HERA Joint Research Programme: Outcomes and Achievements
‘Cultural Dynamics: Inheritance and Identity’ ‘Humanities as a Source of Creativity and Innovation’ HERA Network of Funders - Humanities HERA is dedicated to: Editor: in the European Research Area • the coordination of national research policies; Philip Hunter, science writer • the establishment of new Joint Research Programmes (JRPs); Contact: HERA – Humanities in the European Research Area • defining methods for evaluating the impact of HERA JRP Handling Agency at the European – is a partnership between 21 Humanities Research humanities research; Science Foundation: Julia Boman, Councils across Europe and the European Science • playing a pro-active role in promoting humanities Science Officer, European Science Foundation Foundation (ESF), with the objective of firmly estab- on the European platform; Email: [email protected] lishing the humanities in the European Research • functioning as a broker for multilateral funding Area and in the European Commission Framework arrangements; and Programmes. • assisting humanities researchers to succeed in FP7 The humanities are crucial to the understanding calls. and conceptualising of fundamental changes in contemporary European society. Linking national In 2009, the HERA Network launched its first Joint programmes and launching joint research Research Programme (HERA JRP) for two themes programmes dealing with all-encompassing social, ‘Cultural Dynamics: Inheritance and Identity’ and cultural, political and ethical developments will ‘Humanities as a Source of Creativity and Innova- generate new knowledge and enable policy-makers, tion’ funding 19 trans-national research projects in scientists and the general public to interpret the chal- the humanities. This publication provides an overview lenges of a changing world. HERA aims to set new and of the Programme's outcomes and achievements. innovative research agendas and thus enhance the www.heranet.info humanities’ contribution to the European Research Area as well as to the ongoing debates on issues of particular relevance to European society.
ISBN: 978-2-36873-194-9 Print run: 300 – July 2014 Contents
3 • Foreword 41 • The Dynamics of the Medieval Manuscript: 89 • Annexes by Professor Sean Ryder, Text Collections from a European Perspective 90 • HERA Joint Research Programme: Selection Chair, HERA Network Board (DynamicsoftheMedievalManuscript) Process and Management 45 • The Role of Language in the Transnational 9 3 • HERA Joint Research Programme: Governing 5 • Cultural Dynamics: Inheritance and Formation of Romani Identity (ROMIDENT) and Implementing Bodies Identity 96 • HERA Joint Research Programme: Funders 7 • Introduction by Professor Joep Leerssen, 49 • Humanities as a Source of Creativity and Chair of the Thematic Working Group Innovation Projects: 51 • Introduction by Professor John Caughie, 9 • Cultural Memory and the Resources of the Chair of the Thematic Working Group Past, 400 -1000 AD (CMRP) Projects: 1 3 • Investigating Discourses of Inheritance and 5 3 • Copyrighting Creativity: Creative Values, Identity in Four Multilingual European Settings Cultural Heritage Institutions and Systems of (IDII4MES) Intellectual Property (CULTIVATE) 17 • Memory at War: Cultural Dynamics in Poland, 57 • Creativity and Craft Production in Middle and Russia and Ukraine (MAW) Late Bronze Age Europe (CinBA) 21 • Photographs, Colonial Legacy and Museums in 61 • Creativity and Innovation in a World of Contemporary European Culture (PhotoCLEC) Movement (CIM) 25 • Popular Music Heritage, Cultural Memory 65 • Electronic Literature as a Model of Creativity and Cultural Identity: Localised popular music and Innovation in Practice (ELMCIP) histories and their significance for music 69 • Fashioning the Early Modern: Innovation and audiences and music industries in Europe Creativity in Europe, 1500-1800 (Fashioning the (POPID) Early Modern) 29 • Rhythm Changes: Jazz Cultures and European 7 3 • Measuring the Societal Impacts of Universities’ Identities (Rhythm Changes) Research into Arts and the Humanities 3 3 • Sharing Ancient Wisdoms: Exploring the (HERAVALUE) Tradition of Greek and Arabic Wisdom 77 • Of Authorship and Originality: Reclaiming Literatures (SAWS) Copyright in Support of Creative Collaboration 37 • The Assembly Project - Meeting Places in in the Digital Environment (OOR) Northern Europe AD 400-1500 (TAP) 81 • Scarcity and Creativity in the Built Environment (SCIBE) 85 • Technology, Exchange and Flow: Artistic Media Practices and Commercial Application (TEF) © iStockphoto 3
Foreword
It is with pleasure, and some pride, that we mark the programmes together in order to strengthen the geographers, archaeologists and legal scientists as they conclusion of HERA’s first Joint Research Programme. European platform for the humanities. During that can be between the humanities and so-called “hard The projects undertaken in that programme ranged time the HERA partners pooled resources to produce sciences”. By working across national boundaries as widely, from the study of prehistoric fabrics, to reports on best practice in management of research, well as disciplines, HERA researchers have gained contemporary electronic literature, to an examination on peer review, on impact assessment, and so on. But valuable experience and confidence that will we hope of the relationship between scarcity and creativity, its primary activity was the establishment in 2009 enable more humanities researchers to be successful to the transnationality of jazz – and so much more of the three-year Joint Research Programme (JRP) in large-scale interdisciplinary programmes such between. that has now come to its conclusion. It was an experi- as Horizon 2020. But they have also shown that just On the one hand this is an occasion for celebration: ment, to see if there was appetite in the humanities within the field of humanities itself, so much valuable the conclusion of nineteen innovative humanities- for such funding programmes, and to see whether it new knowledge can be generated through collabora- based projects under the two themes of “Cultural was possible to establish and run such a programme tion and teamwork. Dynamics” and “Humanities as a