The authors offer insights, exercises and etudes intended to guide you through the process of accessing ideas and images from your own inner resources of mind and body.
This book nuances our understanding of the contemporary creative economy by engaging with a set of three key tensions which emerged over the course of eight European Colloquiums on Culture, Creativity and Economy (CCE): 1) the tension between individual and collaborative creative practices, 2) the tension between tradition and innovation, and 3) the tension between isolated and interconnected spaces of creativity. Rather than focusing on specific processes, such as production, industries or locations, the tensions acknowledge and engage with the messy and restless nature of the creative economy. Individual chapters offer insights into poorly understood practices, locations and contexts such as co-working spaces in Berlin and rural Spain, creative businesses in Leicester and the role and importance of cultural intermediaries in creative economies within Africa. Others examine the nature of trans-local cultural flows, the evolving "field" of fashion, and the implications of social media and crowdfunding platforms. This book will be of interest to students, scholars and professionals researching the creative economy, as well as specific cultural and creative industries, across the humanities and social sciences.
Bold new readings of recent and canonical Black creative works that excavate how time, space, and blackness intersect to show how through Afro-pessimism, Black people can fight the anti-Black cosmos.
This expanded edition of Tight Spaces includes six new essays that explore the fulfilling spaces inhabited by Kesho Scott, Cherry Muhanji, and Egyirba High since their book was originally published in 1987. Tight Spaces won the American Book Award in 1988.
Revealing some of the world's most inspiring workplaces, I Wish I Worked There! investigates the way 20 famous brands have put innovation at the heart of their culture. Photographs and illustrations detail the way in which companies accommodate creative activity through spaces that: stimulate, enable reflection, promote collaboration and encourage play. Easy-to-adopt principles assist the design, creation or selection of spaces that support creative endeavour. Never before has a title looked specifically at how the working environment fosters the flow of ideas from both practical and emotional perspectives – with business results. Each case study is extensively illustrated with new photography by Edward Denison and diagrams by Will Knight that detail activity. Behind-the-scenes interviews reveal insights that show what makes a space really work, while business metrics evidence the birth of ideas, breakthroughs and successes. Includes foreword by Ivy Ross, Executive Vice President of marketing for The Gap Brand at Gap, Inc. Featured companies: Aardman Animations, Ltd * Bloomberg LLC * DreamWorks Animation * Dyson * Electronic Arts * Google Inc * Hasbro * Innocent Drinks * Johnson & Johnson * The LEGO Group * Nike Inc * Oakley * Philips Design * Procter & Gamble * Sony Design * Sony Music * T-Mobile * Urban Outfitters * Virgin * Walt Disney Imagineering
This book sets out to (re)capture learning spaces within academic life. By challenging the notion that academic thinking must take place in cramped, busy working spaces, it re-introduces the reader to the importance of spaces for reflecting, thinking and writing.
In the highly influential mental-spaces framework developed by Gilles Fauconnier in the mid-1980s, the mind creates multiple cognitive "spaces" to mediate its understanding of relations and activities in the world, and to engage in creative thought. These twelve original papers extend the mental-spaces framework and demonstrate its utility in solving deep problems in linguistics and discourse theory. Investigating the ties between mental constructs, they analyze a wide range of phenomena, including analogical counterfactuals; the metaphor system for conceptualizing the self; abstract change expressions in Japanese; mood in Spanish; deictic expressions; copular sentences in Japanese; conditional constructions; and reference in American Sign Language. The ground-breaking research presented in this volume will be of interest to linguists and cognitive scientists. The contributors are Claudia Brugman, Gilles Fauconnier, George Lakoff, Yo Matsumoto, Errapel Mejias-Bikandi, Laura A. Michaelis, Gisela Redeker, Jo Rubba, Shigeru Sakahara, Jose Sanders, Eve Sweetser, and Karen van Hoek.
In recent years it has become common-place to hear claims that public space in cities across the globe has become the exclusive preserve of the wealthy and privileged, at the expense of the needs of wider society. Whether it is the privatization of public space through commerical developments like shopping malls and business parks, the gentrification of existing spaces by campaigns against perceived anti-social behaviour or the increasing domination of public areas by private transport in the form of the car, the urban public space is seen as under threat. But are things really that bad? Has the market really become the sole factor that influences the treatment of public space? Have the financial and personal interests of the few really come to dominate those of the many? To answer these questions Matthew Carmona and Filipa Wunderlich have carried out a detailed investigation of the modern public spaces of London, that most global of cities. They have developed a new typology of public spaces applicable to all cities, a typology that demonstrates that to properly assess contemporary urban places means challenging the over-simplification of current critiques. Global cities are made up of many overlapping public spaces, good and bad; this book shows how to analyze this complexity, and to understand it.
Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with computer interfaces, virtual reality, and digital networks as well as tracing its lineage to predigital models of visual organization. Jones emphasizes that 3D is not only a technology used in films but also a tool for producing, controlling, and distorting space within systems of surveillance, corporatization, and militarization. The book features detailed analysis of a wide range of films—including Avatar (2009), Goodbye to Language (2014), Love (2015), and Clash of the Titans (2010)—demonstrating that 3D is not merely an augmentation of 2D cinema but that it has its own unique properties. Spaces Mapped and Monstrous brings together media archaeology, digital theory, and textual analysis to provide a new account of the importance of 3D to visual culture today.