26,896 research outputs found
Kira Kira ‘Bright Force’ Australia/New Zealand Tour 2018: Canberra
No full textThis performance took place during a tour by Alister Spence, Satoko Fujii, and Natsuki Tamura to promote the release of their CD recording 'Bright Force' (Libra records).
This performance was a demonstration of the research in music composition and performance undertaken by Dr Alister Spence from UNSW, and musician colleagues, Satoko Fujii and Natsuki Tamura from Japan, performing the 'Bright Force' work together as the Kira Kira project. This research investigates the agency of contingency in intercultural, inter-genre, music making, and the continuum between composition and improvisation. (What I have termed the Experimental Composition, Improvisation Continuum or ECIC.
Global Cultural Economy:Key Ideas in Media & Cultural Studies
No full textGlobal Cultural Economy critically interrogates the role cultural and creative industries play in societies. By locating these industries in their broader cultural and economic contexts, Christiaan De Beukelaer and Kim-Marie Spence combine their repertoires of empirical work across four continents to define the ‘cultural economy’ as the system of production, distribution, and consumption of cultural goods and services, as well as the cultural, economic, social, and political contexts in which it operates.Each chapter introduces and discusses a different theme, such as inclusion, diversity, sustainability, and ownership, highlighting the tensions around them to elicit an active engagement with possible and provisional solutions. The themes are explored through case studies including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, and the UN Creative Economy Reports.Written with students, researchers, and policy-makers in mind, Global Cultural Economy is ideal for anyone interested in the creative and cultural industries, media and cultural studies, cultural policy, and development studies
Ampithoe lacertosa Spence Bate 1858
No full text5. Ampithoe lacertosa Spence Bate, 1858 태%ġùầNjạ (Fig. 6E) Material examined. 13 inds., Sinyang Port, 28 August 2021; 4 inds., Yecho-ri Port, 28 August 2021; 51 inds., Chuja Port, 29 August 2021. Distribution. Korea (Jejudo Island, west, south, and east coasts), Japan, The Pacific, U.S.A.Published as part of Kim, Kyung-Won, Zhang, Xin, Choi, Jae-Hong, Kim, Jun & Kim, So-Yeon Shin and Young-Hyo, 2023, Amphipods (Crustacea: Malacostraca) fauna from Chujado Island in Korea, pp. 1-26 in Journal of Species Research 12 (1) on page 2, DOI: 10.12651/JSR.2023.12.1.001, http://zenodo.org/record/812010
Entre utopie et réalité : la culture populaire de Thomas Spence
No full textRévauger Marie-Cécile. Entre utopie et réalité : la culture populaire de Thomas Spence. In: XVII-XVIII. Bulletin de la société d'études anglo-américaines des XVIIe et XVIIIe siècles. N°46, 1998. pp. 135-144
Author Correction: Evaluation of skin cancer resection guide using hyper‑realistic in‑vitro phantom fabricated by 3D printing
Get PDFThe original version of this Article contained an error in the spelling of the author Taehun Kim which was incorrectly given as Teahun Kim. The original Article has been corrected
Cultural policy roles in the Non-West – the case of (the) music industry/ies
No full textCreative industries policy is often demonstrative of the neoliberal turn in cultural policy or the economisation of cultural policy (Bakhshi & Cunningham 2016, O’Connor 2013, O’Connor 2012, Garnham 2005). One of the key critique has been the inattention within creative industries policy to the precarious, exploitative and inequitable conditions of cultural labour– and the role for policy solutions to address this (Morgan & Nelligan 2018, Hesmondhalgh et al. 2015, Lee HK 2010, Banks and Hesmondhalgh 2009). In recent years, exacerbated by the pandemic, there have been requests and exhortations, oftentimes to policymakers, (within Europe) to address these issues (Maples et al, 2022, Hesmondhalgh et al. 2021, Care Collective 2020). However, government policy is limited due to the dominance of market forces within the global cultural economy (De Beukelaer & Spence 2019, Haapland 2018, Singh 2016, 2010). This paper explores the limits of national cultural policy’s role, utilising Non-West perspectives through a comparison of music industry policies from South Korea and Jamaica (Spence 2020). The comparison suggests that the role for national cultural policy intersects with the country’s place within the international political economy, its proximity to platformisation developments and among others (Poell at al. 2021, Spence 2021, Haampland 2017, Singh 2010). In short, it is political beyond the nation-state. This paper therefore is a contribution to the growing literature on role of cultural policy within the creative industries and its intersection with power, while offering a distinct ex-centric comparative perspective (Serafini and Novosel 2021, Spence 2021, Gallope 2020, Sitas 2020, Lee & Lim 2014).<br/
Spence (Jonathan D.) : Le Palais de Mémoire de Matteo Ricci, traduit de l'anglais par Martine Leroy-Battistelli
No full textSimonet Jean-Marie. Spence (Jonathan D.) : Le Palais de Mémoire de Matteo Ricci, traduit de l'anglais par Martine Leroy-Battistelli. In: Revue française d'histoire d'outre-mer, tome 77, n°287, 2e trimestre 1990. pp. 327-328
'A look inside': critical issues of nationality and location within creative industries academia