Source of Creativity organically, as it were, from the initiative of the coun- The second feature of HERA has been its strong and Innovation”. Collectively, they represent so much tries themselves, rather than in top-down fashion focus on “knowledge exchange” – not just as “impact” new knowledge, many new partnerships, and new from the European Commission. As far as the appetite in narrow or economic sense, but rather in the sense of possibilities for the future. is concerned, I think that has been proved. There were disseminating and exchanging the results of research On the other hand, it is also an occasion for reflec- 234 applications for the first JRP; the frustration is with the widest possible audience. One of the most tion: a time now to assess what can we learn from that our funding allowed us to fund only 19 of those. exciting dimensions of the HERA projects has been the the projects themselves, and also from the process But HERA continues to grow in membership, and way in which they have engaged various non-academic of establishing and managing a big transnational with that, to grow in funding power. As we expand individuals and organisations – artists, craft workers, research programme, involving 13 countries and and build into the future, we hope that more and more cultural institutions and others – in the research scores of talented researchers. Are there aspects of researchers will be able to benefit from HERA funding process, demonstrating how energising the relation- the work we have done that are worth doing again, in the years to come. ship between the academy and the wider society can or things to avoid? What does humanities research From the start, HERA has had some distinctive sometimes be. need in terms of funding and research programming features as a funding programme. The first is its Our commitment to knowledge exchange and into the future? These are questions we will continue unashamed focus on the humanities. While there impact goes far beyond simply providing the taxpayer to pose in HERA as we plan for future research are more frequent (and welcome) calls nowadays for with value for money – instead it is informed by a programmes. interdisciplinarity to reach across the full range of more fundamental, the belief that humanities research The origins of HERA go back to 2002 when the research domains, including physical sciences, engi- has a crucial role to play in creating a society that is Danish, Dutch and Irish Research Councils estab- neering, medicine, information technology, social enlivened by the blossoming of ideas and creativity, lished a European Network of Research Councils sciences and humanities, it is also true that there that relishes respectful debate, that promotes critical that was later renamed “Humanities in the European is plenty of scope for interdisciplinarity within the thinking and that believes that innovation of any sort Research Area” (HERA). From 2004 to 2009 the domain of the humanities alone. The differences of only comes through the discovery and thoughtful eval- HERA network was supported with top-up funding by national traditions, of differing disciplinary method- uation of alternatives. A society that sees the present the EU Framework Programme 6’s ERA-Net scheme, ologies and languages can be nearly as strong among as part of a continuum with the past, and the past as a the objective of which was to bring national research literary scholars, historians, philosophers, linguists, complex place always in need of reinterpretation. 4 HERA JRP: Outcomes and Achievements
A society of citizens who are not just trained in skills, inspiring conclusion – although it is also clear that the but are educated and informed in a deep and broad new partnerships that have been established, and the way – a society that cultivates intellectual energy, and further questions and possibilities that these projects daring, and curiosity all levels, not just in the genera- have raised, will ensure that the work begun here will tion of profits and products. A “knowledge society”, continue to have a life well into the future. not just a “knowledge economy”. It is HERA’s ambition to contribute to the achieve- Professor Sean Ryder ment of such a vision. But even if we come down to National University of Ireland, Galway the level of short-term and immediate impact, I think Chair, HERA Network Board we can say that HERA has achieved some results already. Firstly, it has shown that it is possible to pool the resources of several national research councils in a truly pan-European spirit, overcoming the chal- lenges and obstacles of differing national traditions, eligibility rules, funding mechanisms and so on. Secondly, it has demonstrated the value of team-based research (which is not to deny the continuing role of the solitary scholar, though perhaps that figure is in fact something of a myth in the first place – all scholars continually share and collaborate among colleagues in a myriad of informal ways). Structured team research is not easy, of course. There is no denying the real diffi- culty and challenge of building and managing research projects involving multiple countries, disciplines, and personalities, as I am sure all of the HERA project leaders will attest: but there is always the belief that the whole can be greater than the sum of its parts – and the acknowledgement that some research questions by their very nature require teamwork to be tackled. HERA has shown that thematic research programmes can produce innovative, curiosity-driven research, of the kind we see as we witness the results and peruse the reports of these projects. Congratulations are due to all the projects leaders and researchers for having brought our first research programme to such an w
Cultural Dynamics: Inheritance and Identity 6 HERA JRP: Outcomes and Achievements -Cultural Dynamics: Inheritance and Identity 7
Introduction
