Participatory Art and the Politics of Spectatorship - autonomous ...

notes to pages 14– 16
which replaces welfare with the goal of work) rather than ‘RED’ (a redistributionist
discourse primarily concerned with reducing poverty and
inequality). (Levitas, The Inclusive Society?, Chapter 1.)
13 François Matarasso, Use or Ornament? The Social Impact of Participation
in the Arts, Comedia, London, 1997.
14 Paola Merli, ‘Evaluating the Social Impact of Participation in Arts Activities’,
International Journal of Cultural Policy, 8:1, 2002, pp. 107– 18.
15 Ulrich Beck, Risk Society: Towards A New Modernity, cited in Zygmunt
Bauman, The Individualized Society, Cambridge: Polity Press, 2001, p. 106.
16 David Cameron, ‘Big Society Speech’, 19 July 2010, available at www.
number10.gov.uk.
17 Ministry of Economic Affairs and Ministry of Education, Culture and
Science, Our Creative Potential, Amsterdam, 2005, p. 3.
18 Ibid., p. 8.
19 ‘Gemeente Amsterdam, Amsterdam Topstad: Metropool, Economische
Zaken Amsterdam’ (14 July 2006), cited in Merijn Oudenampsen, ‘Back
to the Future of the Creative City’, Variant, 31, Spring 2008, p. 17. The
reference, of course, is to Richard Florida’s gentrifi cation handbook,
Cities and the Creative Class (London: Routledge, 2005).
20 See Peter Hewitt, Beyond Boundaries: The Arts After The Events of 20 11,
speech given at the National Portrait Gallery, 12 March 2002, p. 13.
Hewitt was speaking as Chief Executive of Arts Council England, the
government funding agency for the arts.
21 The creative industries are those that ‘have their origin in individual
creativity, skill and talent and which have a potential for wealth and job
creation through the generation and exploitation of intellectual property’;
they include music, publishing, fi lms, games, advertising, fashion,
design, TV and radio, all of which have obvious commercial potential.
See DCMS, Creative Industries: Mapping Document 1, London, 2001, p. 4.
22 DCMS, Culture and Creativity: The Next Ten Years, London 2001. A
Green Paper is a government report that forms the fi rst stage in changing
UK law.
23 Angela McRobbie, ‘“Everyone is Creative”: Artists as Pioneers of the
New Economy?’, available at www.k3000.ch/ becreative.
24 McRobbie, ‘“Everyone is Creative” ’.
25 Andrew Ross, No-Collar: The Humane Workplace and its Hidden Costs,
New York: Basic Books, 2003, p. 258. The result, Ross argues, is greater
freedom for workers (and a sense of fulfi lment), but the trade- off is less
social justice and protection.
26 The distinction between creativity (as the capacity of many) and art (as the
skill of a few) goes back to the Russian avant- garde: isstkustva (art) was the
term rejected by Proletkult theorists in favour of tvorchestvo (creativity).
27 Charles Esche, ‘Superhighrise: Community, Technology, Self- Organisation’,
available at www.superfl ex.net.
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