Lisanne Gibson | University of Dundee (original) (raw)
Papers by Lisanne Gibson
Media international Australia, incorporating culture and policy, Nov 1, 2003
Review(s) of: The Politics of the Arts in Britain, by Gray, Clive, Macmillan, London, 2000, ISBN ... more Review(s) of: The Politics of the Arts in Britain, by Gray, Clive, Macmillan, London, 2000, ISBN 0 3337 3413 0, 224 pp.
Routledge eBooks, Feb 17, 2016
The Journal of Arts Management, Law, and Society, 2020
Understanding Everyday Participation- Articulating Cultural Values (UEP) is funded by the Arts an... more Understanding Everyday Participation- Articulating Cultural Values (UEP) is funded by the Arts and Humanities Research Council as part of their Connected Communities: Communities, Culture and Creative Economies programme with additional support from Creative Scotland.
Media International Australia incorporating Culture and Policy, 2001
would reorient education towards lived experience, away from its increasingly vocational, functio... more would reorient education towards lived experience, away from its increasingly vocational, functional emphasis. It is in these closing sections that the book's anti-technological, romantic discourse becomes most apparent and alienating: for those who see the possibilities for computers extending creative capacities and opportunities, the opposition of computers and human creativity may be hard to accept. Jason Wilson, FJlm, Media and Cultural Studies. Griffith University
Media International Australia incorporating Culture and Policy, 2004
tn the February 2002 issue of Media International Australia incorporating Culture and Policy, ... more tn the February 2002 issue of Media International Australia incorporating Culture and Policy, 'Culture: Development, Industry, Distribution', issue editors Lisanne Gibson and Tom O'Regan identified 'a shift in the underlying principles governing contemporary cultural policy' . Of'particular importance in this refocusing' , they argued, were 'the two distinct but related notions of "cultural development" and the "creative industries" (Gibson and O'Regan, 2002: 5). That issue interrogated the then emerging creative industries policy discourses and assayed some of their consequences for existing formulations ofcultural and media policy. This issue, edited by Tom O'Regan, Lisanne Gibson and Paul Jeffcutt, is MiA's second 'creative industries' issue. It begins where the previous issue left off, with its tantalising suggestion that 'effective cultural policy-making needs to be premised on a dual engagement with the global conditions ofcultural practice and consumption and the actual conditions of local cultural production and consumption' (Gibson and O'Regan, 2002: 8). Concepts of 'cultural cluster' and 'cultural network' have been the conceptual tools through which policy-makers and theorists have sought to manage and account for creative practice and industry in ways which encompass both local and global conditions ofproduction and consumption. The articles in this volume analyse, account for, describe, advocate and critique a variety ofarticulations and applications of 'cultural cluster' and 'cultural network', and in so doing both provide a current snapshot of contemporary pol icy and theory on the creative industries, and suggest future directions. A number of things have changed in the time which has passed between these two issues. First, the discursive relations between culture and the economy have become more ensconced and have been operationalised in particular ways. Creative city frameworks have been adopted by local, city and state governments particularly in the development of cultural precincts which aim both to be economically successful (as tourist precincts and/or creative industrial hotspots, for instance), and to provide enhanced cultural access and effect social cohesion. Creative cluster development has become an explicit policy ofeconomic development portfolios at the regional, state and national levels, as well as a grail for planners. Cultural and media policy studies have had to play catch-up with analytical frameworks and vocabulary, stressing 'value chains', 'inputs' and 'outputs', and the like. In short, creative industries have become a 'dominant' configuration in regional and national economic development. Our position in assembling this issue is to describe, analyse and in some cases challenge the cluster development and creative industries frameworks currently being advanced. Our aim in doing so is not to posit a principled criticism of them for confusing culture and economics (or selling out culture to economics). Rather,
Museum Worlds, 2013
Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strat... more Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strategies. An analysis of the academic literature over this period reveals that the role of new museums in such developments has oft en been viewed reductively as brands of cultural distinction with economic pump priming objectives. Over the same twenty-five year period there has also been what is termed here a ‘libertarian turn’ in museum studies and museology. Counterposing discussions of the museum’s role within urban development with discussions from within the museum studies literature on the ‘post-museum’ reveals the dichotomous nature of these approaches to the museum. This article proposes instead a consideration of the phenomenotechnics of new museum developments. This approach presents a way of taking account of both technical and symbolic conditions and characteristics and in doing so, it is hoped, provides a way of analyzing the ‘realpolitik’ of the role of museums in urban devel...
