It’s a couple of weeks since Mark Banks and Susan Luckman’s CRESC-supported ‘Placing cultural work: (new) intersections of location, craft, and creativity’ symposium in Camden (click here for details). It was a fantastic event with a sizeable and highly engaged audience and all invited speakers, hence a remarkable degree of interconnection between presentations despite a wide thematic range (from Susan Luckman’s analysis of how craftspeople present themselves and their homes on Etsy to Ruth Bridgstock’s quantitative study of creative subject graduates’ career pathways in Australia to Nicola Thomas’s history of regional craft guilds in southwest England – not forgetting studies of boutique festivals by Marjana Johansson, the gendering of artistic identity by Stephanie Taylor, and Newcastle’s leftwing Amber film collective by Robert Hollands, plus Julia Bennett and Julie Brown’s account of new initiatives involving the Crafts Council). As for myself, I presented the first output from my ongoing ethnographic research in Hackney Wick. Here are the livetweets as a partial record of what was said.
Note that, while the tweets below start off being mostly from me, the balance thankfully shifted as Jon Swords, Megan Hoggins, Laura Mitchell, Mark Banks, and Jon W joined in. Responses from people not present at the seminar are also included, and I think I’ve included pretty much everything with the hashtag. Sorry if I’ve left anything out: Twitter has decided to hamstring its users’ search facility in some new and interesting way that I wasn’t able to get around (yes, even via the web interface, which used to have advantages over third party apps and the API).
Introduction
So @MarkOliverBanks is doing introductions, perhaps getting back to his geographer roots: 'Geography of cultural production'.
— Daniel Allington (@dr_d_allington) November 15, 2013
‘What does local mean in the context of craft? Research and policy perspectives’
Julia Bennett (Crafts Council) & Julie Brown (Leeds University)
Julia Bennett from the Crafts Council speaking at #PlacingCulturalWork 'Making the UK the best place to see, learn, produce, collect craft'
— Daniel Allington (@dr_d_allington) November 15, 2013
Julia Bennett: often, 'policymakers do not see research as central to their decision-making' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Craft Council has commissioned a longitudinal (2008-2012) educational study. Finds increase in short courses at FE #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
(N.B. Yes, that should be ‘Crafts Council’)
Craft to be explicitly represented in DCMS categories of creative sectors #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julia Bennett is talking about Craft Council classes to improve makers' business skills #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julia Bennett: 'sound matters' – Craft Council project on relationship between craft and 'sound art' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julia Bennett: new emphasis on localism and support for makers (e.g. opportunities provided by new 'market towns') #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Starting to appreciate why livetweets so rarely make any sense.
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown is now speaking at #PlacingCulturalWork. Or will be, once PowerPoint is up and running.
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown on 'What does "local" mean in the context of contemporary craft?' at #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: the 'enduring importance of "place"' in craft making as a process #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
'variety increases within each country while diversity diminishes globally' (Julie Brown quoting den Besten 2011) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: online access allows makers to follow each other's work internationally. Can craft still be placed? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: makers increasingly involved in regeneration and in large commissions for public buildings #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: under global availability, there is increasing appeal of exclusive objects connected to place #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: also increasing interest from consumers in knowing about the producers of objects #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: related demand for learning about craft skills, related to craft tourism (workshops etc) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown on Make/Works design directory ('ground up' project organised by Scottish makers) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: things that LOOK traditional but are produced digitally (yet still embedded in place) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: 'Flock to Ossett' – craft makers given commissions to draw people into town centre #yarnstorming #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: craft clusters to establish sustainable local economies for each craft medium #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: 'diversity of business models which current craft makers are using' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
‘“Wandering into the realms of geography and craftsmanship”: exploring the spatial politics of craft practice, connections and livelihoods’
Nicola Thomas (Exeter University)
Nicola Thomas now speaking about William Morris and the politics of craft and location #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas apologises for unreadable PowerPoint slide… #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: money was pumped into trying to create clusters out of nowhere #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas regional craft guilds on the other hand do create attachment, mutual cooperation, local commitment > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: > these are much older 20th century movements and were informed by the Arts & Crafts movement > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: > with focus on access to markets and on saving the countryside from decline #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas in the early 20th, craft guilds provided the sole route to market. No longer so – but the guilds endure. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: why is that? why join a guild when you can have a bespoke online shop? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas on the Rural Industries Bureau 1921-1968. County-based, aimed to develop rural industries. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
'Guilds as resilient feature of cultural economy' @craftgeography potential link to evolutionary ideas in Econ Geog #placingculturalwork
