An introduction to STRIKE : STRuctured Interpretation of the Knowledge Environment

Knowledge forms a critical part of the income generation of the system and the complex environment in which actors participate in the creation of knowledge assets merits robust, eclectic consideration. STRIKE - STRuctured Interpretation of the Knowledge Environment affords an unobtrusive and systematic framework to observe, record, evaluate and articulate concrete and abstract elements of a setting, across internal and external dimensions. Inter-relationships between actor and environment are preserved. STRIKE is supported by underlying techniques to enrich data and enhance the authenticity of its representation. Adoption of photography and videography tools provides illustrative and interpretive benefits and facilitates researcher reflexivity. This structured approach to data analysis and evaluation mitigates criticisms of methodological rigour in observational research and affords standardisation potential, germane for application in a verification or longitudinal capacity. Advancing exploratory validation studies, the method is employed to evaluate the knowledge environments of two enterprises in the UK creative sector. These occupy a critical role in fostering entrepreneurial innovation alongside participant self-efficacy. Access Space in Sheffield and the Bristol Hackspace are committed to open software, open knowledge and open participation; sharing peer learning, creativity and socio-technical aims to address broadly similar community needs. Drawing on Wittgenstein’s Picture Theory of Meaning, the knowledge management perspective is abstracted from the STRIKE assessment. It is argued that the tiered analytical approach which considers a breadth of dimensions enhances representation and interpretation of the knowledge environment and presents a diagnostic and prescriptive capability to actualise change. The paper concludes by evaluating framework effectiveness, findings application and future direction

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

New Media Art/ New Funding Models

Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice

Re-imaging the Environment

This paper represents a study of selected visualisation and investigative methods that facilitate the exploration and expression of human emotions and perceptions within real world environments during the design development stages of a project, repositioning exploration and visualisation in spatial design education. It puts forward an outline for an iterative enquiry around human experiences in order to assess the value of alternative cognitive tools for spatial design students in higher education. Established tools such as orthographic drawings, axonometric projections or scale models equip spatial designers with the consistency they need to investigate and represent physical attributes of space but don't always constitute the best methods to explore the perceived environment, even though it is a key contributing factor to the way we experience our surroundings. It is therefore in the interest of design educators to investigate complementary interpretations that enable students to consciously explore less tangible aspects of design such as emotions and multi-sensorial modalities. Projects developed using tools and techniques ranging from digital 2D and 3D image making, photography, film, animation and performance provide an insight into the possibilities offered by exisiting visual technologies as dynamic study devices of human experiences and contribute to the generation of alternative processes in spatial design education

Mediated city: Annual review 2012

The research projects under Mediated City explore questions that traverse through various disciplines to create new knowledge. Here, design catalyses changes in people’s practices to cross boundary domains, such as art, business, geospatial science, interaction design and creative writing. Common themes under Mediated City are:• Activating public engagement in social, environmental and political issues• Creating spaces for dialogue and diversity• Altering our perception and relationship of place• Making histories accessible and meaningful in today’s world.This report documents the 2012 research activities for Mediated City including symposia, conferences, workshops, exhibitions, prototypes, and scholarly outputs including books, book chapters, conference papers, presentations, and journal articles.&nbsp

Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance

Higher education stimulating creative enterprise

This report summarises the research undertaken by the Business & Community School at the University for the Creative Arts (UCA), analysing ways that higher ediucation (HEIs) can support, and indeed stimulate, the creative economy. The research, in collaboration with the Arts University College Bournemouth (AUCB) and the University of Winchester, serves as a mere snapshot of the numerous ways that Universities engage with the diverse industries under the 'creative' nomenclature and of the very real and poistive ways that the higher education sector contributes to the growth of the creative economy in thhe UK

Adventures in the Not Quite Yet: using performance techniques to raise design awareness about digital networks

Technologists promise a future in which pervasive, distributed networks enable radical change to social and political geographies. Design of these abstract, intangible futures is difficult and carries a special risk of excluding people who are not equipped to appreciate the ramifications of these technological changes. The Democratising Technology (DemTech) project has been exploring how techniques from performance and live art can be used to help people engage with the potential of ubiquitous digital networks; in particular, how these techniques can be used to enfranchise people with little technical knowledge, but who nonetheless will have to live with the design consequences of technical decisions. This paper describes the iterative development of a performance workshop for use by designers and community workers. These workshops employ a series of simple exercises to emulate possible processes of technological appropriation: turning abstract digital networks into imaginable, meaningful webs. They were specifically designed to target a technologically excluded group, older people, but can also be used with other groups. We describe the process of workshop development and discuss what succeeded with our test groups and what failed. In offering our recommendations for working in this space, we consider the methodological issues of collaborating across science/art/design borders and how this impacted on evaluation. And we describe the final result: a recipe for a performance workshop, also illustrated on a DVD and associated website, which can be used to explore the dynamics of technical and social change in the context of people’s own lives and concerns. Keywords: Performance; Older People; Marginalisation; Person-Centred; Ubiquitous Digital Networks; Interdisciplinary; Technology; Future; Evaluation</p