Tools you can trust? Co-design in community heritage work

This chapter will examine the role of co-design methods in relation to the recent Pararchive Project (http://pararchive.com) that took place between 2013 and 2015 at the University of Leeds. It will draw on the experiences of conducting the project and broader critical frames to examine the nature of collaborative working in the field of cultural heritage and storytelling. It will outline the lessons we have learned from the process and the ways in which the relationships between citizens and cultural institutions are central to working in the heritage sector. It seeks to advocate for the necessity of collaborative methods in the creation of cultural heritage tools that are trusted and adopted by communities

SoundCloud and Bandcamp as alternative music platforms

We examine two ‘producer-oriented’ audio distribution platforms, SoundCloud and Bandcamp, that have been important repositories for the hopes of musicians, commentators and audiences that digital technologies and cultural platforms might promote democratisation of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud’s ‘bottom-up’ abundance are compromised by two elements that underpin the platform: the problematic ‘culture of connectivity’ of the social media systems to which it must remain integrally linked, and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of ‘platformization’, and we explore the possibility that some of the platform’s apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue, even while in some respects Bandcamp acts more effectively as an ‘alternative’ than does SoundCloud, the former is also congruent economically and discursively with how platforms capitalise on the activity of self-managing, self-auditing, specialist, worker-users

‘Sell[ing] what hasn’t got a name’: An exploration of the different understandings and definitions of ‘community engagement’ work in the performing arts

Widely known to promote broader involvement in the processes which define the arts and culture (Webster, 1997), community engagement work in the performing arts — despite employing a set of commonly recognised norms — has tended to be conceptualised differently both historically and contemporarily. Drawing on ethnographic research — particularly semi-structured qualitative interview accounts of numerous British practitioners with a track record of work in the sector, the article explores these different conceptualisations. The article finds that it is the actual ‘work that matters’ and not what it is named, and that the diversity of understandings and definitions among sectoral practitioners is reflective of evolving thinking, values and practice, something that may be destabilising for better or worse