Figure 3 - uploaded by Pip Shea
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This thesis establishes appropriate internet1 technology as a matter of sustainability for the community arts field. It begins with a contextual review that historicises community art in relation to technological, cultural, and political change. It goes on to identify key challenges for the field resulting from the emerging socio-cultural significa...
Context in source publication
Context 1
... deciding on the new format, I presented the idea to the staff of CuriousWorks. I pitched the booklets as resources to nurture "sustainable networked practices", and offered example titles such as "Manage Your Data" and "Getting Your Head Around The Cloud" (See Figure 3). My proposed outcome was to include three individual booklets. ...
Citations
... Pip Shea ( , 2014 argues that in addition to co-creating art and media, 'knowledge co-creation' ...
... Offline training and the responsive community-focused processes characteristic of community cultural development work have vital potential for building the foundations for this kind of inclusive learning. As Shea (2014) notes, social learning opportunities are also critical for practitioners who stand to gain from professional development in networked learning approaches. This kind of skills development can 'foster the organizing activities that underpin online co-creation, [since] new ways of connecting enable new modes of peer-to-peer production and exchange' (Shea, 2014, p.37). ...
... Pip Shea ( , 2014 argues that in addition to co-creating art and media, 'knowledge cocreation' is another latent capability of the community artist. Drawing on applied research and engaging with the Sydney-based organisation Curious Works, she concludes that the community arts sector is currently poised to make the most of professional development initiatives that encourage knowledge exchange and new organisational practices, noting that, 'an opportunity exists for contemporary community arts to become a uniquely collaborative and co-creative sector, but this has yet to be properly recognised and prioritised' (Shea, 2013, p.47 The participating practitioners, who came from both CACD and community broadcasting backgrounds, cited 'access to technical expertise, advice and mentoring' as the most important resource needed to make their project a success (along with financial support). ...
This report describes a dynamic ‘Co-creative Media System’ that is emerging in the social space bounded by the following institutional pillars:
• major cultural institutions (including screen culture agencies, libraries, museums, galleries and public service broadcasters)
• the Community Arts and Cultural Development sector (historically supported through various programs of the Australia Council for the Arts)
• the community broadcasting sector
• the Indigenous media sector, and
• the higher education sector.
It illustrates how this system activates the immense creative potential of the Australian population through the ongoing development and application of participatory storytelling methods and media.
