Addition to previous post, copied over is the list of texts to read. This will interest people on other courses to see where the texts and authors also appear as part of other subjects. For example management, though I think this MOOC is definitely into practice and action learning, not just critique though critique turns up as well.
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Assignment 1: Responding to Transitions: Placing arts and cultural organizations in context
Mandatory readings
Holden, John. "Cultural value and the crisis of legitimacy." (2006).
Waters, Christopher. "Theater as Community: The Art of Arts Management." (2013).
Worts, Douglas. "Culture and museums in the winds of change: The need for cultural indicators." Culture and Local Governance 3.1 (2011): 117-132.
Suggested Readings
Lee, Hye-Kyung. "When arts met marketing." International journal of cultural policy 11.3 (2005): 289-305.
Massumi, Brian. "Realer than real." The Simulacrum According to Deleuze and Guattari. Originally published in Copyright 1 (1987).
Additional Readings
Caves, Re. E. "The cultural economy: Markets and marketing for cultural organisations", "Basic economic properties of creative activities" (2000).
Hill, E. et al. “The evolution of arts marketing: practice” in: id. “Creative Arts Marketing” New York, 2nd Ed., (2000): 4–8.
Fugate, Jessica Burns, Kuntze, Ronald et al, “Bratz dolls: Responding to Cultural Change”. Journal of Business Cases and Applications Volume 12 – October. (2014).
Watson, Ruth. "Mapping and contemporary art." The Cartographic Journal 46.4 (2009): 293-307.
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Assignment 2: Repositioning Cultural Industries: Markets, marketing and the changing notions of art and culture practices
Mandatory readings
Henry Jenkins, "Rethinking ‘Rethinking Convergence/Culture". Cultural Studies (2014): 267-297.
Kagan, Sacha & Hahn, Julia “Creative Cities and (Un)Sustainability: From Creative Class to Sustainable Creative Cities.” in: Culture and Local Governance / Culture et gouvernance locale, Vol. 3, no. 1-2, (2012): 12-23
McGuigan, Jim. "The Cultural Public Sphere" European Journal of Cultural Studies (2005): 427-443.
Suggested readings
Nukkarinen, Ossi. "Contemporary Aesthetics: Perspectives on Time, Space and Content" (2014).
Shapira, Roberta & Heinich, Nathalie. "When is Artification?" (2012).
Kovalcik, Jozef & Rynanen, Max. "The Institutional Margins of Aesthetics: A Study Proposal" (2016).
Additional readings
Sacco, Pier-Luigi. "Culture 3.0: A new perspective for the EU 2014-2020 structural funds programming " OMC Working Group on Cultural and Creative Industries (2011).
Worts, D. "Measuring museum meaning: a critical assessment framework." in: Journal of Museum Education, 31(1) (2006): 41-49.
Rana, R. & Piracha, A. "Cultural frameworks" in: Nadarajah, M. & Yamamoto, A. T. "Urban crisis: culture and the sustainability of cities." (2007): 36-42.
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Assignment 3: Discovering Hidden Potential: Marketing cultural projects and managing artistic processes
Mandatory reading
Föhl, Patrick and Gernot, Wolfram."Masters of Interspaces" (2014).
Lessig, Lawrence. “Cultures compared” & “Two Economies: Commercial and Sharing”. Remix: Making art and commerce thrive in the hybrid economy. (2008): 84-176.
Suggested reading
Ferreira, Marisa & Sormento, Joao. "Internal stakeholders perspectives in a cultural event". (2015)
Khongorzul, Gantumur et al. "The Influence of Cultural Type on Art Marketing and Recommendation". International Journal of u- and e- Service, Science and Technology, Vol.9, No. 3 (2016): 299-310.
Ritchey, Tom. "General Morphological Analysis" (2002).
Additional reading
Brown, William & Iverson, Joel. “Exploring Strategy and Board Structure in Nonprofit Organizations”. Nonprofit and Voluntary Sector Quarterly, Vol. 33 no. 3 (2004): 377-400.