Journal of Sociology, 2001
Connell observes, ‘What happens in localities is affected by the history of whole countries, but ... more Connell observes, ‘What happens in localities is affected by the history of whole countries, but what happens in countries is affected by the history of the world’ (p. 39). Some insight into this process is provided by his study of imperialism as a gendered process. Connell describes the masculinities of conquest and settlement, of empire, of postcolonialism and, more latterly, of neoliberalism. He argues that ‘transnational business masculinity’ is presently setting the pattern for the hegemonic form of masculinity in the current world gender order; and this is inextricably intertwined with violence, inequality and social injustice on a global scale. How to respond to this and other harmful forms or aspects of masculinity is the subject of the closing chapters of the book. Forging social alliances and engaging in the struggles for peace and gender democracy are crucial to making the difference. And it is the plurality of gender – the multiplicity of masculinities – that opens the door for such change to occur. The author’s close familiarity with diverse social theories and relevant empirical research is complemented by sustained attention to issues of strategy, and a genuine concern with practical problems in the here and now. As much as anything, this book deserves to be read not only for its substantive content, but for its overall approach to sociological thinking and writing. The theory is complex and concepts sophisticated, yet the prose is simple and direct. The arguments are cogently put and well supported by evidence, and the vision is inclusive of the individual and the global. The book’s tone is thoughtful and reflective, without being intellectually patronizing, dismissive or convoluted. The author conveys the problems in the contemporary literature (especially that of essentialist renditions of masculinity), yet at the same time is humble in suggesting possible research questions and agendas. There is a clear recognition that the challenges for social theory, social research and social change will be with us well into the future – that the gains over the last 15 years are still the first steps in a much longer historical project.
... and War Lessons From the Past Lisanne Gibson Arts Hub Australia Friday April Esteemed cultura... more ... and War Lessons From the Past Lisanne Gibson Arts Hub Australia Friday April Esteemed cultural academic Lisanne Gibson stops consider ... funded cultural programs WWII the and which turn established the importance government cultural funding the post war reconstruction ...
... Production team: Christine Worthington, Catherine Milward-Bason, Judy Thomas, Jadzia Lemiesze... more ... Production team: Christine Worthington, Catherine Milward-Bason, Judy Thomas, Jadzia Lemieszek, Tim McKenna ... She is the author of The Uses of Art: Constructing Australian Identities (UQP, 2001) and, with Joanna Besley, Monumental Queensland: Signposts on a Cultural ...
... The real business life Art and Citizenship during Post War Reconstruction Australia Lisanne G... more ... The real business life Art and Citizenship during Post War Reconstruction Australia Lisanne Gibson Email Gibson mailbox edu April The task was ensure economic and social context which positive opportunities were present rather than merely absence constraints Freedom ...
... JudithTrimbie, Ursula de Jong, Sue Anne Ware cover design: Sean Hogan@Trampo!ine layout and p... more ... JudithTrimbie, Ursula de Jong, Sue Anne Ware cover design: Sean Hogan@Trampo!ine layout and production: Ben Akerman printer RMIT Printing Services conference production venue management: Krystyna Meehan catering: Emma ... Joanna Besley and Lisanne Gibson _ ___ ...
Cultural Trends, 2016
Since the mid-nineteenth century, cultural practice and its management have been attached to a di... more Since the mid-nineteenth century, cultural practice and its management have been attached to a discourse that constructs participation, in particular kinds of cultural activity, as "beneficial" to individuals on the basis that its effects have resonance beyond the cultural sphere. More recently, "leading edge" cultural practice and programmes have been based on the notion that benefit from such participation occurs via the facilitation of the active agency of participants through the making of their own meanings through co-curation and co-creation. Enlistment and involvement in, what we have termed "facilitated participation", is, in Nikolas Rose's terms, a tool of "advanced liberalism" whereby the governance of individuals operates on the basis of the governance of their "freedom", through making them self-governing subjects [Rose, N. (1999). Powers of freedom: Reframing political thought. Cambridge University Press]. In the particular case of young people living in care, we have found that the facilitation of their agency through cultural programmes is limited by an assumption that such groups' everyday cultural choices lack value and to facilitate them (and thereby their agency) would involve risk. Through a discussion of research undertaken with this group, this paper will explore how different domains of participation are understood by both the facilitators and the facilitated.
