Creativity has become a strategy in the making of places, with cities and regions seeking to increase their attractiveness to the creative class, support the creative industries or to become ‘creative cities’. We examine how creativity has been utilised in placemaking in tourism desti-nations through different design strategies. A shift in theoretical focus from creative individuals towards creative districts or places is noted, in line with the developing field of creative place-making. Case studies of creative development indicate strategies need to be sensitive to local context, and follow some basic design principles. Creative placemaking includes consideration of resources, meaning and creativity, driven by clear vision, enabling participation, leaving space for creative expression and developing a coherent narrative
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Publicatie naar aanleiding van de internationale Master Class van Stadslab European Urban Design Laboratory. Onderwerp was het ontwikkelen van een regionale ruimtelijke strategie voor deze Poolse universiteitsstad. In de publicatie, naast de resultaten van de Master Class, ook essays van Ruud Vreeman, Ewa Kipta en Didier Rebois.
PURPOSE: To investigate factors that influence participation in and needs for work and other daytime activities among individuals with severe mental illnesses (SMI). METHODS: A latent class analysis using routine outcome monitoring data from 1069 patients was conducted to investigate whether subgroups of individuals with SMI can be distinguished based on participation in work or other daytime activities, needs for care in these areas, and the differences between these subgroups. RESULTS: Four subgroups could be distinguished: (1) an inactive group without daytime activities or paid employment and many needs for care in these areas; (2) a moderately active group with some daytime activities, no paid employment, and few needs for care; (3) an active group with more daytime activities, no paid employment, and mainly met needs for care; and (4) a group engaged in paid employment without needs for care in this area. Groups differed significantly from each other in age, duration in MHC, living situation, educational level, having a life partner or not, needs for care regarding social contacts, quality of life, psychosocial functioning, and psychiatric symptoms. Differences were not found for clinical diagnosis or gender. CONCLUSIONS: Among individuals with SMI, different subgroups can be distinguished based on employment situation, daytime activities, and needs for care in these areas. Subgroups differ from each other on patient characteristics and each subgroup poses specific challenges, underlining the need for tailored rehabilitation interventions. Special attention is needed for individuals who are involuntarily inactive, with severe psychiatric symptoms and problems in psychosocial functioning.
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Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?
