CCE

The 8th European Colloquium on Culture, Creativity and Economy will be held October 9-12 in Basel, Switzerland. #CCE8

[CCE @CCEBasel]

Drawing on case studies from established and emerging international fashion centres, chapter 2 by @TaylorBrydges et al. investigates how digital technologies are transforming the field of fashion at different scales and in different geographic contexts. @atlejh @brian_hracs

[Brian Hracs @brian_hracs]

PhD Opportunity: I am looking for students interested in researching the spatial dynamics of creative work. If you want to come work with me at the University of Southampton let me know! https://t.co/ys7Sas49WN

[Brian Hracs @brian_hracs]

To combat unemployment, poverty and inequality many urban centres are trying to grow their cultural and creative industries. In chapter 8 Drummond & Snowball focus on policies for CCI clustering in a rural / small town context in South Africa. @CE_Africa

https://t.co/4nUpilMPou

[Brian Hracs @brian_hracs]

Speaking of curation its really cool to see the backgrounds behind speakers at online conferences. I have seen some carefully placed vinyl, concert tickets and 'Rough Trade' bags so far. I might need to retool my office shelf before speaking tomorrow! @PauwkeBerkers @drjohaynes

[Brian Hracs @brian_hracs]

Chapter 7 considers the emergence of creative hubs in East Africa. Wangusa et al. profile cases in Nairobi, Dar es Salaam & Kampala to show how hubs are shaped by unique local ecosystems & contribute to sustainable development. @CE_Africa @HECreativEcon

https://t.co/4nUpilMPou

[Brian Hracs @brian_hracs]

Next up my colleague @TimoKoren is sharing his excellent research on nightclubs in Amsterdam and what they tell us about many things including social inequalities and music genres! @PauwkeBerkers @hesmondthing @drjohaynes @YoshaW

[Brian Hracs @brian_hracs]

Chapter 4 examines the importance of finance in supporting CCIs in Kenya. With traditional commercial financing models not working Njuguna et al. explore the initiatives @HEVAFund uses to support young female creatives. @CE_Africa @HECreativEcon

https://t.co/4nUpilvewW

[CCE @CCEBasel]

Chapter 10 shows how electronic dance music was introduced in Stockholm. Jansson & Gavanas use pioneers, space & resistance to show how time & space-specific processes curate our understanding & experience of specific subcultural expressions @brian_hracs

https://t.co/RR2JcZb88K

[Brian Hracs @brian_hracs]

In East Africa, networks, institutions and supports are lacking and many creatives are sole traders. In chapter 3 Burton et al. explore how visual artists construct sustainable livelihoods both through art & for art. @CE_Africa @HECreativEcon @england_le

https://t.co/4nUpilvewW

[CCE @CCEBasel]

In Chapter 9 @HECreativEcon
@england_le @brian_hracs show that beyond ‘connecting producers and consumers’ cultural intermediaries in Africa provide a range of supports and services that enable & sustain creativity including space & training. @CE_Africa

https://t.co/RR2JcYTxhc

[Roberta Comunian @HECreativEcon]

Finally here thanks @brian_hracs @TaylorBrydges @atlejh @tinahaisch @thanks also to @england_le and to @brian_hracs twice for lots of amazing memories of research during @CE_Africa

[Brian Hracs @brian_hracs]

Southampton has been longlisted for the ‘prestigious' UK City of Culture 2025. Discuss amongst yourselves… @thecityspeaker @olimould @DanielAshton @tgpb85 @HECreativEcon @CCEBasel
@Campbell_C_A

https://t.co/3tJvcURrBa

[CCE @CCEBasel]

In Chapter 8 Capdevila analyzes the translation process of coworking practices from an urban setting, Barcelona’s metropolitan area, into rural areas in Catalonia. @brian_hracs @JanetMerkel
@AnitaFuzi @england_le @TaylorBrydges
@atlejh

https://t.co/RR2JcZb88K

[CCE @CCEBasel]

@TaylorBrydges @atlejh

[Brian Hracs @brian_hracs]

As someone interested in sustainable fashion, learning about how woman in rural Kenya rear silkworms to contribute to ‘green textile’ production was fascinating! More about the brand & social enterprise @ToshekaDesigns in our Project Report. @CE_Africa

https://t.co/TyQ9qGAII3

[CCE @CCEBasel]

In Chapter 7 Avdikos & Dragouni introduce a novel conceptual framework of cultural heritage value that considers economic AND socio-cultural impacts of the heritage and museums sector on places and user communities. @brian_hracs @thecityspeaker @atlejh

https://t.co/RR2JcYTxhc

[Brian Hracs @brian_hracs]

For 8 years the 2nd week in October was always CCE week & a highlight of my academic year. Here are some memories of Uppsala, Berlin, Amsterdam, Florence, Seville, London, Stockholm & Basel while we look forward to resuming regular travel! @CCEBasel @atlejh @TaylorBrydges

[Brian Hracs @brian_hracs]

One of the best fieldwork tours was at The Spier Arts Academy - a mosaic & ceramics apprenticeship program in Cape Town. This case highlights why funding, training, networking & work experience are crucial to sustainable arts-related careers. @CE_Africa

https://t.co/TyQ9qGSjzB

[Brian Hracs @brian_hracs]

Accessing business support & finance is often a challenge for creatives in Africa. But @HEVAFund (Kenya) is a great example of innovative financing models & the importance of creative intermediaries (Full profile in Project Report) @CE_Africa @england_le

https://t.co/TyQ9qGSjzB

[CCE @CCEBasel]

In Chapter 6 Judith Nyfeler draws on case studies of two Swiss fashion firms to explore the ways in which technologies and constraints serve as sources of creativity. @brian_hracs @atlejh @TaylorBrydges @mariannadovidio

https://t.co/RR2JcZb88K

[Roberta Comunian @HECreativEcon]

Africa’s Creative Economies A Subject of a London University Study https://t.co/XkRDNgK05H

[CCE @CCEBasel]

In Chapter 5 Merkel & Suwala use cases studies of network managers in technology parks and hosts of shared workspaces in Berlin to examine intermediary practices, community-building and creative urban milieus. @JanetMerkel @brian_hracs @AnitaFuzi

https://t.co/RR2JcZb88K