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Creative Clusters 2008, Glasgow: Programme

Creative Clusters Conference 2008, Scotland
City Halls & The Lighthouse, Glasgow; The Hub, Edinburgh
16th — 19th November 2008

Creative Clusters 2008: the Scottish edition. Our pre-conference Master-class, ‘Polices for Festivity’, takes place in The Hub, Edinburgh, home of the Edinburgh International Festival. It is followed by three days of the conference proper in Glasgow. In 1990, Glasgow’s City of Culture caught the world’s attention, and changed forever the way we think about culture’s role in post-industrial city development. Now Glasgow’s creative economy is on the move again.

Partners and Sponsors

Scottish Government, Scottish Enterprise, Glasgow’s Concert Halls, See Glasgow, http://www.troakley.com/ Festivals Edinburgh, LEGO SERIOUS PLAY, BOP Consulting, Commonwealth Foundation, Creativity Zentrum, New Start Magazine, New Media Knowledge

 
 

 Pre-Conference (Mon 17 Nov)
Registration
10:15am to 11:00am, The Hub, Edinburgh
 
The Global Challenge: Policies for Festivals Master-class, Session 1
11:00am to 12:30am, The Hub
Chaired by Simon Evans, Creative Clusters

The Master-Class opens with the Directors of three of the world's leading festivals taking a high-level view of new challenges facing festivals. In an increasingly competitive global market place, what policies should cities and regions adopt to support their festivals and events programmes?

 
  A Festival Matters in the World: … if it is doing something that matters to the world.
Alex Poots, Festival Director, Manchester International Festival, UK


  Singapore Arts Festival: A Strategy for the Reinvention of Singapore
Goh Ching Lee, Director, Singapore Arts Festival, Singapore


  The 21st Century Festival City: The global context for festivals
Jonathan Mills, Director, Edinburgh International Festival, UK


Lunch
12:30pm to 2:00pm, Dunard Library, The Hub
 
Policies and Strategies: Policies for Festivals Master-class, Session 2
2:00pm to 3:30pm, The Hub
Chaired by Simon Evans, Creative Clusters

The architects of Edinburgh's, and Scotland's festivals policy consider key issues of festivals policy. How to develop a distinctive offer, that works both for the events, and for the wider development goals of a city/region? Leadership: developing the right relationship between festivals, and political and business partners. Research, monitoring, evaluation and impact: what do policy-makers need, and what can festivals realistically deliver? Joined-up marketing: working with tourism agencies, city branding initiatives, enterprise development and others. What is the public sector's role in supporting festivals, and how can festivals be embedded into other areas of city strategy?

 
  Edinburgh's Festivals: Working in partnerships to achieve success
Lynne Halfpenny, Head of Culture and Sport, City of Edinburgh Council, UK


  Edinburgh’s Festivals: Journey from a Coalition of Interests to a Powerful Convergence of Purpose
Faith Liddell, Director, Festivals Edinburgh, UK


  Edinburgh's Festivals: National and International Positioning and the Role of the Government
Wendy Wilkinson, Deputy Director, Culture Division, Scottish Government, UK


Break
3:30pm to 4:00pm, Dunard Library, The Hub
 
Closing Discussion: Policies for Festivals Master-class, Session 3
4:00pm to 5:30pm, The Hub
Chaired by Simon Evans, Creative Clusters

The closing discussion, led by a leading player in Scotland's cultural and media scene for many years, looks at long-term trends and the deeper development factors facing festivals.

 
  Looking Ahead: Long term challenges for cities and festivals
John McCormick, Chair, Edinburgh International Film Festival 1996-2008, UK


Reception: hosted by the City of Edinburgh Council
6:00pm to 7:30pm, Edinburgh City Chambers
 

 Core Conference: Day 1 (Tue 18 Nov)
Registration
8:15am to 9:00am, Foyer, City Halls
 
Welcome and Opening Plenary
9:00am to 11:00am, Old Fruitmarket, City Halls
Chaired by Simon Evans, Creative Clusters

Olivia Grange, Jamaica's Minister of Culture, brings a big personality and wide experience as a creative entrepreneur and politician to the challenges that the global creative economy presents for developing nations. Lewis Pinault has degrees in political science, ocean engineering, and Japanese studies. After a stint with NASA specialising in mediation, negotiation, and alternative dispute resolution, he is now a senior Director at LEGO, leading on team learning, creative innovation and collective decision-making. Fresh from Google Zeitgeist 2008, Lewis gives an inspiring look at the need for creativity in all business.