— Jon Swords (@jon_swords) November 15, 2013
Nicola Thomas: RIB wanted to 'skill up' craft makers, but the latter were not necessarily concerned if sales were ok #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: guilds aimed (and aim) to protect and promote *standards* within particular localities #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas on the Devon Guild's professionalisation from the 1980s: members now participate mostly by selling #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: …but the sense of spirit of mutual support remains (despite creeping guilt about lesser involvement) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Questions for Julia Bennett, Julie Brown, and Nicola Thomas
Kate Oakley problematises co-production: "one person's co-production is another's work for nothing" #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas replies there is little true co-production between makers in guilds: more services for each other #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown adds that there is a need to develop *equitable* co-production #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Julie Brown: too many pple going through qualifications process & expecting to be *employed* when must be entrepreneurs #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: amateur makers are encouraged *partly* because they are also buyers #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Nicola Thomas: you need local non-professional involvement to access grants! #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
REALLY wish I was at #PlacingCulturalWork today, but alas am on rain-lashed Arran.
— Ealasaid Munro (@Ealasaidmunro) November 15, 2013
Will somebody else at #PlacingCulturalWork start livetweeting! It's only 10.52 and I'm exhausted already.
— Daniel Allington (@dr_d_allington) November 15, 2013
Apology for lack of biscuits from @MarkOliverBanks at #PlacingCulturalWork seminar
— Daniel Allington (@dr_d_allington) November 15, 2013
‘Craft Workers Being At Work, At Home: Representing Labour, Home and Family on the Etsy Shopfront’
Susan Luckman (University of South Australia)
.@SusanLuckman design of Etsy head office: classic performance of creative industries identity with handmade twist #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman Etsy focus on clear provenance of items. Geographical & ethical emphasis compares to eg. farmers markets #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: Etsy shopfronts typically explicitly position themselves in the ethically/environmentally aware economy #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman Is the largely white, female, middle class Etsy craft economy a post-Fordian wolf in sheep's clothing? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: Post-Etsy economy part of an increasing trend towards seeing the home as a site for production #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: Shopfronts 'featured' by Etsy follow a clear generic visual and narrative template #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: The image of the successful woman is a figure both of the home and of the global economy: Etsy context #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: Etsy profiles as performance of the collapse between professional and domestic habitus in female labour #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman emphasises the labour required to sustain the online performance of the idealised worklife #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman: buying direct from a maker / buying into the maker's (online) performance of an idealised self #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
‘Creative career pathways, places and portfolios: Tracing the experiences of Australian cultural production graduates’
Ruth Bridgstock (Queensland University of Technology)
.@RuthBridgstock is now speaking on the Cultural Production Graduate Tracking Project #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock begins with ethnographic study of creative subjects graduates #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock has a focus on how 'cultural entrepreneurship' is distinct from 'business entrepreneurship' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
RT @dr_d_allington: .@RuthBridgstock has a focus on how 'cultural entrepreneurship' is distinct from 'business entrepreneurship'…
— Paul Long (@PLongy) November 15, 2013
.@RuthBridgstock Context is Australian questioning of value of humanities degrees (QUT decided to abolish all!) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Discovered 70% of QUT humanities graduates found employment in occupations related to their degrees #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Defines cultural production in contrast to creative services #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock is presenting preliminary data from the Australian Creative Graduates study #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock says just 39% of 'creative' grads are engaged *only* in 'creative' work up to 6 yrs after graduation #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Creative trident (roughly equal numbers employed in each): 1. creative occupations in cr. sect > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Cr. trident: 2. creative occupations not in creative sector #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Cr. trident: 3. support workers in creative sector #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock But this forgets that many support workers may be doing creative work e.g. doing social media work #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock And some 'creative' jobs are totally routine, with no creative element #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Respondents overwhelmingly aspired to creative careers – or to non-creative career to support > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock > own creative practice. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock Majority of respondents considered themselves 'fairly' or 'very' successful in their careers. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Questions for Susan Luckman and Ruth Bridgstock
.@CaseyBrienza asks about exclusion from the style of production valorised on Etsy #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@SusanLuckman talks of 'subtle policy of exclusion' in US maker's fairs – policing of black women's crafts #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Given up trying to work – just following @dr_d_allington's tweets from #placingculturalwork Someone buy that man a drink later, from me.
