background preloader

Culturaldividend

Facebook Twitter

Sophie Lieberman

Arts

USA Projects: A New Crowdfunding Platform for the Arts. Finding Australia's Social Enterprise Sector (FASES) | Social Traders. Finding Australia’s Social Enterprise Sector (FASES) The forms social enterprises can take and the industries they operate in are so many and various that it has always been a challenge to define, find and count social enterprises. In 2009 Social Traders partnered with the Australian Centre for Philanthropy and Nonprofit Studies (ACPNS) at Queensland University of Technology to define social enterprise and, for the first time in Australia, to identify and map the social enterprise sector: its scope, its variety of forms, its reasons for trading, its financial dimensions, and the individuals and communities social enterprises aim to benefit.

This FASES project (Finding Australia’s Social Enterprise Sector) produced its final report in June 2010. The project was led by Associate Professor Jo Barraket, Australia’s leading social enterprise academic. A research-based definition of social enterprise Social enterprises are organisations that: a. B. C. D. 1. 2. Research methodology Appendix 1. Social Enterprise in Australia: Developing a shared research agenda | Business | QUT. SSE - School for Social Entrepreneurs - News - SSE Australia Fellows make their mark in the media. Skip Content The School for Social Entrepreneurs Donate Got a question?

Contact us News Deadline fast approaching Lloyds Bank and Bank of Scotland Social Entrepreneurs Programme28.03.14 Application deadline is 3pm April 3rd. 1 2 3 4 5 6 7 8 All Read more from the archive Search for a course Search for a course Our courses examine all aspect of social entrepreneurship and social enterprise. Find a course Your Idea Starts Here Your Idea Starts Here Lloyds Bank and Bank of Scotland Social Entrepreneurs Programme. Find out more Meet our fellows Meet our fellows More about previous SSE students and the projects they now run. Read fellows' stories Frontline London Frontline London A unique opportunity for 10 young Londoners looking to start social businesses. Find out more People powered The School for Social Entrepreneurs is a registered charity (1085465) and a company limited by guarantee (3900741) Home | Accessibility | Text only | Site map | Privacy | © 2014 The School for Social Entrepreneurs |

Framer Framed, 'Cultural Heritage and Shared Knowledge' Majora Carter: Greening the ghetto. Derek Sivers: Weird, or just different? The University of Leicester's School of Museum Studies has the highest proportion of world-leading rated research in any subject in any UK university (RAE 2008). In its 40 year history, the School of Museum Studies – the only school in the country solely devoted to the study of museums and galleries – has played an influential role in the reinvention of museum theory and practice.

The School has made a significant and sustained contribution to the international cultural sector and the field of museum studies through: Training creative and critical professionals who have transformed organisations and professional practice throughout the world - see Postgraduate Study for more.Producing original, rigorous and internationally influential research - see Research for more.Working collaboratively on a range of pioneering initiatives - see Research Centre for Museums and Galleries (RCMG) for more. You may study with us either on campus here in Leicester or by distance learning. Creative Small Cities: Rethinking the Creative Economy in Place — Urban Stud. Rebranding cities - Indepth - THE DRUM - Advertising, Design, Media, Marketing, Digital, PR - News, Information & Jobs.

Building the brand: rebranding cities | Society | Society Guardian. Britannia Village is a name conjured up by marketeers, and you may or may not know it is in London E16. Eric Sorensen, the man charged with leading the delivery of the Thames Gateway London Partnership, thinks that calling it after West Silvertown - which is where it is - would have helped to establish the area's distinctiveness, its sense of place. Mr Sorensen was speaking at a conference on May 19, Regeneration through Rebranding. But despite his wry warning of the "menace" of such marketing activity, and Greater London Authority's executive director David Lunts's caution about the "black art of spin", the delegate list proved there is a great appetite to learn how to use rebranding in regeneration, in particular from the public sector.