Kagan, Sascha."Sustainability: a new frontier for the arts and cultures." (2008): 17-19.
Lange, Candy."Visibility and involvement in effective arts marketing". Marketing Intelligence & Planning, Vol. 28 Iss 5.(2010): 658-660.
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Assignment 4: Co-opting Multiple Stakeholders: Leveraging social capital for organizational growth
Mandatory Reading
St. James, Y. “Consumer Behaviour“ in: Colbert, F. “Marketing Culture and the Arts“. HEC Montréal, 2012: 102-111.
Hausmann, Andrea & Poellmann, Lorenz. Using social media for arts marketing: theoretical analysis and empirical insights for performing arts organizations. in: International Review on Public and Nonprofit Marketing, 10. 2013: 143-161
Literat, Ioanna. The work of art in the age of mediated participation: crowdsourced art and collective creativity. in: International Journal of Communication 6. 2012: 2962–2984.
Lodi, Simona. Illegal Art and other stories about social media, in: Unlike Us: Reader. 2013: 239-253.
Suggested Reading
Andersen, Sophie Esmann & Nielsen, Anne Ellerup. The City at Stake: ‘Stakeholder Mapping’ the city. in: Culture Unbound: Journal of Current Cultural Research 1.2. 2009: 305-329.
Noble, Gary & Camit, Michael. Social marketing communication in a multicultural environment: practical issues and theoretical contributions from cross-cultural marketing. Prism, 3 (2). 2005: 1-13.
Rubenfield, Ronald & Yahr, Michael. The Pittsfield Symphony: managing the arts in tough times. The Pittsfield Symphony: managing the arts in tough times. in: Journal of Business Cases and Applications 3. 2011: 1.
Ridgway, Renee. Crowdfunding or funding the crowds: a new model for the distribution of wealth?
Additional Reading
Gansing, Kristoffer. Community new media – beyond ‘dissolutionized’ dissent. at: New Network Theory June 28-30, Amsterdam, 2007.
Massanari, Adrienne. DIY Design: How crowdsourcing sites are challenging traditional graphic design practice. in: First Monday, Volume 17, Number 10 - 1 October 2012.
Ryan, A., Fenton, M., & Sangiorgi, D. A Night at the Theatre: Moving Arts Marketing from the Office to the Kitchen and Beyond. 2010.
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Assignment 5: Exploring Emerging Identities: Co-creating and shaping digital brands
Mandatory Reading
Liang, Lawrence. A brief History of the Internet from 15th to the 18th Century, in: Lovink, G. & Tkacz, N. "Critical point of view. A wikipedia reader." (2012): 50-62.
O'Reilly, Daragh. "Cultural brands/branding cultures." in: Journal Of Marketing Management, 21 (5/6), (2005): 580-586.
Shirky, Clay. "It Takes a Village to Find A Phone", in: "Here Comes Everybody: The Power of Organizing without Organizations". (2008): 1-24.
Suggested Reading
Cramer, Florian. "What is ‘Post-digital’?" in: Post-digital Research (2013).
Hinck, Ashley. Theorizing a public engagement keystone- Seeing fandom's integral connection to civic engagement through the case of the Harry Potter Alliance, in: Transformative Works and Cultures 10 (2012).
Pokharel, Prabhas. Talking Change (And not just Campaigns), in: Digital Natives Thinkathon Position Papers (2010): 75-91.
Additional Reading
Artivists 4 life, Leslie Robinson, Maria-Carolina Cambre, Co-creating with youth Artivists in Uganda: Authors of Our Own Becoming“, in: Postcolonial Text, Vol 8, No 3 & 4 (2013).
Manovich, Lev. "Introduction", in: "Software Takes Command". (2013): 1-51.
Tsou, YiPing (Zona). Digital natives in the name of a cause: From “Flash Mob” to “Human Flesh Search’, in: “Digital (Alter)Natives with a Cause? Book 2 – To Think.(2011): 32-46.
