From the Lab to the Factory:Bridging creators and industry

ATACD, Barcelona, 2009

UOC, Universitat Oberta de Catalunya

Ruth Pagès, Gemma SanCornelio, Antoni Roig

Project AE&NM

ART + INDUSTRY (Starting thesis)

Need for growth

Creativity as Innovation

Collaboration Art & Industry

Need for growth

Creativity as Innovation

Collaboration Art & Industry

Relationships between art and industry

1) structure of such relationships

2) concepts underlying such relationships

3) study case: Disonancias

index

1 2 3

a)Creative industries

b)Creative Class

c)Work conditions

a)Creativity

b)Innovation

a)Disonancias

• Structure

• Concepts

STRUCTURE CONCEPTS STUDY CASE

CREATIVITY

•originality (novelty, uniqueness)

•effectivity

•non-conventional personality

Runco, 2007

CREATIVITY

'building or producing something from nothing'

Boden, 1994

Mistery!!!

Romantic inspiration

CREATIVITY

•Price to be paid

•Self-destruction

•Faustic pact

• Risks and resignations

Sternberg & O'Hara, 2005

INNOVATION

‘Creative Destruction’

Schumpeter 1950

New businesses

Old ones

destroy

Essential to

capitalism

CREATIVITY

Like stock Investment

(Sternberg, O'Hara & Lubart 1997)

Buy low

Sell high

and…

Entrepre

neur

risk!!!

CREATIVE INDUSTRIES

‘The conceptual and practical convergence of the creative arts (individual talent) with the cultural industries (mass scale)’

(Hartley 2005:5)

DCMS

(UK)

90’

•Ruled by business model

•End with ‘something for nothing’

•Arts must give in return

Creat

ive

indu

strie

spo

licie

s

CREATIVE CLASS

•centrality of creativity in the economy

•scientists, engineers, architects, academics, artists, musicians ...

•wealthy and influential professionals

(Florida 2002)

Lazzaratto 1996

McRobbie 2009

Ross 2009

•Flexibility

•Mobility

•Free-lance work

•Multiple jobs

•Precarity

•Risk tolerant

•Lottery format

Work

conditions

1 2 3

Residence

programs

MEDIA LAB

MODEL

CONCEPTS STUDY CASE

Institutes and Universities

INSTITUTES

MODEL

Mediation

between

Art and Industry

MEDIATORS

MODEL

Studycase

DISONANCIAS

•Grupo Xabide + local governments

•Connect artists with companies

•Divergentes 2005 (too artistic!)

•Now artists don’t do autonomous artistic projects Work on industry’s demands

•4 editions / 40 projects+

CONDITIONS OF THE COLLABORATION

Companies

are

choosen

Call

for

Artists

Alliance

begins

CONDITIONS OF THE COLLABORATION

•9 month alliance (virtual + physical stay of 20 days minimum)

•Joint meetings at the beginning

•Joint meetings at the end

(Spanish tour)

CONDITIONS OF THE COLLABORATION

•Committed to society

•Collaborative, multidisciplinary, international vision, hybrid process of research

•Target: Prototype/idea responds to the needs of the company

•10,000 to 12,000€ (fees for work)

Call

for

artists

CONDITIONS OF THE COLLABORATION

1.Non-commercial, share alike: CC

2.Exclusive granting to company - remuneration to artist at fixed rate

3.Exclusive granting to company - remuneration to artist proportional to exploitation income

4.Exclusive granting to company - except transformation. No remuneration

Exploitation

rights

Ch

oo

sen

by

th

e

co

mp

an

y

CONCEPTS

•Methodology meetings + audits…

met

hods

met

hods

CONCEPTS

•Systematizing creativity

•From non-useful to profitable

•Reminder of… UK policies for Creative Industries

met

hods

CONCEPTS•Not the mythical bohemian any more

•Technical training, team work, new materials, flexible environments…

BUT-

•‘thinks out of the box’, ‘comes with unconventional ideas’, ‘breaks our frame of mind’

•Disonance

Artist

as

Resea

rcher

DIGITALENT

•Stereotypes of the artist: unstructured, uncommercial, not able to materialize ideas…

•Talented people as ‘outsiders’ (romantic view)

•Talent is lost if not integrated in the industry logic

COLLABORATION BETWEEN ART AND INDUSTRY

… still a puzzle

Thank you!