— Ealasaid Munro (@Ealasaidmunro) November 15, 2013
.@SusanLuckman Online performance of self on Etsy is like Xmas card letters – 'it's all growth, it's all good' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@RuthBridgstock says post-crash, 'creative' jobs growth in Australia is mostly in social media management, PR etc #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Discussion of aestheticisation of labour on etsy reminded me of this http://t.co/kfXI2K9520 #placingculturalwork
— Jon Swords (@jon_swords) November 15, 2013
Lunchtime at #PlacingCulturalWork seminar. Time for a break from livetweeting…
— Daniel Allington (@dr_d_allington) November 15, 2013
Arrived at #PlacingCultureWork seminar just in time for free food. Because I'm a student.
— Megan Hoggins (@MeganHoggins) November 15, 2013
‘Connection and avoidance: the creative potentials of place’
Stephanie Taylor (The Open University)
Stephanie Taylor will be talking about the interview research she's done with Karen Littleton at #PlacingCulturalWork seminar
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor begins with quote from Becker – feel like I know where we are now… #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor on the self-image of the artist/maker: vocation; open ended process of discovery; immersion #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor notes that this is incompatible with ideas of e.g. time management #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor image of the studio is based on 19th century biographies of painters and sculptors > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor > space for working, living, entertaining #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: image of the workshop is slightly different – place of authentic work in contrast to e.g. factory #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor image of 'urban creative world' reasserts social nature of creative making (networking, markets, etc) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: who is excluded by these two spaces (studio/workshop and urban creative world)? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: image of studio as male space of chosen poverty, involves refusal to support dependents #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: this 'selfishness' is a gendered and classed privilege #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
(N.B. If I may be permitted to interpose an interpretative comment here, Taylor is essentially talking about the ‘selfishness’ of not supporting a family by doing what might be considered a ‘proper job’. Such voluntary poverty is, I note, more typically presented as a self-sacrifice; calling it ‘selfishness’ draws attention to the fact that it is clearly easier and more socially acceptable for some people – especially childless men and ‘absent’ fathers of upper- or upper middle-class origin – than for others – especially working-class mothers – to maintain. I mention this because, the more I reflect on it, the more it seems like the unspoken subtext of a great deal of what I have seen and heard in contemporary bohemia.)
Stephanie Taylor: studio as space of privilege and poverty #placingculturalwork
— Jon Swords (@jon_swords) November 15, 2013
Stephanie Taylor: Alison Bain 2004: female artists used possession of studio as 'powerful identity marker' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: 'urban creative world' also has its exclusions (from networks, from consensus on value) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
(N.B. If I may be forgiven for interrupting myself once more, this time for the sake of an utterly shameless plug – and, in fact, even if I may not be forgiven for it, because this is my website, mine! – the emergence of consensus on value is the kind of thing I explore in my work on cultural fields as networks of evaluation.)
