULD U, AND I'M DARING YOU TO PROVE ME WRONG? “YOU GET TO KNOW ME: BECAUSE | ALREADY KNOW I’ * “READ THE WEBLOG, WEAR THE T-SHIRT, LIVE Ele ol yo) ee ee le a eee Oe etme CM La LOOKS FOR SOMETHING TO BITCH ABOUT’ ERNIE | VY IVIESIMORY IS A BLOG FULL OF CREATIVE IDEAS BUT NOTHING TO SHOW FOR IT” 4 “THIS IS MY BLOG, DAMMIT, AND I'LL RANT ABOUT SIX-MONTH-OLD MEMES IF | WANT” (WA 6) FRIDAY NIGHT CAT BLOGGING * “ARE YOU BUZZ COMPLIANT? WEAR A WEB 2.0 BADGE” “EVERq PRECARITY IS NOT ART. PRECARITY IS NOT A BRAND. mu ART ACADEMIES] = r\ a — =) /\ PAID Sep Se — aa SS) create |) | | reece PAGE 49 TEXT BY MATTEO PASQUINELU, IMAGE BY HENDRIKJAN GRIEVINKEI, HOW MUCH HCH DOES YOUR IMAGE COST? GREAT IDEAS mula ime ARS UZ) DONE SPECIALLY FOR YOUR COMPANY! oe eemiei mooSettee) PLATFORM! | OF SOCIAL}UNA Tag EUR mAs Pern ele NURS ON ORO SS UT ae The trend, which began in South Africa, has now STROM MUGEN SSM ATUL AIL Australia, Ghana, and the US. es eR eS VR SSOP ae ad sda eae ho Dr Ea I itis presumed that the Internet not only changed our way of work- ing but also the way we live. STYLE IS NOT RADICAL YET AS IT HASNT PENETRATED THE CORE ARCHITECTURE OF THE TOOLS.nee Sanna Daron s OTT ony Seong WE HAVE EVEN Ce ated Pec LOGIN. CLICK. SCROLL BROWSE. ROAM. SEND. } PAGE 60 TEXT BY GEERT LOWINKWE CAN NO oR aS en THAT INTERNET nS UST Pastas aa St SECOND LIFE AND MYSPACE Ue BU EUR Erte SR Re Ue eg bloggers. WHEN WILL YOU SIGN OFF? DongenIS. TECHNOLOGY RULING US? What we are dealing with here are Be Sc Se OS eS ed BS SRR era) distilled from Star Trek: 1. radical uncer- PUR ee Po IUCR Ue real”); 2. vital illusion (“Technologies partake in the ruse of irony, surprise and Ere RU CR UCC RL OTS es) Use ORR mCi (‘Virtual world designers should turn their PRR ae To a | RUE eee and typical intent’). This list of conditions SE MR CCR CRS RUE CRM Cg us to figure out how technology is ruling us. TEXT BY GEERT LovINK CenThe hegemony of ‘digital inclusion’, at least in the for- mer West, is nearing its limit, up to point of breaking down. Film, radio and television were an easy case as people gathered around the equip- ment in order to receive the message. Distributed media make it harder to reach a crit- ical media of willing ears while facilitating mobs and crowds that did figure out how to recreate the social in today’s public spaces. a ed ‘The celebration of a digital lifestyle should be read as a desire to compensate for a lost social context.MY MEMO READ THE WEBLOG, NOTHING SHOW FOaes YOUROWN POTATO-CHIPS § MAKE YOUR CHOICE Peete Oe Eas Ul [TOA ey Ree BUILD YOUR OWN HOUSE CHOOSE AN ARCHITECT HOW MANY ROOMS? CHOOSE THE STYLE OF YOUR WINDOWS oy rr gla v1 IN4 ADD YOUR TEXT HERE BOOK DESIGN [GHOOSEA DESIGN "AND GENERATE ATTOMATCNY PAGES TITLE 0 ano vourtme [scoserar meron wore [+ ] DO YOU WANT CHAPTERS? PUBLISH AND DISTRIBUTE YOUR BOOK! CHOOSE A DESIGNER, CHOOSEAFORM OHARDCOVER Opocker CHOOSEASIZE OLETTER OPincuin CHOOSEASTYLE OcLassic OmoverN ‘OULD YoU UME AN LUSTRATON OW THE CovER? [CHOOSE YOUR ILLUSTRATION] ¥ ] DO YOU WANT A GLOSSY COVER? Oves Ono DO YOU WANT ILLUSTRATIONS? Oves Ono DO YOU LIKE TO KNOW MORE ABOUT STYLE CLICK HERE (M008 HNOA TINGLHLSIO ONY HSITENdeT eRe Set ee eh a revolt. Lawsuits were fiying left, right and centre, the west- em system of vertical hierarchy was under attack. The public Ne ee Ua ieee aay i ee eed seeking to hold them liable for cancer. Environmentalists were suing oil companies for pollution, stock holders sued Ce eee a ee areas Ueicdckkueuen eee Dr ee eet aes I | |, SS TNT Te Ua BY LAW. ANY COPYING, HIRING, DISTRIBUTION, EXPORTING. i . COM aa Tay Cee ST A NGL auc PAGE 81 TEXT BY MIEKE GERRITZENThe creative is no more an iconoclast. ‘comes PAGE 03 TEXT BY MATTEO PASQUINELL IMAGE BY KOERT VAN MENSVOORT eepenl* OMe| ADS AS ADVERTISING | BLATHER BECOMES THE NATION’S NORMAL IDIOM, | LANGUAGE BECOMES PRINTED NOISE.C-CULTURE CONFLICT is nor A COMMODITY. ON THE CONTRARY, COMMODITY IS ABOVE ALL CONFLICTThree kinds of action, well