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Assignment 6: Building Solutions for the Future: Crafting sustainable artistic practices and programs
Mandatory reading
Colbert, Francis. “The marketing mix" & "The Product" in: Colbert, F."Marketing Culture and the Arts“. HEC Montréal, (2012): 19-22, 32-62.
Curtis, David, Reid, Nick & Reeve, Ian. Towards ecological sustainability: Observations on the role of the arts (2014).
Dieleman, Hans. "Transdisciplinary artful doing in spaces of experimentation" in: ATLAS, Transdisciplinary Journal of Engineering & Science, 3 (2012): 44-57.
Fillis, I. & Rentschler, R. "Using creativity to achieve an entrepreneurial future for arts marketing." in: International Journal of Nonprofit and Voluntary Sector Marketing, 10 (2005): 277-284.
Suggested reading
Baumast, Anette: "The Happy Museum Project in England. How museums can contribute to well-being and sustainability", in: Arts Management Newsletter, Issue No. 115 (2013):12-14.
Moxley, David. Reflecting on the arts in social action: Possibilities for creative engagement in Action Learning (2014).
Additional Reading
Hadley, Bree. Improvising a Future in the Performing Arts: The Benefits of Reframing Performing Arts Entrepreneurship Education in Familiar Terms. (2015).
The future we want, UNESCO report (2014)..
Saturday, July 16, 2016
Friday, July 15, 2016
Goethe MOOC on Arts Management , notes for next time
These notes are to help revision and maybe find some people to share the next course with. I failed to keep up as well as I intended but I did start at the beginning. Last year I found it half way through. The design is very demanding I think and depends on finding a supportive group. Once again I found that my group vanished quite early. I can see from other work that these groups can be effective but so far I have not experienced this. So if it happens again I would like to know some others before it starts. Right at the end the marketing plan is supposed to be about a real situation. But most of the course is case studies. Not sure if they are updated.
I have done a post for a marketing plan concentrated on Rougement Global Broadcasting. This is in the Hello Spiders blog. This one back to Learning 9 as it may relate better. Thing is, the Goethe MOOC is intended to get a result and also has academic backup. My comment in italic
Outline of course with selected extracts of detail, just to show the sort of approach and requirement
Phase 1: Responding to Transitions
main thing I stuck with - digital
From the reading materials, keynotes and videos you should be able to grasp words, thought patterns & ideas to form a list of key terms
from which you can deduct to find 8-10 key terms you feel is most necessary to facilitate transition.
Phase 2: Repositioning Cultural Industries
digital in context, loops , transition in phases sometimes moving back
Building a Narrative: You identified a few key terms in Assignment 1. We want you to now tell a story and build a narrative using these terms. The idea is to build a profile of your ACO ( Arts Centre Organisation) using these terms, but also creatively interpreting them. We have a preconceived notion of how we write the profiles of our ACOs. This task asks you to produce a narrative that draws from your key terms, thus offering you a new and creative possibility of how to construct an ACO profile. This 1 page or 400 words analytical text would try and answer a few questions:
What is my ACO trying to achieve? Or where does my ACO want to be?
Why is this important for the development of ACO?
How/what are the possible ways to reach there?
Phase 3: Discovering Hidden Potential
Description:
In this phase, we will use a particular method, morphological analysis (MA), to visualize different contours, borders, limits and possibilities that these wicked problems present. You may use an online tool to help your team design and develop a morphological box, which we will continue to use in the following assignments. We start with the crises you previously identified and the infrastructure requirements for coping with them. Now, let’s attempt to explain them in a manner that moves beyond the description of particular “solvable” incidents and work towards understanding them as “wicked” problems.