Plenary
  Conference Introduction:
Simon Evans, Director, Creative Clusters, UK


  Welcome Address:
Linda Fabiani, Minister for Europe, External Affairs and Culture, Scottish Government, UK


  Opening Keynote:
Olivia Grange, Minister, Ministry of Information, Culture, Youth & Sports, Jamaica


  Opening Keynote:
Lewis Pinault, Senior Director, LEGO Serious Play, Denmark


Break
11:00am to 11:30am, Foyer, City Halls
 
Creative Britain: The UK's Creative Economy Programme
11:30am to 12:30pm, Old Fruitmarket, City Halls
Chaired by Lee Corner, LAC Limited

Prime Minister Gordon Brown promised in the 'Creative Britain' report launched earlier this year to 'put culture and creativity at the centre of our national life', and to make the UK 'the world's creative hub'. Senior representatives from the Department for Culture Media and Sport, and Arts Council England, give us a progress report.

 
  Creative Britain Update: Making the UK the world's creative hub
Frances Macleod, Deputy Director, DCMS, UK


  Policy into Action: Arts Council England’s strategic leadership in the creative economy
Laura Gander-Howe, Director, Learning and Skills, Arts Council England, UK


So Can We All Be Creative?: A provocation
11:30am to 12:30pm, Recital Room, City Halls
Chaired by Peter Stark, cultures in regeneration

One of the key assumptions underlying creative economy thinking is that everyone can be creative, that creativity is an ordinary human activity that in the right circumstances can be taught and learnt. Gordon Torr, one-time creative director of one of the world's biggest advertising agencies, begs to differ. He argues in 'Managing Creative People' that this and other fundamental misunderstandings about creativity are having dire consequences: the failure of big creative sector companies to bring a steady stream of innovation to the marketplace, and the poverty of popular culture itself.

 
  Managing Creative People: Lessons in leadership for the ideas economy
Gordon Torr, Author of "Managing Creative People", The Unfactory, UK


Guerrilla Movie Production: Film-making in Brazil and Nigeria
11:30am to 12:30pm, Studio, City Halls
Chaired by Josephine Burns, BOP Consulting

Low-cost technology has transformed the opportunities for audio-visual production in developing countries. We have a report on the vast video production industry that is emerging in West Africa based on digital production and distribution on video cassette, and a young director introduces the international premiere of his short community film, and describes how it was shot in the Amazon region of Manaus.

 
  Nigerian and Ghanaian Film Industry: creative capacities of developing countries
Alessandra Meleiro, CEO, Instituto Iniciativa Cultural, Brazil


  "Criminosos" – A Community Film: The production of a short film shot in a poor community in Amazon, Brazil
Sergio Andrade, Director, RioTarumaProductions, Brazil


Lunch
12:30pm to 2:00pm, Foyer, City Halls
 
Tuning In: television, audio-visual production and regional economies
2:00pm to 3:30pm, Old Fruitmarket, City Halls
Chaired by Josephine Burns, BOP Consulting

Film and television bring big benefits to a local creative economy, building prestige, confidence and identity as well as encouraging enterprise and employment. At present, the focus for economic development is to attract the big networks, and establish them as hubs around which other media businesses can cluster. But as the moving image industry goes online, and goes mobile, producers and broadcasters restructure, rethink their business models, and opportunities emerge for new businesses. How are economic development agencies to keep up with this? How can cities and regions position themselves to attract the next generation of audio-visual entrerpreneurs?

 
  Platform for Success: How Scotland can produce world-class content for worldwide audiences
Blair Jenkins, Chair, Scottish Broadcasting Commission, UK


  360 Policy: A Competitive Advantage: The need to update platform-specific policy to platform-agnostic
Terri Wills, Manager, Nordicity Group, Canada


  Ulster Rising: Old Media or New It's Still All About The Brand for Small Nations
Richard Williams, Chief Executive, Northern Ireland Screen, UK


Creative Government: What kind of leadership?
2:00pm to 3:30pm, Recital Room, City Halls
Chaired by Peter Stark, cultures in regeneration

This session looks at the role of government. It is often argued that policy for the creative economy must respect local specificities, and thus should be developed and delivered at a local level. But the reality in Europe has been that the most oakley sunglasses cheap progressive policies, and more resources, have come from the EC than from anywhere else, and that many local authorities are still blind to the creative economy on their own doorsteps. Our speakers offer critical analysis of government intervention at three levels: the local, regional and pan-European. Can government be creative?