For people with choice, it seems, place is more important than ever. Whether for long-term economic investment or short-break city tourism, competition between towns and cities to get noticed is bolstered by campaigns for cultural and sporting events. Urban Rebranding: the reinvention of city places. A brand image generates a unique set of ideas, feelings and attitudes in people. To remain competitive, large companies sometimes alter or completely replace their images and relaunch themselves as fresh corporate brands. Similarly, competition between urban places to attract new investment, tourists and residents has led many areas to establish completely new brand identities.

International events are often used by urban areas to create a new place image and act as a catalyst or process for fresh development and change. Barcelona has a history of reinventing itself using events dating back to 1888. The Universal Exhibition was held in Ciutadella, today the largest park in Barcelona, an oasis of leisure and culture in the centre of a busy city. Its 1929 World Exhibition is today’s main exhibition centre in Plaça España. Rebranding an area can help people become aware of the existence of new place products such the beaches constructed for Barcelona's Olympics.

District Rebranding.

Social media

Creative Cities - Projects and Initiatives - British Council - Slovenia. ReCollections - The National Museum of Australia. The National Museum of Australia Have we got the museum we deserve? This is a slightly abridged version of a speech presented at the Great Conversation Dinner at Manning Clark House, Canberra, on 12 August 2008. My remarks tonight bear no resemblance to an academic paper. The views are my own and not a statement of an official, or indeed unofficial, Museum position. They are also sometimes based on my prejudices, feelings and suspicions rather than on the harder evidence that would be required in a more formal paper. They are also based — I hope — on a not misplaced optimism about the National Museum of Australia's future. I should preface my remarks by adding that what I say tonight is not intended to be a slight to or adverse personal reflection on any individual or group.

So, when the National Museum opened in 2001, did we get the museum we deserved? A mausoleum down by the lake full of dusty objects in glass cases was therefore anathema. But time was against the Museum, too. India Journal: What’s Policy Got to Do With Social Enterprise? - India Real Time. Conference - Coprodnet. From Coprodnet Co-production: big idea for the 'big society'?

The 2010 Conference is the first conference of coprodnet, a new interdisciplinary academic research network on co-production. It is a co-produced conference, which means that we're open to suggestions to improve and develop the format and the content of the conference. If you have an idea or would like to do something then you can add it below, or raise it on the talk page, or contact us.

The conference format is below. The conference is now over. Pre-Conference Conference outline Welcome (9.30 - 9.50) Welcome, housekeeping, explanation of the day and introducing Coprodnet Download PowerPoint Session one - Co-production explained (9.50 - 11.00) Keynote 1: David Boyle (New Economics Foundation) - The case for co-production in the UK.

Read more about David here. Download PowerPoint View presentation [1] Keynote 2: Dr. Read more about Diana here. Download PowerPoint View presentation [2] This session will be chaired by Prof. Dr. Copyright, moral rights and community cultural development - Australia Council for the Arts. Community cultural development projects involve a number of professional artists and community members in their planning, management and implementation. When the artworks that result from such projects have been a collaborative effort, the value of a clear and comprehensive agreement cannot be underestimated. From the beginning, everyone participating in the project should clearly understand the basis on which they are involved. Project planning should include written agreements that consider each of the topics outlined in this guide.

Contents: Agreements Copyright Dealing with copyright Moral rights Indigenous cultural and intellectual property Ideas and confidentiality Dealing with problems Common terms in community cultural development Contact organisations For current information relating to copyright and moral rights, please refer to the Australian Copyright Council and Arts Law Centre of Australia.

Cultural Development Network (Victoria), Australia. Community Cultural Development Is So Last Century. Peter Garrett's performance as Federal Minister for the Environment has been under scrutiny lately but one of his other portfolios — Arts — hasn't received so much attention. Garrett launched his discussion framework for a National Cultural Policy in November last year, identifying three key themes for cultural policy development in the decade to come: keeping culture strong; engaging the community; and empowering the young. Garrett appears to make a solid case for funding a range of cultural initiatives: "Culture is at the heart of our nation and the arts are at the heart of our culture, feeding, and in turn, being fed by it. Australian culture is unique, diverse and vital to our present and future wellbeing. " While the rhetoric might have been hopeful, the demotion of community cultural development from the list of funding priorities of the Australia Council and state arts bodies draws his commitment into question.