Stephanie Taylor quotes Becker 1982 p. 135 on 'the conservatism of art worlds' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: now the space of the studio has been 'reduced to the laptop' while space of the network has expanded #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor suggests that the online creative network reproduces offline exclusions #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: popular culture often now celebrates 'the life/work merge' #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: This resembles but is different from the image of the studio space #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: 'invasion of the hard won studio space' compromises professional identity of female artist/makers > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: > harder to distinguish the masculinised professional identity from the feminised domestic one #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: Thanks to life/work merge, it's harder for female artists to claim the 'privilege of selfishness'. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
‘Place, Creativity, and the Arts: A Case Study of the Newcastle-based Amber Collective’
Robert Hollands (Newcastle University)
Robert Hollands now talking about the Amber Collective in Newcastle. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
@dr_d_allington Cracking work – much appreciated by those of us not able to be there today! Do you moonlight as a stenographer?
— Paul Long (@PLongy) November 15, 2013
Robert Hollands: Amber arts collective had origins in 1960s, art students from Regent's St Poly moved to Newcastle > #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands > to document working class culture. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: themes in art/place literature: 1. clustering of artists #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: themes in art/place literature: 2. material impact of place on artists (e.g. cheapness) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: themes in art/place literature: 3. how artists transform space (inc. negatively, i.e. gentrification) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: Amber collective reversed the typical flow of artists from periphery to centre #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: debate over whether this made it easier or harder for Amber to succeed #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: big fish, small pond etc #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: quote: "I felt instantly, somehow, rooted" (in Byker) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: Amber also wanted to involve the community that it was attempting to document #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands notes Amber's pooling of all earnings #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: Amber literally saved the Newcastle Quayside from road development by documenting local buildings! #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
I wonder what Amber's role has been in the relationship between gender art and place in Newcastle #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
Robert Hollands: do artists go where the market is? Impact on future of regional arts. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands: Younger film makers in Newcastle don't have the consciousness of place that Amber did. #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands does his Richard Florida impression… #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Questions for Stephanie Taylor and Robert Hollands
And we have the day's first mention of psychogeography! (audience question to Robert Hollands) #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Kate Oakley draws attn to Amber equation of 'poor northern' with 'real': atrocity tourism?? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands argues Amber not guilty of this: they included community members in films, and screened films with them #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands says Amber were genuinely interested in the communities they documented #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Kate Oakley foregrounds notion of 'real' in place – what does it mean to say one place more 'real' than others?? #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Audience question highlights Amber's role in the gentrification of the Quayside that it saved #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Robert Hollands suggests that Live Theatre were more responsible for that than Amber! #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor talks about how some homeworkers change clothes to mark transition from work to domestic use of home! #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor: online, there isn't an escape from offline exclusions because of need to present self as on Etsy #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
.@MarkOliverBanks brings up Billy Elliot; Robert Hollands discusses Amber's critique of it & points out it had a Live Theatre scriptwriter
— Daniel Allington (@dr_d_allington) November 15, 2013
Stephanie Taylor admits gratitude that can work from home, but notes this is interpreted differently for men & women #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
@dr_d_allington Do you have link or more info on this Stephanie Taylor talk? Sounds fascinating. Thanks for tweeting highlights!
— Shannon Robinson (@ArtistLibrarian) November 15, 2013
.@ArtistLibrarian These talks aren't being recorded, but you could try emailing Steph http://t.co/6wmX2MLXpo
— Daniel Allington (@dr_d_allington) November 15, 2013
@dr_d_allington Thanks. Interesting group of papers at the event. Best of luck with yours.
— Shannon Robinson (@ArtistLibrarian) November 15, 2013
@ArtistLibrarian Thanks! Mine probably won't be tweeted, so I guess I can say pretty much anything…
— Daniel Allington (@dr_d_allington) November 15, 2013
Okay, no more livetweeting from me at #PlacingCulturalWork as there's just one more panel, and I'm on it.