Media international Australia, incorporating culture and policy, Nov 1, 2003
Review(s) of: The Politics of the Arts in Britain, by Gray, Clive, Macmillan, London, 2000, ISBN ... more Review(s) of: The Politics of the Arts in Britain, by Gray, Clive, Macmillan, London, 2000, ISBN 0 3337 3413 0, 224 pp.
Routledge eBooks, Feb 17, 2016
The Journal of Arts Management, Law, and Society, 2020
Understanding Everyday Participation- Articulating Cultural Values (UEP) is funded by the Arts an... more Understanding Everyday Participation- Articulating Cultural Values (UEP) is funded by the Arts and Humanities Research Council as part of their Connected Communities: Communities, Culture and Creative Economies programme with additional support from Creative Scotland.
Media International Australia incorporating Culture and Policy, 2001
would reorient education towards lived experience, away from its increasingly vocational, functio... more would reorient education towards lived experience, away from its increasingly vocational, functional emphasis. It is in these closing sections that the book's anti-technological, romantic discourse becomes most apparent and alienating: for those who see the possibilities for computers extending creative capacities and opportunities, the opposition of computers and human creativity may be hard to accept. Jason Wilson, FJlm, Media and Cultural Studies. Griffith University
Media International Australia incorporating Culture and Policy, 2004
tn the February 2002 issue of Media International Australia incorporating Culture and Policy, ... more tn the February 2002 issue of Media International Australia incorporating Culture and Policy, 'Culture: Development, Industry, Distribution', issue editors Lisanne Gibson and Tom O'Regan identified 'a shift in the underlying principles governing contemporary cultural policy' . Of'particular importance in this refocusing' , they argued, were 'the two distinct but related notions of "cultural development" and the "creative industries" (Gibson and O'Regan, 2002: 5). That issue interrogated the then emerging creative industries policy discourses and assayed some of their consequences for existing formulations ofcultural and media policy. This issue, edited by Tom O'Regan, Lisanne Gibson and Paul Jeffcutt, is MiA's second 'creative industries' issue. It begins where the previous issue left off, with its tantalising suggestion that 'effective cultural policy-making needs to be premised on a dual engagement with the global conditions ofcultural practice and consumption and the actual conditions of local cultural production and consumption' (Gibson and O'Regan, 2002: 8). Concepts of 'cultural cluster' and 'cultural network' have been the conceptual tools through which policy-makers and theorists have sought to manage and account for creative practice and industry in ways which encompass both local and global conditions ofproduction and consumption. The articles in this volume analyse, account for, describe, advocate and critique a variety ofarticulations and applications of 'cultural cluster' and 'cultural network', and in so doing both provide a current snapshot of contemporary pol icy and theory on the creative industries, and suggest future directions. A number of things have changed in the time which has passed between these two issues. First, the discursive relations between culture and the economy have become more ensconced and have been operationalised in particular ways. Creative city frameworks have been adopted by local, city and state governments particularly in the development of cultural precincts which aim both to be economically successful (as tourist precincts and/or creative industrial hotspots, for instance), and to provide enhanced cultural access and effect social cohesion. Creative cluster development has become an explicit policy ofeconomic development portfolios at the regional, state and national levels, as well as a grail for planners. Cultural and media policy studies have had to play catch-up with analytical frameworks and vocabulary, stressing 'value chains', 'inputs' and 'outputs', and the like. In short, creative industries have become a 'dominant' configuration in regional and national economic development. Our position in assembling this issue is to describe, analyse and in some cases challenge the cluster development and creative industries frameworks currently being advanced. Our aim in doing so is not to posit a principled criticism of them for confusing culture and economics (or selling out culture to economics). Rather,
Museum Worlds, 2013
Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strat... more Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strategies. An analysis of the academic literature over this period reveals that the role of new museums in such developments has oft en been viewed reductively as brands of cultural distinction with economic pump priming objectives. Over the same twenty-five year period there has also been what is termed here a ‘libertarian turn’ in museum studies and museology. Counterposing discussions of the museum’s role within urban development with discussions from within the museum studies literature on the ‘post-museum’ reveals the dichotomous nature of these approaches to the museum. This article proposes instead a consideration of the phenomenotechnics of new museum developments. This approach presents a way of taking account of both technical and symbolic conditions and characteristics and in doing so, it is hoped, provides a way of analyzing the ‘realpolitik’ of the role of museums in urban devel...
