BCM310: Emerging Issues in Media and Communication chapter 6 Creative Cities and Public Media Spaces

Date: 20 April 2014

Blogpost 4

BCM310: BCM310: Emerging Issues in Media and Communication chapter 6 Creative Cities and Public Media Spaces

In the sixth week, we discussed creative cities, public media spaces and aesthetic journalism, their impact and significance on media and communications and vice-versa.

To my understanding, “The Creative City” is a concept which identifies, nurtures, attracts and sustains talent and in doing so, is able to mobilize ideas, talents and creativity and generate thoughts and imagination. To establish the milieu, the built environment – the stage and the setting – is crucial. A creative milieu contains the necessary hard and soft infrastructure to generate ideas and inventions (Pratt 2011, pp123–130). A milieu can be a building, a street, or a city such as Hollywood and Milan. Fan fiction sites on the internet such as FanFic.com are non-physical creative cities that enable users to create or rewrite stories, generating new versions of existing works, impacting the way these works can be presented in the media, thereby affecting media and communications. Conversely, media and communications, such as the internet, facilitate creativity.

Aesthetic journalism employs images and pictures rather than words to communicate an idea or even culture. According to Pratt (2011, pp123–130) “Art and other forms of ‘aesthetic’ information, like documentary, online projects and advertising … has become an expansion of mass-media …journalism”. Many tribes have been using aesthetic means of communications, via symbols or images to express and manifest feelings or emotions. Festivals, art and music (without lyrics) are forms of aesthetic journalism, practised since time immemorial (Cramerotti 2009, 1-135).

Pratt opines that aesthetic journalism contributes to building (critical) knowledge. Thus, scientific knowledge depends on ‘visualization’ to be understood and politics relies on daily news to raise its credibility (Pratt 2011, pp123–130). The “artist-researcher”, being the narrator, takes responsibility for his work. Artistic ‘platforms’ such as museums and art galleries, cultural programs ( like the EU programme Culture 2000), art magazines, university conferences and online forums facilitate the dissemination of information. The activities and themes produced by art generate an ‘art discourse’ (Cramerotti, A 2009, 1-135; Pratt 2011, pp123–130; MacQueen, K 2010, p62).

Aesthetic journalism, aided by the rapid rise of social platforms, such as Facebook, Twitter and YouTube, provides users with new means of expressions and connections, and enables mass participation in public discourse (Cramerotti, A 2009, 1-135; Pratt 2011, pp123–130; MacQueen, K 2010, p62; Lazaroiu 2010, pp264–272). These “electronic settings” represent the public media spaces whereby participants can create real-time visual and acoustic environments that span physically separate entities and time. These have impacted the balance between personal (private) space, community (public) space, and corporate (commercial) space, institutional structures and professional routines through which both public and private communication becomes intertwined with social media’s commercial mechanisms, transforming the political economy of the media landscape (Cramerotti, A 2009, 1-135; Pratt 2011, pp123–130; MacQueen, K 2010, p62). This has significant implications as the mass media, civil society organizations, and state institution will need to reassess their position in public space.

In my opinion, culture and creativity drives all innovation. Furthermore, without creativity and imagination, the world would be devoid of entertainment. Imagine a world without Hollywood, the fashion industry without Paris or Milan. People are always seeking ways to be entertained and creativity and imagination help fulfill this desire. Media and communications help to facilitate and develop creativity and imagination and vice-versa.

(497 words)



Cramerotti, A 2009, Aesthetic Journalism: How to Inform Without Informing, Intellect Books, Chicago, USA, accessed 5/4/2014, http://books.google.com.my/books?id=cyKb7dQrmlAC&q=%3A+How+to+Inform+Without+Informing#v=snippet&q=%3A%20How%20to%20Inform%20Without%20Informing&f=false.

Lazaroiu, G 2010, ‘MEDIA CONCENTRATION, DIGITAL COMMUNICATION NETWORKS, AND THE IMPACT OF NEW MEDIA ON THE NEWS ENVIRONMENT’ Economics, Management, and Financial Markets, vol.5, no.2, pp264–272, accessed: 5/4/2014, http://search.proquest.com.ezproxy.uow.edu.au/docview/748829708/fulltextPDF?accountid=15112.

Mcquire, S 2010, ‘Rethinking media events: large screens, public space broadcasting and beyond’, New Media Society, vol.12, no.4, pp567-582, accessed 14/4/2014, http://nms.sagepub.com.ezproxy.uow.edu.au/content/12/4/567.full.pdf+html.

MacQueen, K 2010, ‘AESTHETIC JOURNALISM: HOW TO INFORM WITHOUT INFORMING BY ALFREDO CRAMEROTTI’, The Art Book, vol. 17, no.4, p62, accessed 14/4/2014, http://onlinelibrary.wiley.com.ezproxy.uow.edu.au/doi/10.1111/j.1467-8357.2010.01137_14.x/pdf.

Pratt, A, C 2011, ‘The cultural contradictions of the creative city’, City, Culture and Society, vol.2, no.3, pp123–130, accessed 14/4/2014, http://www.kcl.ac.uk/artshums/depts/cmci/people/papers/pratt/contradictions.pdf.


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