 
  EU Policy and CI Development: A Brussels perspective
Jan Runge, Manager International Projects, KEA European Affairs, Belgium


  Levels of Policy Leadership: The subsidiarity principle in creative industries governance
Bernd Hartmann, Project Manager, City of Stuttgart, Germany


  The Generation Game: Can Local Government deliver for the creative industries?
Gwilym Gibbons, Director, Shetland Arts Development Agency, UK


Creative Industries in the Baltic: Lithuania, Estonia, Finland
2:00pm to 3:30pm, Studio, City Halls
Chaired by Geoffrey Brown, EUCLID

Should small nations try to suport all their creative industries, or should they specialise? How does a small nation choose its entry point to the global creative economy? These three small nations face the same sea but their experiences are very different. From Klaipėda in Lithuania, we hear of the ongoing struggle to establish an art quarter, redevelop an abandoned tobacco factory and reconstruct the medieval city. The emphasis in Tartu, Estonia, is on building national and international partnerships. From, Tampere, the first city in Finland to establish a creative industries strategies, our speaker reports on substantial business support, workspace and city animation programmes.

 
  C-Industries & Transitional Society: Towards an alternative model of cultural organisation. Klaipeda Case
Goda Giedraityte, The Head of the Culture Department, Klaipeda city Municipality (LT), Lithuania


  Creative industries in Estonia: The trends and developments
Georg Poslawski, Project Director, Creative Economy Development Programme, Enterprise Estonia, Estonia


  Tampere: Creative City of Finland: Small nation, small city: what can we do
Liina Penttilä, Coordinator, Creative Tampere program, Finland


Visit to 3D Digital Design Studio: Glasgow School of Arts' centre for advanced 3D modelling
2:00pm to 3:30pm, meet in City Halls Foyer
Chaired by Scott Parsons

A visit to Glasgow School of Art's Digital Design Studio, a world-class research centre for advanced 3D digital modelling, with applications in urban planning, historic sites and medical visualization.

 
Break
3:30pm to 4:00pm, Foyer, City Halls
 
Globalised Creativity: Creative economies in developing countries
4:00pm to 5:30pm, Old Fruitmarket, City Halls
Chaired by Geoffrey Brown, EUCLID

“Creative industries have emerged as one of the world´s most dynamic economic sectors, offering vast opportunities for cultural, social and economic development.” Thus the UN's first Creative Economy Report, receiving its UK launch here today. Is it true that the creative industries offer developing countries, with their rich stores of culture, a new route to prosperity? Or does the fact that the distribution networks are all based in the richer countries mean that developing nations will remain at the bottom of the food chain?

 
  The Creative Economy Report 2008: The challenge of assessing the creative economy: informed policy making.
Edna dos Santos-Duisenberg, Chief, Creative Industries Programme, UNCTAD, Switzerland


  The Creative Economy: A development perspective
Vijay Krishnarayan, Deputy Director, Commonwealth Foundation, UK


  Negotiating with Giants: Cultural exports under the CARIFORUM-EU Economic Partnership Agreement
Keith Nurse, Director, Shridath Ramphal Centre for International Trade Law, Policy, Barbados


Clicks not Bricks: The role of media centres in the age of clicks, not bricks
4:00pm to 5:30pm, Recital Room, City Halls
Chaired by Josephine Burns, BOP Consulting

As more cultural experience is created and delivered online and through mobile devices, what next for media venues and arts centres? This session looks at the changing role of bricks-and-mortar arts and media buildings in an increasingly digitised age.

 
  Crossing Boundaries: The challenge for public policy
Carol Comley, Head of Strategic Development, UK Film Council, UK


  ‘Crossing Boundaries’ & Cornerhouse:
Dave Moutrey, Director, Cornerhouse, UK


  Watershed: Unlocking the Creative Potential : Doing things with people not for people
Dick Penny, Managing Director, Watershed, UK


  Crossing Bounda
ries
: Cross art-form and media venues in the age of 'clicks' not 'bricks'
Tom Fleming, Director, Tom Fleming Creative Consultancy, UK


Story-Telling and the Economy: ..and they all lived creatively ever after
4:00pm to 5:30pm, Studio, City Halls
Chaired by Lee Corner, LAC Limited

This session looks at identity, cultural tourism and the creative industries, with stories and story-telling at the heart of it. Three different starting points: a festival of fairy-tales, an oral history project for world war veterans and the Scottish government's Year of Homecoming. What does mythology and traditional story-telling have to teach policy-makers developing narratives of change? This session asks: who owns your story? It might sing it, too. Three tales, from Scotland, Croatia and Norway.