No full textThe global cultural economy is characterised by intersections, interdependences, fissures and faultlines (De Beukelaer & Spence 2019). The teaching within the global cultural economy with its inter-disciplinary fields of the creative industries, cultural policy and arts management are likewise characterised by reflective intersections and faultlines (Chatterjee & Barber 2021, Cuyler et al. 2020, Durrer 2020, Gu & O’Connor 2019). Greater reflexivity about where the academy’s position, specifically the academy of the Global North, within power dynamics of location and nationality, in addition to race, gender, and class, merit greater consideration. There is much discussion of the importance of decolonising the curriculum but there is need to discuss measures within the academy to ensure representation and agency within the global academy beyond the nodes of the Global North (Gukurume & Maringira 2020). This hegemonic power is also evident and transmuted into curricula and policy paradigms (Chatterjee & Barber 2021). The global re-invigoration of the Black Lives Matter movement has further exposed the embedded intersectional and interstitial issues of race, power and coloniality within the academy. My own research (De Beukelaer & Spence 2019, Spence 2019, Spence 2018) and teaching experience supports this. In 2019, I was asked to teach a film studies course at the University of the West Indies and given a draft curriculum. All the texts referred to Hollywood and independent American cinema and all the films highlighted with American or British (actually English). This was a curriculum for Caribbean students in a Caribbean university in a majority black country in 2019. Likewise, the curriculum received in my Queen’s curriculum reflected a diversity of work, but all located and produced within the Global North. The issue of decolonizing of the curriculum required a cosmopolitan approach to film studies. The issue therefore is beyond teaching the global cultural economy to a white student body’ (Heard 1999) but teaching global cultural economy to the world’s students in a manner that acknowledges the past and the injustices of previous curriculum to effect a more cosmopolitan understanding of, not only film, but identity. In my position paper, I conduct an auto-ethnography of my teaching experience within UK Higher Education and within Jamaican Higher Education – which allows for an exploration of the dynamics of decolonisation within the academy and how it falls short. Inspired by the Belluigi & Thondlana (2022) paper on belonging within the South African academy and the continuing legacy of apartheid, I seek to discuss utilising my own experience. The legacy of colonialism continues to cumulatively characterise the cultural economy and too its teaching. The network of Arts Management & Cultural Policy programs and those within the academic asks for more than national issues of sex, race and gender.<br/
The transnational in the global cultural economy:the case of Australian dancehall
Get PDFDancehall music has been enjoying international popularity since the early 1990s, particularly in the USA and the UK, the first and fourth largest music markets in the world respectively (IFPI 2018). The gap between the earnings and international prominence of international reggae artists and Jamaican reggae artists have been noted in policy and industry literature (Tom Fleming Consultancy 2016, Meschino 2017, 2016, 2008, Dresinger 2011). Few have engaged with this earning gap topic within academic literature on reggae and the creative industries (De Beukelaer & Spence 2018, Sterling 2016, Ingram 2014, James 2014, 2008, 2001). However, there is a growing realization within the interdisciplinary space that these earning gaps could be systemic and reflective of the workings of the global cultural economy (Belfiore 2018, De Beukelaer & Spence 2018, Mbaye & Dinardi 2018, Meschino 2017). Such realization has resulted in a re-evaluation of intellectual property right infringement and piracy in the development of cultural industries within the Global South (De Beukelaer & Fredriksson 2018, Shin 2017, Fredriksson 2014, Lobato & Thomas 2012a, Lobato 2010, Barnard & Tuomi 2008). In this presentation I add to this body of literature, an in-depth case study of how such a gap occurs, with an analysis of the ongoing translation of dancehall within the Australian space. Australia is a fairly minor market for both reggae and dancehall and music in general accounting for 2% of the music market share. The Caribbean music market share has been miniscule accounting for less than 0.1%. I interview stakeholders on both (national) sides of the Australian dancehall scene, including dancers, artistes, DJs and promoters and examine secondary data such as industry publications to demonstrate the importance of geography and the concomitant inequity of consumption platforms within the international music industry, even within a relatively minor Global North market relative to an innovative Global South cultural industry. Given the popularity of creative industries-led development models within the Caribbean region, this presentation proposes the need for national cultural policy to address transnational disadvantages of ‘second movers’ within the global cultural economy
Análisis del isótopo de oxígeno del Entierro 2.A, Pirámide de la Luna, Teotihuacan. 29. Arqueología
No full textSpence, M.W. y Denise To, “Los restos humanos de la primera
temporada de excavaciones en la Pirámide
de la Luna”, México, Informe al INAH, 2000,
mecanoescrito.White, C.D., et al., “Oxygen isotopes and the identification of
geographical origins: the Valley of Oaxaca versus
the Valley of México”, Journal of Archaeological
Science, núm. 25, 1998, pp. 643-655.White, C.D., M.W. Spence, Fred J. Longstaffe,
E. Rattray y K.R. Law
“Un análisis del isótopo oxígeno en los entierros
del Barrio de los Comerciantes”, ponencia
para La Segunda Mesa Redonda de Teotihuacan,
septiembre 2002.Ubelaker, D., Human skeletal remains: excavation, analysis and
interpretation, Chicago, Aldine Publishing, 1978
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