Phase 4: Co-opting Multiple Stakeholders
One of the buzzwords that surrounds the growth of art, culture and creative industries is ‘stakeholder’. As ACOs start formalizing the various contingent, corresponding, and concentric relationships that they espouse in their existence, there is a new vocabulary and framework that is demanding a new look at our idea of partnerships, collaborations, and connections. ACOs are networked entities. They work within a wide spectrum of actors who have different roles, demands and purpose in their interaction with the ACOs
Phase 5: Exploring Emerging Identities
brand identity
This assignment requires you to gather the knowledge you have come up with as a team from all of the previous phases, particularly Phases 2,3 and 4. You need to reflect on the key terms and morphological box respectively to help guide you into building a value framework for your ACO.
a. We want you to discuss and agree upon 5 concrete, currently existing values of your ACO and make a case with short sentences drawn from keynotes & videos as to why you have chosen these five values as the most important for your ACO.
b. From the brief rationalizations you will need to further eliminate 2 values to reach a consensus for the 3 most important values which will help your ACO get to where it aspires to be as identified in Phase 3 with the morphological box.
This first part shouldn’t take up more than 300 words; 3-5 sentences to each of the 5 values and a more elaborated argumentation for the 3 most important values.
Phase 6: Building Solutions for the Future
marketing plan
Assignment 6 - Integrated Marketing Plan (IMP)
The submission in the final course phase invites you to take a bird’s eye view of our learning trajectory in this course. We are meaningfully and strategically drawing from each of the previous assignments to build an integrated marketing plan (IMP) for your case ACO.
However, we keep in mind that we are not simply talking about sales or advertising, but a network of stakeholder relationships and communicative practices. Integrating them into a Marketing Plan does not amount to cementing them into a static structure, but is more asking to create a dynamic proposal for possible futures. As a blueprint, it remains conscious of the variables we need to consider in
order to create agile and actionable processes, proofing our organization for the only certainty there is: uncertainty.
============
I have done a post for a marketing plan concentrated on Rougement Global Broadcasting. This is in the Hello Spiders blog. This one back to Learning 9 as it may relate better. Thing is, the Goethe MOOC is intended to get a result and also has academic backup. My comment in italic
Outline of course with selected extracts of detail, just to show the sort of approach and requirement
Phase 1: Responding to Transitions
main thing I stuck with - digital
From the reading materials, keynotes and videos you should be able to grasp words, thought patterns & ideas to form a list of key terms
from which you can deduct to find 8-10 key terms you feel is most necessary to facilitate transition.
Phase 2: Repositioning Cultural Industries
digital in context, loops , transition in phases sometimes moving back
Building a Narrative: You identified a few key terms in Assignment 1. We want you to now tell a story and build a narrative using these terms. The idea is to build a profile of your ACO ( Arts Centre Organisation) using these terms, but also creatively interpreting them. We have a preconceived notion of how we write the profiles of our ACOs. This task asks you to produce a narrative that draws from your key terms, thus offering you a new and creative possibility of how to construct an ACO profile. This 1 page or 400 words analytical text would try and answer a few questions:
What is my ACO trying to achieve? Or where does my ACO want to be?
Why is this important for the development of ACO?
How/what are the possible ways to reach there?
Phase 3: Discovering Hidden Potential
Description:
In this phase, we will use a particular method, morphological analysis (MA), to visualize different contours, borders, limits and possibilities that these wicked problems present. You may use an online tool to help your team design and develop a morphological box, which we will continue to use in the following assignments. We start with the crises you previously identified and the infrastructure requirements for coping with them. Now, let’s attempt to explain them in a manner that moves beyond the description of particular “solvable” incidents and work towards understanding them as “wicked” problems.
Phase 4: Co-opting Multiple Stakeholders
One of the buzzwords that surrounds the growth of art, culture and creative industries is ‘stakeholder’. As ACOs start formalizing the various contingent, corresponding, and concentric relationships that they espouse in their existence, there is a new vocabulary and framework that is demanding a new look at our idea of partnerships, collaborations, and connections. ACOs are networked entities. They work within a wide spectrum of actors who have different roles, demands and purpose in their interaction with the ACOs
Phase 5: Exploring Emerging Identities
brand identity
This assignment requires you to gather the knowledge you have come up with as a team from all of the previous phases, particularly Phases 2,3 and 4. You need to reflect on the key terms and morphological box respectively to help guide you into building a value framework for your ACO.
a. We want you to discuss and agree upon 5 concrete, currently existing values of your ACO and make a case with short sentences drawn from keynotes & videos as to why you have chosen these five values as the most important for your ACO.
b. From the brief rationalizations you will need to further eliminate 2 values to reach a consensus for the 3 most important values which will help your ACO get to where it aspires to be as identified in Phase 3 with the morphological box.