 
  Creative Development in Croatia: Case study – Ogulin, the homeland of fairy tales
Dragana Lucija Ratkovic, Cultural Manager, Muze (Muses) Ltd, Croatia (Hrvatska)


  Small Nation, Big Story: If this is your economy, where are your stories?
Donald Smith, Director, Scottish Storytelling Centre, UK


  Dedicated Audiovisual Interaction: Online markets are niche markets – and the new audience will interact
Bjørn Enes, Editor, Stiftelsen neveragain.no, Norway


Pitch to Hit: (Small group workshop. Sign up at reception on arrival)
4:00pm to 5:30pm, Club Room, City Halls
Chaired by Jessika Satori, Center for International Trade Development
Workshop
  Pitch to Hit: Articulating your ideas–the right way, the right people, the right time.
Jessika Satori, Director, Center for International Trade Development, USA


Clicks not Bricks Reception: hosted by UK Film Council
5:30pm to 6:30pm, Candleriggs Bar, City Halls
 
Welcome Reception
7:00pm to 8:00pm, Grand Hall, Glasgow Trades Hall
 

 Core Conference: Day 2 (Wed 19 Nov)
Registration
8:30am to 9:00am, Foyer, City Halls
 
Rethinking the City: Embedding creativity across city policy
9:00am to 10:30am, Old Fruitmarket, City Halls
Chaired by Peter Stark, cultures in regeneration

One of the ironies of this sector is that a place's first major initiative for the creative economy can sometimes act as a block to further development rather than a stepping stone to greater things: 'we've done creativity: it's time for something else now'. This session looks at how three places are going beyond the creative sector or quarter, and are coming up with strategic plans that aspire to embed 'creative economy' and 'place-making' concepts into the wider vision for their towns and cities.

 
  Rethinking Hamilton, Creatively: How to develop a strategy to transform a city from a cowtown to a wowtown
Cheryl Reynolds, Creative Industries Director, Waikato Institute of Technology (Wintec), New Zealand (Aotearoa)


  Creative City Planning Framework: Planning for place, culture and economy in Toronto
Greg Baeker, Principal, AuthentiCity, Canada


  Creative Copenhagen: The Danish experience and the capital regional cluster
Prof Graeme Evans, Director, Cities Institute, London Metropolitan University, UK


Building for Creative Business: Building-led development for creative regions
9:00am to 10:30am, Recital Room, City Halls
Chaired by Josephine Burns, BOP Consulting

This session looks at the role of buildings in the process of making a creative city-region. What kind of buildings do we need? What kind of impact can they have beyond their boundaries? What is the relation between new buildings and the creative production sector?

 
  Media Cities or Virtual Worlds?: Building next generation production centres for the nations and regions
Julie Ramage, Senior Consultant, SQW Ltd, UK


  21st Century Tiger Bay:: Creative place-making for a small nation.
David Roberts, Deputy Chief Executive, igloo regeneration, UK


  Biscay and Creative Industries: Biscay's challenge is to create a Creative Territory
Fiona Bult, International Relations, Bilbao Metropoli-30, Spain


The Audience as Artist: New forms of participation in events and exhibitions
9:00am to 10:30am, Studio, City Halls
Chaired by Lee Corner, LAC Limited

The world of user-generated content is upon us, and no longer is the audience content to be a passive recipient of culture. How are artists, galleries and festivals to respond to this challenge? The discussion opens with presentations from three Scottish practitioners who are exploring practical ways for the public to take part in events and exhibitions.