separated in the XIXth century - labour, politics and art - are now integrated into one attitude and central to each productive process. In order to work, do politics or produce imaginary today one needs hybrid competences. This means that we all are workers- artists- activists, but it also means that the figures of the militant and the artist are surpassed and that such competences are only formed in a common space that is the sphere of the collective intellect. |__ PAGE £0 TExT By By MATTEO PASQUINELL RADICAL MACHINES AGAINST THE TECHNO-EMPIRE THE FUNCTION OF THE CREATIVE WORKER IS NOT TO PRODUCE, BUT TO SET NEW TRENDS IN CONSUMPTION.INA PROFESSIONAL MANNER WE LEARN ABOUT YOUR IMAGE COUPE Renate eRe emi d RU BUR ura DCS Con ROR CREATIVE SPAMCreative Industries is Blairism COREL sane) ee La me ee A FRIEND OF MINE STOLE ME THE IDEA OF A CREATIVE ONY BLAIR 1S STEALING YOUR IDEAS. COMMONS PROJECT. § (posTMODERN PARANOIA] | PAGE 96 TEXT BY MATTEO PASQUINELLITcREPETITION INDUSTRY REPETITION INDUSTRY Dy ae! 0) CREATIVITY IS CREATIVITY IS A STATUS SYMBOL FOR | A STATUS SYMBOL FOR THE PLANETARY BOURGEOIS THE PLANETARY BOURGEOIS PAGE 100 TEXT BY MATTEO PaSQUINELLLTo get to a workable understanding of the history of the culture machine, we need to braid these three strands, looking at PROGRAMMERS, MILLIONAIRES and DREAMERS. That these strands can all combine in the story of or is all to the good.Ta ee ATT aie BEFORE re WORLD WAR IL. SYSTEMS. ns WE HADreak each oth > nd more comm to have no life oC with the WE ARE ALL BORN INTO A WORLD THAT HAS LARGELY ALREADY BEEN INVENTED AND DESIGNED: TWENTY KINDS OF BODY LOTION, MOTORWAYS FOR CARS, NUCLEAR BOMBS, GLAMOROUS GADGETS, adi ee mo Ns Bren X14 YOUR DOG’S BAD BREATH, DILDO- SHAPED REMOTE CONTROLS. PAGE 107 TEXT BY KOERT VAN MENSVOORTCREATIVITY IS ALL WE HAVE LEFT For primitive hunter-gatherer people, work and private life were intertwined. The hunt served the practical goal of food production but was also a mythical event in itself. ee MUTT MEAT IN THE SUPERMARKET. WE Stel Se a elt ERS, EMPLOYEES, CONSUMERS. Modern humans play a part in a system and live in a personal world parallel to it. Jiirgen Habermas delineated this distinct- ion in The Theory of Communicative Action 1. The ‘lifeworld’ is the terrain of culture, personality and social networks, It is a world in which people concentrate on hing agreement — Habermas speaks of ‘communicative action’ — about what is happening (truth), what is good ( ey and what is real (truthfulness). The em is the terrain of the bureaucratic atuses of state, science and economy. -m world is less oriented to com- municative action than to the achieve- ment of concrete goals; acting instrument- ally and strategically are paramount. PAGE 108 TEXT BY KOERT VAN MENSVOORT CREATIVITY IS ALL WE HAVE LEFT BU Tarte mom Casey ramos Biter nce Rn micas ments rise of symbolic means of represent- ation, such as writing. This is no try yum errlere CTI meee Ce} ae icitly express all sorts of values. loney is a good cone It brings us to agreement over the relative value of objects. This facilitates trade between apples and pears. It Coos rnc cele once eR En Se acs EBaemec meant amily” in money. This aaa explicit of everything is difficult to ROEM Maras Kec hmotaeaenee eR oermt oc eT mR ZiT has no place in the database. The more we make our lives explicit, the Fite omCon a Cem rumor mC to become. A major drawback of the ilseneito nea mtee atta about everything is made explicit so that it can’fit into a database. SoC Bin mete ioe emo ment comatose ORES crcam DeeCREATIVITY IS ALL WE HAVE LEFT For centuries, humans were an unexplained miracle. But thanks to the scientific methods that have dissected us down to our DNA, we have come to see human beings as systems we can mould and manipulate. People with odd noses get them corrected by plastic surgeons. People who are depressed simply have the wrong chemical in their heads, and are pr scribed pills so they can have fun with