Ashraf Jamal (Film & Video Technology, Faculty of Informatics & Design, CPUT)

“MASSIVE CHANGE IS NOT ABOUT THE WORLD OF DESIGN; IT’S ABOUT THE DESIGN OF THE WORLD.” Bruce Mau

“Adequately nurtured, creativity fuels culture, infuses a human-centred development and constitutes the key ingredient for job creation, innovation and trade while contributing to social inclusion, cultural diversity and environmental sustainability.”

UN Creative Economy Report, 2010

• What defines our “real needs”?

• What constitutes the mesh of the Real and the Imagined in our creative economy?

• How do we position ourselves at that cross-roads of a national-and-postnational creative economy?

• How do we as a social network informed by the visions of the government, business sector, civil society, and academia, maximise not only the market share of our creative economy but its mind and emotions share?

“South-South trade in creative products and South-South investments in digital technologies (which) have the potential to expand even faster if supported by enhanced South-South cooperation. Developing countries are therefore encouraged to include creative goods in their lists of products as they conduct their negotiations under the Global System of Trade Preferences.”

UN Creative Economy Report 2010

1. The exploration of “evolving concepts” such as creative ecology, creative commons, collaborative creation.”

2. The avid forging of links “between the creative

economy and the green economy;” splicing creativity and biodiversity to ensure “a win-win solution to promote sustainable development and economic recovery.”

3. The influential power of social networks “in the

distribution of digitized creative content through flexible business models.”

“Emotional Branding is about building relationships; it’s about giving a brand and a product long-term value. It’s about sensorial experiences: designs that make you feel the product, designs that make you taste the product, designs that make you buy the product. “

Marc Gobe

• What conceptual and emotional investments are we making in South Africa as a brand?

• How does this investment manifest itself in our creative economy?

• Where is the best start-up point and point of reflection, mediation, and consolidation?

“Shopping is arguably the last remaining form of public activity. Through a battery of increasingly predatory forms, shopping has been able to colonize – even replace – almost every aspect of urban life. Historical town centers, suburbs, streets, and now train stations, museums, hospitals, schools, the internet, and even the military, are increasingly shaped by the mechanisms and spaces of shopping. Churches are mimicking shopping malls to attract followers. Airports have become wildly profitable by converting travellers into consumers. Museums are turning to shopping to survive. The traditional European city once tried to resist shopping, but is now a vehicle for American-style consumerism. ‘High’ architects disdain the world of retailing yet use shopping configurations to design museums and universities. Ailing cities are revitalized by being planned more like malls”

Rem Kolhaas, Harvard Design School Guide to Shopping

James Ford, “Holiday Time in Cape Town in the 20th Century” , 1899

It is not things in-and-for themselves which make the difference but the imaginative leap built into things.

• It is the organisational power of the Web which is its most potent strategic value, for in working in this way it best ensures the “ways that people would want to connect with one another.”

• Marc Gobe: “The Web is the most emotional of all media because people made it that way; people gave social media their human substance and have expanded their context.”

• To be listened to.• A forum to share opinions.• A blank canvas for creation.• A bazaar for buying anything.• A way to search or find most stuff.• A place to change identities and become

whomever we want.• To know the people we are dealing with.

“Developing countries face numerous challenges in diversifying the range of exportable creative products and improving their competitiveness. They must harness the supply capacity of exportable creative goods and services and upgrade quality throughout the productive value chain. They need to put in place institutional and financing mechanisms to support independent artists and creators, along with policies for attracting investments that facilitate joint ventures and co-productions. In addition, they will have to promote public/private partnerships to stimulate creative business ... enhance competition policies; increase awareness of intellectual property rights; and reinforce domestic law mechanisms. “

UN Conference on Trade and Development, 2008

• LibriVox• Earideas• Collectik• Book Oven• Google Alerts

“New ideas (not money or machinery) are the source of success today, and the greatest source of personal satisfaction, too.”

John Howkins

“The lion's share of creative revenues is

generated by copyrights, licenses, and marketing and distribution. Unfortunately for the developing countries that produce the products or services, however, most of this revenue accrues to large companies abroad.”

UN Conference on Trade and Development, 2008

• FROM CONSUMERS TO PEOPLE• • FROM PRODUCT TO EXPERIENCE• • FROM HONESTY TO TRUST• • FROM QUALITY TO PREFERENCE• • FROM NOTORIETY TO ASPIRATION• • FROM IDENTITY TO PERSONALITY• • FROM FUNCTION TO FEEL• • FROM UBIQUITY TO PRESENCE• • FROM COMMUNICATION TO DIALOGUE• • FROM SERVICE TO RELATIONSHIP

Marc Gobe

The critical importance of creativity in the world meets creativity because of the world.

• IMAGINATION + CREATIVITY + EMPATHY + INNOVATION = VALUE CREATION

• SUSTAINABLE LIVING • COMMUNITY RESILIENCE• CREATIVITY AND • INNOVATION

• Heritage (crafts, carnivals, celebrations)• Arts (visual & performing) • Media (audiovisual & design)• Services (architecture, advertising, digital)

INTENSIFY WEB MANIFESTATION. HARVEST UNIQUE MEMORABLE

EXPERIENCES / RICH CONVERSATION/ GROWTH.