Il Readerraccoglie una collezione essenziale di piccoli saggi che fanno il punto sul settore creativo, le cosiddette "Creative Industries" e le sue dinamiche. Il materiale prodotto è il risultato della Convention che si è tenuta ad Amsterdam nel novembre del 2006 e organizzata da Geert Lovink.
Il concetto di "Creative Industries" è stato introdotto dal governo Blair in UK nei tardi anni novanta per rivitalizzare le zone urbane deindustrializzate ed è stato portato alla ribalta dal best seller di Richard Florida che celebrando la "classe creativa" come punto di partenza per la ripresa dell'economia gira il mondo facendo illuminare lo sguardo degli amministratori delle città ( ha fatto consulenze anche in Italia).
Per solleticare la curiosità abbiamo scelto alcune frasi dal Reader:
Deviation has always been a problem of governance.
We need a creative subject who is neither a citizen nor a consumer. Web 2.0 makes loud noises about the false synthesis of the so-called ‘prosumer’, but this does not get us very far other than reiterating the logic of individualisation.
There is no subject per se of creative industries. Rather, there is a diverse and continuously modulating culture of self-valorisation and perhaps auto-denigration. There is a celebration of the multiple identity – you are many, and will never have the security of
being one. And this often means you are nobody. We wish to retrieve self-valorisation as a productive concept that grants legitimacy and possible stability to collaborative practice.
Proposals for Creative Research. Introduction to the MyCreativity Reader, by Geert Lovink and Ned Rossiter
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No longer an isolated, secluded activity, R&D is now proposed as a whole way of life, able to extract the full spectrum of value from every creative person engaged in it. It seems that the final frontier of knowledge-based capitalism – or the last natural reserve of energy to be exploited by the state and its corporations – is you, your body, your intelligence, your imagination. The question is, what will you be used for?
Disconnecting the Dots of the Research Triangle. Corporatisation, Flexibilisation and Militarisation in the Creative Industries, by Brian Holmes
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Creative hipsters serve as communicative vessels for branding projects; between concept stores, galleries, fashion- and street art magazines, the cultural economy expands itself over the urban domain and into the public realm.
Back to the Future of the Creative City. An Archaeological Approach to Amsterdam’s Creative Redevelopment, by Merijn Oudenampsen
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