Journal of Sociology, 2001
Connell observes, ‘What happens in localities is affected by the history of whole countries, but ... more Connell observes, ‘What happens in localities is affected by the history of whole countries, but what happens in countries is affected by the history of the world’ (p. 39). Some insight into this process is provided by his study of imperialism as a gendered process. Connell describes the masculinities of conquest and settlement, of empire, of postcolonialism and, more latterly, of neoliberalism. He argues that ‘transnational business masculinity’ is presently setting the pattern for the hegemonic form of masculinity in the current world gender order; and this is inextricably intertwined with violence, inequality and social injustice on a global scale. How to respond to this and other harmful forms or aspects of masculinity is the subject of the closing chapters of the book. Forging social alliances and engaging in the struggles for peace and gender democracy are crucial to making the difference. And it is the plurality of gender – the multiplicity of masculinities – that opens the door for such change to occur. The author’s close familiarity with diverse social theories and relevant empirical research is complemented by sustained attention to issues of strategy, and a genuine concern with practical problems in the here and now. As much as anything, this book deserves to be read not only for its substantive content, but for its overall approach to sociological thinking and writing. The theory is complex and concepts sophisticated, yet the prose is simple and direct. The arguments are cogently put and well supported by evidence, and the vision is inclusive of the individual and the global. The book’s tone is thoughtful and reflective, without being intellectually patronizing, dismissive or convoluted. The author conveys the problems in the contemporary literature (especially that of essentialist renditions of masculinity), yet at the same time is humble in suggesting possible research questions and agendas. There is a clear recognition that the challenges for social theory, social research and social change will be with us well into the future – that the gains over the last 15 years are still the first steps in a much longer historical project.
... and War Lessons From the Past Lisanne Gibson Arts Hub Australia Friday April Esteemed cultura... more ... and War Lessons From the Past Lisanne Gibson Arts Hub Australia Friday April Esteemed cultural academic Lisanne Gibson stops consider ... funded cultural programs WWII the and which turn established the importance government cultural funding the post war reconstruction ...
... Production team: Christine Worthington, Catherine Milward-Bason, Judy Thomas, Jadzia Lemiesze... more ... Production team: Christine Worthington, Catherine Milward-Bason, Judy Thomas, Jadzia Lemieszek, Tim McKenna ... She is the author of The Uses of Art: Constructing Australian Identities (UQP, 2001) and, with Joanna Besley, Monumental Queensland: Signposts on a Cultural ...
... The real business life Art and Citizenship during Post War Reconstruction Australia Lisanne G... more ... The real business life Art and Citizenship during Post War Reconstruction Australia Lisanne Gibson Email Gibson mailbox edu April The task was ensure economic and social context which positive opportunities were present rather than merely absence constraints Freedom ...
... JudithTrimbie, Ursula de Jong, Sue Anne Ware cover design: Sean Hogan@Trampo!ine layout and p... more ... JudithTrimbie, Ursula de Jong, Sue Anne Ware cover design: Sean Hogan@Trampo!ine layout and production: Ben Akerman printer RMIT Printing Services conference production venue management: Krystyna Meehan catering: Emma ... Joanna Besley and Lisanne Gibson _ ___ ...
Cultural Trends, 2016
Since the mid-nineteenth century, cultural practice and its management have been attached to a di... more Since the mid-nineteenth century, cultural practice and its management have been attached to a discourse that constructs participation, in particular kinds of cultural activity, as "beneficial" to individuals on the basis that its effects have resonance beyond the cultural sphere. More recently, "leading edge" cultural practice and programmes have been based on the notion that benefit from such participation occurs via the facilitation of the active agency of participants through the making of their own meanings through co-curation and co-creation. Enlistment and involvement in, what we have termed "facilitated participation", is, in Nikolas Rose's terms, a tool of "advanced liberalism" whereby the governance of individuals operates on the basis of the governance of their "freedom", through making them self-governing subjects [Rose, N. (1999). Powers of freedom: Reframing political thought. Cambridge University Press]. In the particular case of young people living in care, we have found that the facilitation of their agency through cultural programmes is limited by an assumption that such groups' everyday cultural choices lack value and to facilitate them (and thereby their agency) would involve risk. Through a discussion of research undertaken with this group, this paper will explore how different domains of participation are understood by both the facilitators and the facilitated.