reflecting on (social) creativity, approaching real utopias in lisbon
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AAG Annual Meeting New York February 24-28, 2012. Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon. Soraia Silva, CEG, IGOT – UL Ana Estevens , CEG, IGOT – UL André Carmo , CEG, IGOT – UL Isabel André, CEG, IGOT – UL Mário Vale, CEG, IGOT - UL. Project RUcaS - PowerPoint PPT PresentationTRANSCRIPT
Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon
Soraia Silva, CEG, IGOT – ULAna Estevens, CEG, IGOT – ULAndré Carmo, CEG, IGOT – ULIsabel André, CEG, IGOT – ULMário Vale, CEG, IGOT - UL
AAG Annual MeetingNew York February 24-28, 2012
Project RUcaS(FCT-PTDC/CS-GEO/115603/2009)
Agenda
1. Intro
2. The study
3. Key concepts
4. Lessons from the case studies
5. Further questions
1. IntroStudy: Urban Creativity in the Region of
Lisbon (2010-2012)(ordered by the CCDR-LVT: Coordination and Regional
Development Commission of Lisbon and Tagus Valley Region)
Research project RUcaS: Real Utopias in Socially Creative Places (2011 - )
2. The studyWP1 - Concepts and perspectives on urban creativity (Survey paper)
Extensive Analysis
WP2 - BenchmarkingWP3 – Urban creativity analysis –
profiles and dynamics of the creative sector
Case studies
WP4A Creative Places
WP4COrganizations
WP4B Cultural events
WP5 – Policy recommendations
3. Key conceptsSocially creative places
as a condition and a result of creativity
Diversity and pluralism
Tolerance and acceptance
Collective learning and critical thought
3. Key conceptsSocial innovation
“satisfation of alienated human needs through the transformation of social relations” (Moulaert, 2009)
Responds to social exclusion
Is path dependent and contextual
Has a very marked territorial expression
3. Key concepts
Social creativity
Social recognition (and transformation)
Social innovation
Collective learning
and critical thought
Diversity
Tolerance
Participation
Leadership
Collective memories
Threats Risks Challenges Opport.
3. Key conceptsThe role of the arts in social creativity
Pedagogy
Identity
Social development
Citizenship
3. Key conceptsThe role of the arts in social innovation
Power of communication
Appropriation (empowerment)
Contestation and resistance
3. Key concepts
Social creativity
Social recognition (and transformation)
Social innovation
Threats Risks Challenges Opport.
Arts
Instrume ntal
Strategic
3. Key conceptsAchievable utopias (Friedman, 2000)
Are born from a collective insatisfaction;
Appear after a solution/technique to the insatisfaction is already known;
Are ‘achievable’ if there is a collective consent (to the application of the solution)
3. Key conceptsAchievable utopias (Friedman, 2000)
The existence of a critical group (limits to community dimension)
Communication and access to info are crucial elements
To priorize the collective over individual is worse than highlighting the importance of each individual to the collective
There are no universal utopias
3. Key conceptsReal Utopias
Result from a process of social innovation
The process itself is the technique necessary to promote a real utopia
Are contextual and mostly with a territorial expression
Tend to be egalitarians as organizations (critical group), but admit multiple layers of governance
3. Key concepts
Social creativity
Social recognition (and transformation)
Social innovation
Arts
Instrume ntal
Strategic
Real Utopias
Contextual and territorial
Public policies
Threats Risks Challenges Opport.
Othe r real utopias
Layers of governance
4. Lessons from the case studies
4. Lessons from the case studies
Cultural events
Visibility
Associativism / Leadership
Public support
Promotion of critical thought
Socially creative milieux
DocLisboa
Amadora BD
Festival de Almada
4. Lessons from the case studies
Organizations
Path dependency
Leadership
Public policies
Arts: pedagogy, citizenship, identity and social development
Appropriation
Social Innovation
TocáRufar
Teatro do Oprimido
Orquestra Geração
4. Lessons from the case studies
Creative Places
Associativism
Solidarity
Collective learning
Collective memories
A real utopia!
Cova do Vapor
4. Lessons from the case studies
Creative Places
Self – esteem
Collective learning
Rebuilding identities
Social innovation
Mouraria
4. Lessons from the case studies
Creative Places
Creative milieux
Collective learning
Networking
Controled environment
Rebuilding identities
Hardly a process of social innovation
LXFactory
4. Lessons from the case studies
Creative Places
(Municipal) Leadership
Collective learning
Collective memories / heritage
Self – esteem
It may be seen as a paternalist utopia
Óbidos
5. Further questions• Do/will public policies support social and artistic
initiatives self-acknowledged as innovative but not recognized as such by the ‘whole’ society?
• To what extent the sucess of social innovation initiatives (real utopias?) may didacte their own end?
• If innovation initiatives largely depend on public financing, how can we ensure ‘critical thought independency’ in a context of austherity based in neoliberal policies and social contesting control?
• What can we learn from the failure cases?
References• André, I., Abreu, A., 2006, Dimensões e espaços da inovação
social,Finisterra, XLI (81), 121-141• André, I., Malheiros, J., Carmo, A., Le rythme des arts dans la ville
(socialement créative), Presentation, Montreal, UQÀM, April 2011• André, I., Abreu, A., Carmo, A., forthcoming, Social Innovation
through the arts in rural areas: the case of Montemor-o-Novo• Friedman, Y., 2000, Utopies Réalisables, Les Coiffards, Éditions de
l’éclat• Gertler, M., 2004, Creative Cities: What Are They For, How Do They
Work, and How Do We Build Them?, Ottawa, Canadian Policy Research Network
• Moulaert, F., Social Innovation and community development – Conceps, theories and challenges, in Moulaert, F., Maccallum, D., Hillier, J., Vicari, S. (eds), 2009, Social Innovation and Territorial Development, Farnham, Ashgate
• Musterd, S., Murie, A. (eds), 2010, Making competitive cities, West Sussex, Blackwell
Thank you for your attention!