every- body else. How is it, wondered the eigh- teenth-century poct Edward Young, that we are all born as originals yet most of us die as copies? We have atrived’at the point where we must ask ourselves if there is even a ‘lifeworld left. Have we outsourced ourselves for good? Orenttertmllamameranipiteony _ interest in nurturing human beings’ true life potential, Organisational structuses are mainly Eoncemed with keeping themselves alive Indeed, a human being-can easily become the prisoner of his own organisational ability, But despite the fact that we sometimes get tan- gled Tie spate, vor hase brewed be hugely creative at introducing lifeworld cle ments into the system world. Paul Schnabel, director of the Social and Cultural Planning Office of the Netherlands, calls this ‘domesti- cating the system 2. Domestication is a word originally used to refer to, the taming of wild animals, but evidently itis currently some- thing humans do to systems.COU VU AER ARP eA Ae ere ee Meanwhile, the organisational structures have recognised that human creativity is a valuable asset (organisational structuies are hot stupid). Policymakers are going all out in thelt efforts to-make creativity explicit within the terms of the system World Regulated arts platforms’and incubators are springing up like mushrooms — naturally, iia neo ieel ant poral ; 7 pelorene foes ood cicngie ede WR nina ence nt ttt Pinnings. You will have gathered that {am RE Sceptical about all this. But let's agtee not to fpr ae go hold it against the poor policymakers; once Rn See en they get home from work, they're good what pedantic. If ever peoj parents every one, aren't they? Rather than Terre itenmsttcecse ries eTi : criticising a couple of inconsequential creativity, then it will be abl barometers, I wish to speak directly against A organisational structures in general. I know See Mre om iacs) | that you hear me. I know what you are FIRM tic ac creer eet | thinking. I know that you know that I Merete tone cote tenn 7) ia i know. Fam not afraid. I'm sorry to have to Peter Wated oitccias ree rtke rete) tell you this, but creativity is more than a MN new strategy for bolstering the economy or Ne ee science or politics, Every one of us human back and hit you in the face. | eee Boye ie potential to rg up will come to work in fli with ideas and forms that are original, : peel | truthful and useful. Human creativity pela MP a, promotes a better lifeworld, based on the the system world. Even i dreams people have about themselves. OO mei icon ir bia oie fall human trait, creativity ig the most ay | difficult to make explicit — lét alone auto- n ees Hate, as has successfully been done with ere , apni ems se espns physical labour and computing power. eer\ ‘FUCK LOVE eam Gee DESIGN DESIGN DESIGN DESIGN DESIGN DESIGN DESIGN DESIGNA DESIGNER WORKS IN OUTED Y Taney SOMETIMES PARADOXICAL MIX OF ANALYSIS, Ned ts RATIONALE AND INTUITION, SIMULTANEOUSLY AND CONTINUALLY MOVING STEP BY STEP TOWARDS INT Ne S50 TeaMM) =©WORLD The idea of the creative industries as a broad alliance of activities with creativity at their heart is one that is becoming wore central to economic policy and planning, and being entertained seriously in many parts of the world.CUTE The term creative economy refers to the growing role of creative industries and creative ioe in our economy and society. This is a crucial emerging concept for Australia because the creative economy will secure our competitiveness in the global future. First, then, the idea of the creative industries as a broad alliance of activities with creativity at their heart is one that is becoming more central to economic ne and planning, and being entertained seriously in many parts of the world. PAGE 120 TEXT BY STUART CUNNINGHAM: THE RISING TIDE OF INNOVATION A CRUCIAL EMERGING CONCEPT FOR AUSTRALIA The focus has shifted towards the digital content eN0 oF the creative industries and has raised lindersianding that creative industries’ outputs