This first part shouldn’t take up more than 300 words; 3-5 sentences to each of the 5 values and a more elaborated argumentation for the 3 most important values.
Phase 6: Building Solutions for the Future
marketing plan
Assignment 6 - Integrated Marketing Plan (IMP)
The submission in the final course phase invites you to take a bird’s eye view of our learning trajectory in this course. We are meaningfully and strategically drawing from each of the previous assignments to build an integrated marketing plan (IMP) for your case ACO.
However, we keep in mind that we are not simply talking about sales or advertising, but a network of stakeholder relationships and communicative practices. Integrating them into a Marketing Plan does not amount to cementing them into a static structure, but is more asking to create a dynamic proposal for possible futures. As a blueprint, it remains conscious of the variables we need to consider in
order to create agile and actionable processes, proofing our organization for the only certainty there is: uncertainty.
============
Monday, June 27, 2016
Open Learning Research Capability
Here in the UK the Brexit decision is still causing shock. It has definitely happened however hard it is to believe. My guess is that it will do so much damage that there will be a reverse decision later. Not that the past can be recreated, just that the UK is unlikely to move from where it is on the map.
So what to do meanwhile? I sometimes fantasise about imagined space so this may be another sort of metaphor, but it might also work in practice.
Open Learning is a term I have known at least since the DELTA project from the EU in the 80s. There are many other words but it seems a good place to start. Of course it is possible and probable that knowledge around Open Learning is shared. But formal funded research still has a role. Personally I am mostly on the edge of this but I am still sort of aware that it is happening.
After Brexit the UK could be cut off from EU projects, The funding is less of a problem than the isolation. Over the next two years (or however long it takes) there could be some work on better links. I think Scotland must have a large role in this as the EU must recognise the intention for Scotland to be part of the EU at some time. Dublin is not far away but the borders could be more complicated. They have a solid technology base. Worth exploring, this is only the first version of this post.
Early next year I will be at the BETT event at Excel in London. Gradually the UK has less and less input from government policy. Usually a minister makes a speech but presumably there will be even less in 2017 on EU potential. (Also a speech by sponsor Microsoft so not a lot on Open Source either...) There is a strong French presence and they make presentations also. Probably others, will check later.
So my thought is to write an article or blog post during Jan 2017 to link to any info then available. Any link suggestions welcome. Needs some sort of map or online content but real space exists also. So ideas about place? Aim is link Open Learning research to EU project.
So what to do meanwhile? I sometimes fantasise about imagined space so this may be another sort of metaphor, but it might also work in practice.
Open Learning is a term I have known at least since the DELTA project from the EU in the 80s. There are many other words but it seems a good place to start. Of course it is possible and probable that knowledge around Open Learning is shared. But formal funded research still has a role. Personally I am mostly on the edge of this but I am still sort of aware that it is happening.
After Brexit the UK could be cut off from EU projects, The funding is less of a problem than the isolation. Over the next two years (or however long it takes) there could be some work on better links. I think Scotland must have a large role in this as the EU must recognise the intention for Scotland to be part of the EU at some time. Dublin is not far away but the borders could be more complicated. They have a solid technology base. Worth exploring, this is only the first version of this post.
Early next year I will be at the BETT event at Excel in London. Gradually the UK has less and less input from government policy. Usually a minister makes a speech but presumably there will be even less in 2017 on EU potential. (Also a speech by sponsor Microsoft so not a lot on Open Source either...) There is a strong French presence and they make presentations also. Probably others, will check later.
So my thought is to write an article or blog post during Jan 2017 to link to any info then available. Any link suggestions welcome. Needs some sort of map or online content but real space exists also. So ideas about place? Aim is link Open Learning research to EU project.
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