 
  The Festivals' Audience as Players:: In a digital commons, people want to be players, not just spectators!
Hannah Rudman, Director, Rudman Consulting & Envirodigital, UK


  Tackling Meeting Miles: Why doesn't every meeting create digital content for an online audience?
Lesley Riddoch, Director, Feisty Productions, UK


  On a Cultural Safari: Glasgow international Festival of Contemporary Visual Art
Jean Cameron, Festival Producer, Glasgow International Festival, UK


Creative cities 2.0 – The manual: (Small group workshop. Sign up at reception on arrival)
9:00am to 10:30am, Club Room, City Halls
Chaired by Robert Marijnissen, Creative Cities Amsterdam Area
Workshop
  Creative cities 2.0. The manual.: How to make your city creative.
Robert Marijnissen, Project Manager, Creative Cities Amsterdam Area, Netherlands


Break
10:30am to 11:00am, Foyer, City Halls
 
Creative Scotland: The new policy structure for the arts, creative and screen industries
11:00am to 12:30pm, Old Fruitmarket, City Halls
Chaired by Josephine Burns, BOP Consulting

The last few years have seen substantial initiatives by the Scottish Government in policy for culture and the creative economy. The most far-reaching, and the most controversial, is Creative Scotland: a new government agency to support and develop the arts, creative and screen industries. By 2010, all the functions of the Scottish Arts Council and Scottish Screen, and perhaps some of those of Scottish Enterprise, will be merged into the new body. Anne Bonnar, the Transition Director charged with leading the change to the new body, charts the conceptual, political and institutional journey of a creative vision in the making.

 
  Creative Scotland: Opportunities and challenges for a creative nation in a digital age
Anne Bonnar, Transition Director, Creative Scotland Transition Project, UK


Cluster Strategies: China, Ontario, Nordic region
11:00am to 12:30pm, Recital Room, City Halls
Chaired by Geoffrey Brown, EUCLID

This session looks at cluster development on the very large scale. The Ontario Government describes its policies for 'North America's third largest creative cluster'. We hear how the six Nordic nations are working together to establish pan-Nordic policies for the creative industries: a cross-border regional cluster. And one of the world&#0
39;s leading experts on China's creative economy reports on the construction of thousands of post-industrial art zones, animation bases, parks, centres and precincts.

 
  Ontario’s Cluster Strategy: Applying cluster development methods to the cultural industries
Steven Davidson, Assistant Deputy Minister, Ontario Ministry of Culture, Canada


  China's Creative economy: Is it a black box?
Michael Keane, Research Fellow, ARC Centre of Excellence Creative Industries and Innovation, Australia


  The Nordic Creative Industries: Innovation and creativity in focus
Natalia Grebennik, Innovation Advisor, Nordic Innovation Centre, Norway


Out of the City: Creative industries in rural areas
11:00am to 12:30pm, Studio, City Halls
Chaired by Lee Corner, LAC Limited

The promise of home-working and mobile networks seems to open new possibilities for rural areas and small towns. Will small towns and rural areas always be fighting a losing battle against the cities, or can they support enough creative activity to warrant public sector intervention? And if so, what strategies should be adopted? Can there be a 'creative rural cluster'? Speakers from Sweden, Canada and the Netherlands share their experiences.

 
  Building a Creative Rural Economy: A grass roots approach to building creative rural economies (CRE)
Dan Taylor, Economic Development Officer, Prince Edward County, Canada


  Creative Communities: Creative industries in a small Dutch market town
Joost Backus, Management Team Member, Koekoek BV, Netherlands


  You can’t win them all: The role of micro-clusters for the creative economy in rural areas
Thomas Olsson, Projects Co-ordinator, County Council of Västernorrland, Regional Development, Sweden


Developing Digital Content: (Small group workshop. Sign up at reception on arrival)
11:00am to 12:30pm, Club Room, City Halls
Chaired by David Farquhar, 2in10 Venture Partners Limited
Workshop
  Developing Great Digital Content: Interactive workshop addressing key challenges of the Digital Content age
David G Farquhar, Managing Partner, 2in10 Venture Partners Limited, UK


Visit to Trongate 103: Keeping artists at the heart of the cultural quarter
11:00am to 12:30pm, meet in City Halls Foyer
Chaired by Clare Simpson, Culture and Sport Glasgow

A visit to a cluster of city-centre artist-led projects: Trongate 103 contemporary art gallery and artists workspaces, Glasgow Print Studio and Street Level Photoworks.

 
Lunch
12:30pm to 2:00pm, Foyer, City Halls
 
Culture-led City Transformation: Glasgow, Singapore, Gateshead
2:00pm to 3:30pm, Old Fruitmarket, City Halls
Chaired by Lee Corner, LAC Limited

Iconic buildings, attention-grabbing festivals and aggressive city marketing campaigns are all part of the mix, but strategies that will effect deep and lasting change have to go much further than this.
The three speakers in this session are all leading players in cities that have had to reach deep into the heart of themselves to respond to a changing world. In each case, real transformation is now clearly underway. What lessons do they have for us?

