The Contribution of the Creative Economy to the Resilience of Rural Communities: Exploring Cultural and Digital Capital

© 2016 European Society for Rural Sociology. This article develops understanding of cultural and digital capital in order to evaluate the contribution of creative practitioners to rural community resilience. Online practices today impact on creative work in rural locales in a number of ways. However, exactly how they extend 'reach' and contribute to rural creativity deserves greater attention. We examine how broadband Internet access and online practices impact on rural creative work and, in turn, how this enables creatives to participate at different levels in their rural communities, thus contributing to research into both rural community resilience and rural creative economies by providing in-depth qualitative analysis. Through interviews undertaken in rural Scotland, the article outlines the implications of poor rural Internet connectivity for creative economies and explores the impact of this on the role of creatives in their rural communities and their 'community-focused' creative activities. Our findings suggest creative practitioners are using digital technologies and adaptive approaches to overcome barriers to connectivity and to remain in rural locations. Creatives are invested in their communities and their rurality on a number of levels, contributing to community resilience through building cultural capital in diverse ways, and to 'ripple effects' from online activities

Untangling creativity and art for policy purposes : ethnographic insights on Manchester International Festival and Manchester Day Parade

This paper draws on anthropological fieldwork of a civic parade in Manchester from 2010 to 2012 to argue for engaging with creativity as a process rather than an attribute of a particular sector or individual. It shows how the focus on funding and supporting ‘creative industries’ defined as ‘cinema, television, music, literature, performing arts, heritage and related areas’ actually excludes and diminishes the potential for others to engage with ideas and creative processes. Two major events in Manchester’s cultural calendar – Procession by artist Jeremy Deller, produced by Manchester International Festival and Manchester Day Parade, a council-led civic celebration – both combined community groups with artist input to put large-scale structures and people on the city’s streets. In this ethnographic analysis, I argue that the ‘creativity’ sought from these artists is their adaptive and productive approach to making ideas tangible. By focusing on creativity as a process rather than a character trait, there is even greater potential for stimulating a ‘creative’ city

The role of self-gentrification in sustainable tourism: Indigenous entrepreneurship at Honghe Hani Rice Terraces World Heritage Site, China

This article examines three forms of tourism gentrification occurring within the newly inscribed (2013) Honghe Hani Rice Terraces UNESCO World Heritage Site in Yunnan, China. The indigenous Hani and Yi communities who populate this remote mountainous area, possess distinct cultural practices that have supported the rice terrace ecosystem for centuries. This article draws on interviews and non-participant observation conducted with inhabitants and newcomers to analyse the types of gentrification occurring within the site. We argue that indigenous cultural practices, and consequently rice cultivation in the area, are threatened by gentrifier-led and state-led gentrification combined with high levels of outward migration of indigenous persons. This could pose a significant threat to the sustainability of tourism at this site and may ultimately compromise the site’s World Heritage Status. In the midst of these dangers, some indigenous people are shown to be improving their socioeconomic standing – and becoming “middle class” or “gentry” – particularly through adopting entrepreneurial strategies gleaned from their encounters with outside-gentrifiers and tourists. This article proposes the concept of “self-gentrification” as a way to describe individuals who seek to improve themselves and their own community, while under threat of gentrification

In the social factory? Immaterial labour, precariousness and cultural work

This article introduces a special section concerned with precariousness and cultural work. Its aim is to bring into dialogue three bodies of ideas -- the work of the autonomous Marxist 'Italian laboratory'; activist writings about precariousness and precarity; and the emerging empirical scholarship concerned with the distinctive features of cultural work, at a moment when artists, designers and (new) media workers have taken centre stage as a supposed 'creative class' of model entrepreneurs. The paper is divided into three sections. It starts by introducing the ideas of the autonomous Marxist tradition, highlighting arguments about the autonomy of labour, informational capitalism and the 'factory without walls', as well as key concepts such as multitude and immaterial labour. The impact of these ideas and of Operaismo politics more generally on the precarity movement is then considered in the second section, discussing some of the issues that have animated debate both within and outside this movement, which has often treated cultural workers as exemplifying the experiences of a new 'precariat'. In the third and final section of the paper we turn to the empirical literature about cultural work, pointing to its main features before bringing it into debate with the ideas already discussed. Several points of overlap and critique are elaborated -- focusing in particular on issues of affect, temporality, subjectivity and solidarity

Creative cities: the cultural industries and the creative class

The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth

Numerical simulation of the stability in a cable-in-conduit conductor developed for fusion-magnet applications

The stability margins of the US-Demonstration Poloidal Coil (US-DPC) and the International Thermonuclear Experimental Reactor (ITER) TF coils have been modeled numerically using the computer program CICC. The computed US-DPC limiting current, I{sub lim}, compares favorably with the values determined experimentally. Using the detailed program CICC output, we investigated the DPC quench initiation mechanism in each of the three stability regions. In the ill-cooled region, the imposed heat pulse heats the conductor to the current-sharing temperature, T{sub cs}. In the transition region, the resistance heating after the pulse must be strong enough to overcome the induced flow reversal. In the well-cooled region, good heat transfer heats the helium during the pulse. After the pulse, these high helium temperatures along with poor heat transfer cause the conductor to quench. Changes in I{sub lim} agree with Dresner's relationship. I{sub lim} can be improved by decreasing the copper resistivity, the helium fraction, or the conductor diameter. Preliminary results show the ITER and TF coil operating point is in the well-cooled region. 10 refs., 7 figs., 1 tab