— Daniel Allington (@dr_d_allington) November 15, 2013
So apologies to Marjana Johansson, whose talk will I am sure be no less interesting than the preceding ones! #PlacingCulturalWork
— Daniel Allington (@dr_d_allington) November 15, 2013
tea break before last session of the day at #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
‘Experiential co-creation in the context of the “boutique” festival’
Marjana Johansson (Essex University)
Marjana Johansson exploring temporary place-making by consumers #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
contemporary UK festival economy is booming, 4 million annual visitors, 80% visiting boutique festivals #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
Interesting story of Amber collective in Newcastle and fascinating contrast to broadcast tv/commercial film in region #PlacingCulturalWork
— Jon Swords (@jon_swords) November 15, 2013
the boutique festival, at 2,000 to 20,000 participants prioritise quality and music 'takes a back seat' Johansson at #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
boutique festivals are positioned as a good vehicle for emotional engagement and experiential consumption #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
#PlacingCulturalWork Johansson "the consumer shifts from being a passive recipient to co-creator…[they] are put to work"
— Laura Mitchell (@Astret) November 15, 2013
Imaginative hedonism, boutique pleasures, Geordie realist aesthetics and pets in craft – having it all@ #placingculturalwork
— Mark Oliver Banks (@MarkOliverBanks) November 15, 2013
#PlacingCulturalWork are boutique festivals an attempt to re-enchant the disenchanted music festival? Johansson
— Laura Mitchell (@Astret) November 15, 2013
‘“Lots of rats and broken windows and oil on the floor”: bohemian nostalgia and the conflicted “regeneration” of Hackney Wick’
Daniel Allington (The Open University)
#PlacingCulturalWork Daniel Allington hoping his talk won't be tweeted….
— Laura Mitchell (@Astret) November 15, 2013
Disappointing @dr_d_allington says he won't be live tweeting while doing his own presentation ;) #PlacingCulturalWork
— Jon Swords (@jon_swords) November 15, 2013
@dr_d_allington #PlacingCulturalWork exploring the conflicted notion of regeneration and gentrification
— Laura Mitchell (@Astret) November 15, 2013
"Whatever I say will probably stay here." Nice try @dr_d_allington #PlacingCulturalWork #livetweeting
— Megan Hoggins (@MeganHoggins) November 15, 2013
@dr_d_allington anti-commercial artists no longer have sources of validation such as modernism #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington artistic community had a shared culture through electronic dance music among visual artists #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington studio spaces remain dangerous; the place offered a sort of validation through beautiful chaos #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington – the rats are coming #placingculturalwork
— Mark Oliver Banks (@MarkOliverBanks) November 15, 2013
@dr_d_allington the artists wanted to work in space that was less regulated, less policed #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington artists valourised the interestingness; from the industrious sweatshop workers to the muggers #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington ever-presence of the awareness that money was changing the area #PlacingCulturalWork
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington #PlacingCulturalWork bohemian as a sarcastic perspective on the artistic lifestyle; a lifestyle that can now be bought
— Laura Mitchell (@Astret) November 15, 2013
#PlacingCulturalWork livetweets have not been as sophisticated as those from @dr_d_allington but I hope they filled the gap
— Laura Mitchell (@Astret) November 15, 2013
@dr_d_allington delivers a really interesting final paper at #placingculturalwork. Shame he wasn't live tweeting it…
— Jon W (@jnthn_xiv) November 15, 2013
Beautiful chaos, slumming and performing bohemian artistry in Hackney Wick by @dr_d_allington #PlacingCulturalWork
— Jon Swords (@jon_swords) November 15, 2013
Remaining questions, group discussion, etc
Nobody seems to have livetweeted anything else that day. Sorry, you had to be there!