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[Nettime-nl] 27 March, Seminar Culture 3.0: Prosuming the Art Academy
Lectorate Art Theory & Practice, KABK on Mon, 16 Mar 2015 13:46:03 +0100 (CET)


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[Nettime-nl] 27 March, Seminar Culture 3.0: Prosuming the Art Academy


CULTURE 3.0: PROSUMING THE ART ACADEMY

27/03/2015, 10:00 â 18:00


We are happy to announce the seminar Culture 3.0: Prosuming the Art Academy.  Come and join us in the discussion on the digital revolution and its impact on art and design practices.  
We invited four experts from the field of art criticism and curating, media theory and art and design: Robert Hewison, Bas van Beek, Theo Ploeg and David Jablonowski.

Culture 3.0: Prosuming the Art Academy is organized by the research group <http://lectoraatktp.us7.list-manage.com/track/click?u=1c59e5315b3ae374fd7d39c3b&id=3faaaca222&e=086262f041> of the Lectorate Art Theory & Practice <http://lectoraatktp.us7.list-manage.com/track/click?u=1c59e5315b3ae374fd7d39c3b&id=5619ffe1e5&e=086262f041> at the University of the Arts The Hague.
Language: English
Admittance: free
Please RSVP to receive our reader in preparation of the seminar: lectoraatktp {AT} kabk.nl <mailto:lectoraatktp {AT} kabk.nl?subject=RSVP%20Culture%203.0> 

 

INTRODUCTION

Since the beginning of the 21st century digitization seems to stimulate âhome made creativityâ. The tools and possibilities for production are easily available to almost everybody. However, the digital gate keepers of the digital world are the real owners of these creative products, as they control distribution and access.

On this day we will look at the impact of digital culture on âmakingâ and investigate its significance for art education. Three urgent questions will be addressed:

â How can we teach students to become prosumers <x-msg://591/#Prosumer>?
â What are the implications of digital culture for the experience of sensuousness? And for the artistic process of making and its outcome?
â How can we teach students to develop a critical position towards Culture 3.0 <x-msg://591/#culture 3.0>? What could a critical art and design practice look like in Culture 3.0?



READER

After receiving your registration we will send you our reader in preparation of the seminar.
Selected texts from the lecturers can be found in the reader, accompanied by four other relevant texts giving insight into the relation between culture, media and digitalization by authors: Pascal Gielen, Pierluigi Sacco, Douglas Rushkoff and Lev Manovich.



PROGRAM

09.45 h         Welcome
10.15 h         Introduction by Janneke Wesseling
10.30 h         Intervention by The Holls Collective
10.45 h         Lecture by Robert Hewison - Creating the Creative Industries: the British experience and its challenges
12.00 h         Lecture by Bas van Beek - The Multiple Personality Disorder of the Designer
12.45 h         Intervention by Remy van Zandbergen
13.00 h         Lunch
13.45 h         Lecture by Theo Ploeg - Design(ing) (for) the New World
14.30 h         Lecture by David Jablonowski - Stone Carving High Performance
15.15 h         Intervention by Sissel Marie Tonn
15.30 h         Tea break
15.45 h         Plenary discussion
17.00 h         Drinks

(for more information about the speakers and the lectures please visit our website: www.lectoraatktp.nl <http://lectoraatktp.us7.list-manage.com/track/click?u=1c59e5315b3ae374fd7d39c3b&id=4696a6f2e2&e=086262f041>)



CULTURE 3.0 <> AND THE PROSUMER <>

Pierluigi Sacco, professor in economics and culture an the International University of Languages and Media (IULM) in Milan, argues that we find ourselves on the threshold to a new paradigm, a new cultural revolution that renders the industrial revolution redundant [1].  Sacco distinguishes three regimes of cultural production: the culture of patronage (culture 1.0); the culture of mass markets and cultural industries, based on the industrial revolution (culture 2.0) , and the culture of âcontent communitiesâ (culture 3.0).
Sacco emphasizes the importance of technological developments. According to Sacco, we now find ourselves in a transition from culture 2.0 to 3.0, a transition that is driven by two simultaneous innovative tendencies: digital âcontent productionâ and âdigital connectivityâ. We are witnessing the appearance of the âprosumerâ, the combination of producer and consumer. In culture 3.0, communities create content and platforms that are open access en transparent in the construction of meaning. The distinction between producers and consumers is disappearing, culture is produced by the masses, also outside the market.
In short: âFrom cultivation (1.0) to entertainment (2.0) to co-creation (3.0).â

The three regimes, says Sacco, exist simultaneously in the present. In the art world we can find examples of 1.0, 2.0 and 3.0 everywhere. In 3.0 the range and the possibilities, of the creative, professional maker are expanded in terms of co-creation and participation (âcreative leadershipâ). New and mutual forms of sustainability and of creative production are made possible. The âmakingâ, in the concrete and material sense, acquires new meaning.


CREATIVE INDUSTIES

The British writer and art critic Robert Hewison emphasizes the relation between âhome made creativityâ (the making), digitalization and creative industries [2].  Hewison argues that, strictly speaking, the creative industries do not exist. Hewison regards the creative industries as a political invention, a programme installed by neoliberal politicians to stimulate the economy.
The way in which creative industry is marketed is based, according to Hewison, on a hierarchical notion of art and creativity, in which creativity finds itself in the centre of everything and overflows to other regions in society. This deeply romantic notion presupposes the artist as the isolated genius, as an autonomous, self-driven and self-sacrificing individual, pouring forth expressive meaning.
However, states Hewison, the artist is at the centre of nowhere. All sort of professionals are working in the creative industries, except experimental designers and artists. If they are anywhere at all, it is in the margin where they are struggling for survival.

How do artists and designers relate to creative industries? What is the position of art education in this, what is the meaning of these developments for art education?
Do students need to be taught to be prosumers, and if so, why and how?


[1] Also: Pierluigi Sacco: Culture 3.0: The impact of culture on social and economic development, & how to measure itâ. See online PDF <http://lectoraatktp.us7.list-manage1.com/track/click?u=1c59e5315b3ae374fd7d39c3b&id=a69af34d64&e=086262f041>.
[2] In Cultural Capital. The Rise and Fall of Creative Britain, Londen, Verso 2014 



Lectoraat Kunst Theorie & Praktijk
Koninklijke Academie van Beeldende Kunsten
Prinsessegracht 4
NL - 2514 AN Den Haag
+31 (0)70 3154755
lectoraatktp {AT} kabk.nl <mailto:lectoraatktp {AT} kabk.nl>
lectoraatktp.nl <http://lectoraatktp.us7.list-manage.com/track/click?u=1c59e5315b3ae374fd7d39c3b&id=acf1a018a1&e=086262f041>
lector: Janneke Wesseling
coÃrdinator: Erica van Loon (do + vr)


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