The Cultural Creatives: How 50 Million People Are Changing the World

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Willaime, J.-P. (2008). Le retour du religieux dans la sphère publique: vers une laïcité de reconnaissance et de dialogue. Olivétan. D, Fancourt; S, Finn, (2019) ‘What is the evidence on the role of the arts in improving health and well-being? A scoping review’ Health Evidence Network synthesis report 67 ↩

Support Future Live Performance: AHRC will distil the insights and intelligence from its rapid response COVID-19 research, identifying the gaps in our knowledge about COVID-secure environments for live cultural experiences. This research will inform future policy interventions to create a sustainable model for the sector, in tune with the new normal. 2022 as a year of celebration focused on culture and sport, with three showstopper events across the UK – Birmingham Commonwealth Games, The Queen’s Platinum Jubilee, and Festival UK* 2022 – will be an opportunity to support jobs and provide a platform for the UK to shine on a global stage. Meanwhile, cultural industries themselves were restructuring. Starting in the late 1970s, the spread of computer networks and digital technologies allowed many cultural industries to become more mobile in locating different aspects of the production process across many different time zones and geographies. Sponsored by the globalization of financial capital and aided by the liberalization of communications networks, cultural industries that had been largely confined to national circuits of production, distribution, and consumption could now leverage various locations in decentralizing their operations. The national model for cultural production had reached an apex in terms of generating capital as oversaturated consumer markets could not offset noncompetitive sunk costs in labor or materials. Called a “spatio-temporal fix” (Harvey, 1982), national political economies looked for ways to allow capitalism to expand instantaneously and to accrue surplus profits transnationally. dislike the emphasis of modern cultures on "making it" and "success", on consuming and making money

Who We Are?

Boundless Creativity benefited from access to the latest data of The Audience Agency’s COVID-19 Cultural Participation Monitor as well as new data from the AHRDC/NESTA Policy and Evidence Centre. ↩ Recommend specific research and policy interventions to drive engagement with the issues highlighted in this report, including those which will allow the sector to maximise the potential of new digital and immersive technologies in engaging and diversifying audiences. This creative perspective also emphasizes the importance of helping and caring for others, and as such, many people of this group volunteer often for good causes. They see spirituality and love as a vital component of life and always look for the good qualities in all people. They desire equality in business, life and politics across all cultural, religious, and racial/gender boundaries. A cultural creative also recognizes the power of unity and collaboration through synergy, and the benefits of cooperative relationships in business and politics. 3. Interest in Health, Fitness & Well Being strong awareness of the planet-wide issues like climate change and poverty and a desire to see more action on them

New Boundless Creativity funding calls, subject to the spending review, designed to achieve size, ambition and scale, devised by AHRC in collaboration with DCMS, and launched successively over the next 24 months to target the following research fields:Led by the Royal Shakespeare Company, a consortium of 15 specialist organisations, leading universities and immersive technology pioneers have pooled their expertise to discover the future of live performance. Combining virtual reality, mixed reality and augmented reality with live performance, they seek to uncover future opportunities of real-time immersive performance to change the way audiences both in-person and remotely experience live performance by making it more immersive. AHRC to work with DCMS and other funding agencies to look at the digital skills gaps in the UK cultural and creative sector, with a focus on regional growth and interconnectivity.

And finally, you like reading these Integral Christian Network articles. That definitely makes you a cultural creative! Cultural Creatives often have difficulty with today’s church worship services AHRC will (a.) distil the insights and intelligence from its rapid response COVID-19 research and present this in a timely fashion to DCMS and (b.) identify gaps in knowledge about COVID-secure environments for live cultural experiences. Policy interventions should be identified that promote the safe return of the sector through a reopening campaign informed by and referencing this research. Recommendation 7: Build a strong, resilient and diverse digital skills base. Major new AHRC research programme, with the support of DCMS, subject to the forthcoming spending review, to grow the evidence base linking cultural assets and creative activity post-COVID to mental health specifically and to health generally. Demonstrate the health and wellbeing benefit of the cultural sector through the Cultural Heritage Capital programme, which seeks to align cultural capital with HMT Green Book. Recommendation 9: Diversify and nurture talent. He then revealed that the Minister is going to audit the National Council For Museums and equip it, so that it can transform and renovate the museums around Nigeria. Meanwhile, creative industry initiatives in India, China, and many East Asian countries focused on capturing segments of creative industries’ production chains that could synergize with those countries’ strengths in industrial manufacturing and services. Spurred by the liberalization of UK and US markets, and often in consultation with Australian and British universities, these countries pursued the development of creative industries associated with the “knowledge economy” and the concentration of computer literacy, such as animation, video games, and software design (O’Connor & Xin, 2006). In particular, Hong Kong, Singapore, Taipei, and Seoul were attracted to creative industry urban policies that fed official aspirations to become “world cities” (Kong et al., 2006). Launched often under the auspices of authoritarian or highly centralized forms of government, the policies have promoted the close intertwining of creative production with economic growth, while shedding Eurocentric notions of liberal personhood and autonomy associated with creativity in the original British articulation.A new openness beyond traditional religion to being spiritual and not being traditionally religious. In the United States, Lewis Coser and Richard Peterson sought to develop a “production of culture perspective” in sociological and communication research into the plurality of cultural industries (Peterson & Anand, 2004). Influenced by both the administrative techniques and the functionalist sociology developed in the 1950s and 1960s by Paul Lazarsfeld and Robert K. Merton through the Columbia University Bureau of Applied Social Research, Peterson would build a research agenda with others primarily in organizational sociology, such as Paul DiMaggio, Wendy Griswold, and Diana Crane. Peterson theorized that different cultural industries, their structuring and internal organization in terms of workers’ roles and constraints, led to different outcomes in the types of mass culture produced. He thus broke with Adorno and others who claimed capitalism would have more generalizable impacts on cultural contents and their ideological orientations. In doing so, Peterson and his contemporaries developed what Merton ( 1968) called “middle-range” theories, which limited their critical scope to the functioning of particular cultural industries and the activities of their employees within legal and regulatory frameworks for the production of culture. To this day, much of the media industries scholarship in the United States invests in middle-range theory building (see Havens, Lotz, & Tinic, 2009). Leading creative content studio Factory42 has partnered with the Natural History Museum, Science Museum Group, University of Exeter and others to create Dinosaurs and Robots. Combining mixed reality technology with immersive theatre, two separate adventure game visitor experiences create multi-sensory and interactive worlds for visitors to the Nature History Museum and Science Museum. Not only an attractive consumer group, they are more likely to guide us towards future innovations given their higher levels of involvement in crowdsourcing, gaming, and co-creator endeavours. Understanding the demographics of new technology will be vital to providing satisfying digital cultural experiences. Broaden Digital Access for Producers and Consumers: AHRC will galvanise new research on the barriers to entry into the digital market faced by freelance artists and smaller creative organisations, and will work with DCMS to look into framing new policy interventions that level up commercial opportunities for streaming beyond larger institutions and beyond London. We will incentivise the bigger players to make their platforms open source and / or develop a shared platform to give smaller cultural practitioners more control over their content and how they profit from it.