 
  Regenerating Glasgow: Developing the creative city and Its cultural economy
Steve Inch, Executive Director Development And Regeneration Services, Glasgow City Council, UK


  The Singapore Experience: From Efficiency City to Innovation Nation
Suan Hiang Lee, Chief Executive, National Arts Council, Singapore


  Creative Gateshead: From building icons to building legacies
Mick Henry, Leader, Gateshead Council, UK


Beyond the Festival Hype: How many festivals do we need?
2:00pm to 3:30pm, Recital Room, City Halls
Chaired by Geoffrey Brown, EUCLID

The last twenty years have seen a steady growth in the scope and scale of festivals everywhere. Cities across the world are investing in cultural events to drive economic development and to tell the world what they are, and what they will become. It is now accepted wisdom that major events improve regional competitiveness and attract inward investment by positioning the host as a knowledge and cultural leader. Can festivals deliver all this? Can we have too many festivals?

 
  A Festival Nation: Boom and Bust?: Scotland has developed a penchant for festivals: how can this be sustained?
Mark Sheridan, Research Co-ordinator, Creative Studies, University of Strathclyde, UK


  Festivalisation of Culture: Croatian perspective (creativity, community, capital)
Berislav Juraic, Artistic director, Association REZ/4C, Croatia (Hrvatska)


  Myth or Reality: Event impacts and the creative economy
Andrew Ormston, Culture Projects Manager, RGA Consulting, UK


Design & Crafts: Developing capacity in traditional sectors
2:00pm to 3:30pm, Studio, City Halls
Chaired by Peter Stark, cultures in regeneration

Crafts is a sector that does not get much attention in the rush to embrace digital technology and vitual worlds. But for many countries, craft is the core of their creative economy, and everywhere it is one of the root sources of fashion
, design and tourism. This session looks at training, market support and technology development for this undervalued sector, with contrasting presentations from South Africa, Tanzania and Scotland.

 
  Design Education in Tanzania: Developing design skills & marketing capabilities for a developing economy
Dr Pammi Sinha, Lecturer in Fashion Management, University of Manchester, UK


  Gauteng Craft Strategic Framework: The Gauteng (SA) craft sector: A case for increased government support
Dawn Robertson, Head of Department of Sport, Arts & Culture, Gauteng Provincial Government, South Africa


  The Centre for Advanced Textiles: Impact of a technology-focused research centre on Scottish creative sectors
J.R. Campbell, Research Fellow/Centre Coordinator, The Glasgow School of Art – CAT, UK


Tour of The Lighthouse: Creating Distinction and Design in Architecture
2:00pm to 4:00pm, meet in the Lighthouse Foyer
Chaired by Jillian Watt, The Lighthouse

The Lighthouse is Scotland's centre for Architecture, Design and the City, believing passionately in the power of architecture and design to transform and improve lives.

 
Break
3:30pm to 4:00pm, Foyer, City Halls
 
Plenary: Guest lecture
4:00pm to 4:45pm, Grand Hall, City Halls
Chaired by Simon Evans, Creative Clusters
Plenary
  What is the role of the BBC..: in supporting the UK’s creative industries in uncertain times?
Caroline Thomson, Chief Operating Officer, BBC, UK


Policy for the Creative Economy
4:45pm to 6:00pm, Grand Hall, City Halls
Chaired by Simon Evans, Creative Clusters

The general thrust of creative economy policy has been to bring together policy-making for all aspects of creativity into a single policy structure. This plenary discussion session challenges that thinking. It opens with remarks from Cheryll Sotheran, founder of the award-winning national Museum Te Papa Tongarewa, and now head of creative industries policy for all sectors in the New Zealand economy. Should we develop structures and policies that embrace both the new commercial activities of the creative economy, and also the non-commercial activities until now covered by cultural policy? Or should they be kept separate? Are these issues more pressing in the context of smaller nations? Passionate views are held about this subject on all sides. Come prepared to contribute: we want to hear them all.