It sounds great, doesn't it?

Preschools

E-learning. Vision+Media resorts to four day week and pay cuts in bid to retain staff - North West Media News - How-Do. Open data in the arts: an introduction - Edinburgh Festivals Innovation Lab. We’re big on openness at the Edinburgh Festivals Innovation Lab. Prior to my position as the Geek in Residence, I helped build an open platform – as part of a two-person team – that found wide use in places as diverse as schools in Bangladesh, charities in Colombia, the Australian government and the World Bank.

We couldn’t have made it happen without the product spreading through open means, and I strongly believe that similar approaches can help arts organizations like the Edinburgh festivals grow larger audiences, understand more about their demographics, find new ways to bolster their revenue and foster interesting new collaborations. In this series of blog posts, we’ll be discussing open data from the festivalslab point of view, in the hope that we can contribute to a useful conversation in the arts sector as a whole.

Open data sounds like a much more techie concept than it really is. [thank you to Monica's Dad for sharing your images via flickr Creative Commons] Jose Antonio Vargas: Chris Hughes' Jumo: A Social Network for the Social Sector. If everything goes according to Chris Hughes' plan, Nov. 30, 2010 will be remembered as a critical and celebrated moment for the multi-billion dollar nonprofit and charitable industry. Earlier this morning, Hughes launched his latest project, Jumo.com, which the Facebook co-founder describes as a "social network for the social sector. " Jumo means "together in concert" in the African language of Yoruba, and Hughes' nonprofit, non-partisan venture is a bold declaration that the nonprofit world has finally gone social.

The site looks a lot like Facebook (where your homepage is filled with a news feed from friends and groups you like), and feels a little bit like Twitter (where you follow the nonprofit groups that interests you) and aims to do for charitable institutions what Yelp has done for salons, restaurants and other businesses: put people and their experiences front and center. "Most every site that's out there focuses on donations. He was ready to start something new -- on his own. Beware dynamic pricing dressed as “accessibility”. | Jumper. I agree with the affordability for customer acquisition strategy. The problem with dynamic pricing is that the performing arts industry has been married to it way too long in the wrong way, and is managing customer acquisition and retention backwards.

New patrons are not being acquired at the same rate as older patrons who behaved differently, and sustained the “Subscribe Today” ideology for decades. While consumers today tell us they want the power of choosing content, schedule, and other factors, arts organizations are still trying to force the subscription model as their customer acquisition strategy. Subscriptions are actually a loyalty/retention marketing strategy, period. The performing arts could take a harder look at the museum field. Museums boast staggering audience figures compared to performing organizations, most often because at many museums, admission is FREE or very nominal. Particularly of interest are special exhibitions. I hear the argument. Museums and the Public Sphere. Inspire, engage, empower.

Cultural Policies and Trends in Europe: a Compendium of Basic Facts and Trends - european culture policy database. Fourth Pillar » Jon Hawkes. Community participation and social inclusion - The Australian e-Journal for the Advancement of Mental Health. People with mental disorders are marginalised and socially excluded from many aspects of community life. They often experience difficulty with obtaining employment, participating in community activities, affordable and sustainable housing, financial and legal issues, transportation, and limited information about, and access to, the options that are available to them.

In this article, we describe a selected number of activities that promote social inclusion. Social inclusion not only offers us a framework for developing mental health policy, but serves to measure how well mental health services are achieving recovery-orientated outcomes. Examples are provided to highlight how the concept of social inclusion can be applied in the everyday practice of mental health practitioners. Chris LloydBehavioural Basis of Health, Griffi th University, Gold Coast, QLD Samson TseSchool of Population Health, Faculty of Medical and Health Sciences, University of Auckland, New Zealand Nash N (2002).

Science

Museums. Cities. Innovation. Various stuff.