Yesterday I gave a presentation at Creative Europe in a time of Austerity, a conference organised by Geoffrey Brown at Euclid, the go-to-guy for advice if you ever contemplate European funding. It was a jampacked day of really interesting speakers - including the most entertaining 25 minutes of bar charts I can remember from Peter Inkei of the Budapest Cultural Observatory. (That's one above showing how relatively dissatisfied people in the UK feel with how the way they live allows them fulfilment in their personal lives.)
If you missed it, you can still watch all the presentations via the Euclid website, for a very reasonable fee. What's more you get to have coffee breaks and gaps to rest your brain, which was the one slight downside of the packed day. I like listening to smart people, so didn't mind but the more discussion-focused might have found it over-full. (You can also fast-forward through the joke I made about never having the physical capital to be a dancer. Why I put myself down so, I don't know.)
I talked about a project I've been working on for some time now with the Exchange group of performing arts organisations in Newcastle Gateshead (this include The Empty Space, Northern Stage, Ballet Lorent and Novak), Mission, Models Money and nef, which will shortly reach publication and event stage, The Art of Living Dangerously.
I've put a pdf version of the talk 'We have come here today to be plural' on the website for anyone who wants to read it and will also post that up in a separate blog, as it's a bit long to follow this. Here's a few lines as a teaser...
Using this
whole spectrum, culture starts to seek its role in, well, what poet John
Berryman called ‘the whole business…vague, over-claiming and crude as it
seems.’ ‘The whole business’ – actually
a useful and productive pun for our context.
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