 
  The Arts and the Creative Economy: A contribution to the debate from a New Zealand perspective
Dame Cheryll Sotheran, Director Creative and Tourism, New Zealand Trade and Enterprise, New Zealand (Aotearoa)


Conference Party
7:00pm to 10:00pm, Old Fruitmarket, City Halls
 

 Core Conference: Day 3 (Thu 20 Nov)
Registration
8:30am to 9:00am, Foyer, The Lighthouse
 
Enabling Technologies: The impact of new technologies on the creative economy
9:00am to 10:30am, Gallery 5, The Lighthouse
Chaired by Peter Stark, cultures in regeneration

Experts from the Scottish Centre for Enabling Technologies look at trends on the horizon that will impact the creative economy. Topics covered include: convergence of the Internet, mobile, fixed and audiovisual networks; the widespread cheap oakley adoption of new digital media consumption; converged business models between content, telecom, broadcast and consumer electronic providers; technologies to support the creation of new forms of digital content, such as 3D environments, streaming media, and interactive applications using virtual and augmented reality; customised broadcasting, leisure and entertainment applications.

 
  Enabling Technologies: Scottish Centre for Enabling Technologies for the creative industries
Professor Thomas M Connolly, Director Scottish Centre for Enabling Technologies, University of the West of Scotland, UK


  Introduction: Scottish Centre for Enabling Technology
Robert Rennie, Project Manager, Scottish Centre for Enabling Technologies, UK


  Case Study 1: Kelvin Consultants
David Ramsay, Managing Director, Kelvin Consultants, UK


  Case Study 2: TPLD Ltd
Matt Seeney, Director, TPLD Ltd, UK


  Case Study 3: StormID Ltd
Paul McGinness, Technical Director, Storm ID Ltd, UK


  Advanced Multimedia Animation: Glasgow School of Art
Martyn Horner, RCUK Academic Fellow, Glasgow School of Art, UK


  [Awaiting Title]:
Seamus Ross, Director, Humanities Advanced Technology & Information Institute, UK


Visit to Glasgow School of Art: Panel on Design Innovation Scotland & tour of Mackintosh building
9:00am to 1:00pm, meet in the Lighthouse Foyer
Chaired by Scott Parsons
 
Visit to Pacific Quay: Glasgow's Digital Media Cluster
9:00am to 1:00pm, meet in the Lighthouse Foyer
Chaired by Claire Scally, Scottish Enterprise

A tour taking in BBC Scotland's state-of-the-art digital production centre, Glasgow Science Centre and Film City Glasgow, with expert speakers and guides.

 
Visit and barge trip: Glasgow's canalside regeneration – Creating Creative Communities
9:00am to 1:00pm, meet in the Lighthouse Foyer
Chaired by Rachel Arnold, Impact Arts

What role does creativity and arts play in the world of regeneration? Welcome aboard a barge on Glasgow's Canal for a lively and exciting look into a model that aims to place creative approaches and learning at the heart of regeneration, creating a distinctive and well-loved place.

 
Creative Futures: New research on the future of the creative economy
11:00am to 12:30pm, Gallery 5, The Lighthouse
Chaired by Geoffrey Brown, EUCLID

As the conference closes, this session looks forward. We begin with a fascinating look at the collision of user-generated platforms with Asian popular culture: what happens when Japanese animé, Hello-Kitty, the Pokemo, the 'Korean wave' and Chinese mythologies and legends meet a new generation's desire to create their own culture? The Press Association describes the impact of business-to-business models on one of our oldest creative industries. And we learn of the key trends and drivers of change likely to impact upon the arts and creative sector in Wales leading up to 2025.

 
  Hybridizing Creative Industries: Choreographing production-cum-consumption of local cultural idiosyncrasies
On-Kwok Lai, Professor, Kwansei Gakuin University, Japan


  Creative Leadership at PA: Research outcomes of the KTP project at the Press Association
Julian Kucklich, Media Futures Associate, Press Association, UK


  Future Creative Economy Wales 2025: Futures research on Welsh creative sector key trends & drivers 2008 – 2025
Gethin While, Project Manager, Glamorgan University Business School, UK


Closing Lunch
12:30pm to 2:00pm, Foyer, The Lighthouse
 

 Post-Conference Special Event (Fri 21 Nov)
Charles Rennie Mackintosh Tour: Founder of the Modern Movement
9:30am to 5:30pm, meet in Radisson SAS Foyer
Chaired by Nigel Cole

A tour of Glasgow's leading Mackintosh buildings, led by expert guide Nigel Cole, to Mackintosh House, Huntarian Art Gallery, University of Glasgow, The Mackintosh Church, Glasgow School of Art, Scotland Street School Museum and House for an Art Lover. Lunch will be taken in the Grade 'A' listed Corinthian, voted one of the Top 100 Restaurants in Europe by the Observer.