aiid Creative occupations are et a more important input into manufacturing and the wider Service industries, such as health, education, Government and business services.MADE IN CHINA BECOMES mn Su Tong: We have also been working on facilitating the marriage between creative industries and Chinese traditional industries and traditional culture. Interview with Su Tong: “Created in China” by Ned Rossiter ao yopaU » Tropicalization of creative industries De ere eee aden Ae Se eee a ae a ee acre ad Brazil's Minister of Culture Gilberto Gil ee el hoods of Rio de Janeiro SE Mn aaa ans) ‘CULTURAL PRODUCERS THROUGH THE CREATIVE USE OF ICTS AND FLOSS (FREE LIBRE OPEN ‘SOURCE SOFTWARES), BASED ON A PHILOSOPHY OF KNOWLEDGE SHARING AS THE IDEAL ST COU URS LM NTO AS un SGC UNC The September 11, 2001, tragedy and Cee oe re Tal pes Pret mle RU Creative Class, to ask sobering questions Cea Ree a eg OE TR SR le Bue leo BR ee UR a ool) Cae eee veel It is the emergence of a new society and a Dee Rie) a el SO ee aed Se eee ee mes time. And they thrust hard a Pel) DA Aa PU RU ee me Re eel ee Re eed bd oeerne cy DR Te Tee ACLU E CALI) See en DR Cun LNna Cee he ee Ler cs Jamie Peck (japeck@wisc.edu), Department of Geography, University of Wisconsin-Madison| BE CREATIVE 3| oe ” i n no | ats | wl nt even Be aM WE: | that even Europea I will no ionger see MUSEUM | something whic SS 3 ==9 human nature.EUROPE Kx KK KKK it should be possible, again, bm UME ES ML Europe to be absolutely modern, not just in an unreconstructed TR cynical parts of post modernism ENR CN MUR Ee BLS Tee eee YE PEM ee Ta generations and [sub)cultures, PM eae EY Le mT ET Ae education and access to hasic resources, not to mention the PT LD are surrounding us. The fight over cyberspace is one of them. Pours Europe is obsessed not to make the fatal mis- takes of the last century. It's success will be measured in capacity to reach futility. There is sophistication in becoming irrelevant. Wh} 5 pies ere aa Culture is widely being overestimated. Money is driving the economy, not culture or creativity. One has to face this fact in order to negate it. CULTURE CAN LONGER BE SEEN AS A MOTOR BUT RATHER AS AN AFTEREFFECTwill be too little too Blair-type Third Way thinkers have no to be the inventors | idea about the long term destabilizing 1 effect of their privatization craze. THEY HAVE FORGOTTEN ee At RELATION IN EUROPE oN Sa SS SOCIAL QUESTION AND WAR. AND HOW THE SOCIAL QUESTION, ALMOST BY az ke IS BEING TRANSFORMED INTO ETHNIC AND GEN- DER ISSUES. Europe is not an innocent place upon | which all sorts of pragmatic Anglo-Saxon | ideas can be projected. That would be | naive, and challenges the box of Pandora, named History, to be opened. g that neo-liberals when they praiseKKK KKKFASCINATING MARKETING LS RSWE ARE AT THE BEGINNING OF A SECOND GOLDEN AGE: A NEO-GOLDEN AGE IN WHICH THE GOLD IS IDEAS. IN THE FIRST GOLDEN AGE ‘WE DEPENDED ON TRADE, RAW MATERIALS AND MONEY; IN THIS SECOND GOLDEN AGE, THE GOLD WILL BE IDEAS _ AND CREATIVITY. }OE 140 TEXT BY CARMEN DE MUNNIK GOLD MUS ADE WE NV Uoias jet \ PEM L®COLOPHON Pa Le First edition 2006 ALL MEDIA Concept & Design: Mieke Gerritzen ed Cy ees ce crc Aad Linda Wallace red ree cy Dor cd CR rer) T+ 31 (0}20 6204998 Ces crete BIS Publishers Pend worry cote 1000 A Amsterdam res NUE US Cr ‘www bispublishers.nl Published by: ry Cae) Peed Dod Ce eo a cc ny publication may be reproduced or transmitted in any form or by any means, eee ey information storage and retrieval system, withaut permission in writing Cee om CUSTOMERS WHO VIEWED THIS BOOK MAY ALSO LIKE: Crate fiieeatanats Cee tau rrad Beautiful World is a timely film about visual cufture in which form and content are no longer presented separately and the boundaries of entertainment and high cutture are unclear: the reality of media and words. Screenplay by: Henk Oosterling, Geert Lovink, Koert van Mensvoort en Mieke Gerritzen. WWW.BISPUBLISHERS.NLYOU MAY ALSO LIKE: WWW.BISPUBLISHERS.NL