When “Cultural Dynamics” was conceptualised be addressed as something taking place over time Dynamics” was also picking up the emerging trends as a HERA theme, the intention was to highlight in a process of communication and transmission of approaches which meanwhile have consolidated how a specifically Humanities-oriented perspec- involving multiple trajectories of exchange. The themselves as the “transnational turn” and “inter- tive could address the topic of culture. There was at exchanges/trajectories that were foregrounded in mediality”. The transnational turn was heralded the time an ingrained scholarly habit to associate the HERA proposal were fourfold. by the development of an interest in Polysytem the notions of “culture and society” in such a way To begin with, there was the transgenerational Theory, “Cultural Transfers” and histoires croisées. that culture was either reduced to a passive, static perpetuation of cultural presences across different These were all inspired by the rejection of “method- ambience, a mere container for habitual social successive audiences (hence the subtitle of ological nationalism” or “internalism”: the a priori behaviour, or else seen just as a “mirror” or reflec- “inheritance and identity”). The diachronic study tendency to explain processes in a given country tion of social developments. In that traditional of historical changes, continuities and transmis- as arising solely from causes within that same frame, to understand “culture” meant to analyse sions has always been the core business of the country. This mono-national tunnel vision was also its underlying socio-economic causes. Culture was, humanities. The project “Cultural Memory and the challenged in the concept of “Cultural Dynamics”, in this model, the mere by-product or context of Resources of the Past, 400-1000 AD” is a fine case and from hindsight we can see this as part of an social agencies or social actors, never an agency in in point. emerging transnational comparative alternative to its own right. Secondly, there was the exchange between internalism, which has by now become widespread One way to break out of this reductionist view “high” (prestigious, canonised, and formalised, in the humanities at large. was to stress that culture is not just a product but a elite), culture and “popular” (informal, spon- The HERA projects “Investigating Discourses process. The picture we hang on a wall (which wall? taneous, mass-audience, mass-participation, of Inheritance and Identity in Four Multilingual whose wall?), the books on our shelves (which? demotic) culture. This is an exchange that works European Settings”, “The Role of Language in the whose?), or the repertoire of music on our airwaves, backwards and forwards in multiple ways, each of Transnational Formation of Romani Identity” and are all just ephemeral instances in complex them crucial to our understanding of “canonicity” “Memory at War: Cultural Dynamics in Poland, processes of gestation, creation, transmission, or conforming to established norms, and the posi- Russia and Ukraine”, are particularly apt examples adoption, adaptation, appropriation, contesta- tion of culture in society at large. of this transnational orientation in understanding tion, reconfiguration and recycling. Humanities Thirdly, there is the cultural exchange between the dynamics of culture. In this last project, as crucially inquire not just into the nature or essence different societies, countries or cultural-linguistic of things, but into their meaning. Then the produc- communities. tion of meaning (which, by the way, would be a Then fourthly, there is cultural exchange good definition of the term “culture” in the first between different media of expression (textual, Berlin, Germany – 20 May 2012: Tourists place) is a dynamic, transgenerational process – material, visual, aural, performative, interactive). walking along the East Side Gallery, an in- and a process, moreover, of such complexity that to These last two dimensions, the cross-national ternational memorial for freedom with 105 reduce it to a mere manifestation of societal-infra- and the intermedial or intermediate ones, were, paintings by artists from all over the world on a 1,3 km long section of the Berlin Wall. structural parameters would be like explaining War at the time when the proposal was formulated, The graffiti painting seen here is My God, and Peace by analysing the book’s paper and ink. seen as innovative challenges ideally suited to the Help Me to Survive This Deadly Love and There was more then to the notion of “cultural international and interdisciplinary format of the was made by Dmitri Vrubel in 1990. dynamics” than just a glib phrase. Culture was to HERA instrument itself. In this focus, “Cultural © iStockphoto 8 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
in the previously-mentioned “Cultural memory As all these cases show, their common denomi- and the resources of the past”, its can also be nator is that the processes of communication and seen how the HERA call caught the rising tide of transmission are what constitutes cultural, social Memory Studies as an exciting new perspective or national identities in Europe. Consequently, in the historical sciences: the historical investiga- these identities are demonstrably objects (rather tion, not just of the past, but of the experience and than subjects) of negotiation and appropriation, successive meanings of the past, of how people and culture by its nature communicates as much made sense of their past. The media involved in between as within societies and traditions – as is that process – manuscripts or photographs, music well illustrated by the project “Sharing Ancient or a language itself, both as carriers of historical Wisdoms: Exploring the Tradition of Greek and meaning, and as objects themselves of historical Arabic Wisdom Literatures”. transmission – were addressed in the projects The full complexity of the dynamics of culture lies “The Dynamics of the Medieval Manuscript”, in the fact that the various dimensions in which “Photographs, Colonial Legacy and Museums in transmissions and exchanges occur (across genera- Contemporary European Culture”, “Popular Music tions, social strata, nations and media) are all in Heritage, Cultural Memory and Cultural Identity” play simultaneously, not just singly one at the time and the aforementioned “The Role of Language in – like a four-dimensional Rubik’s Cube. The fact that the Transnational Formation of Romani Identity”. practically all funded projects can be cited to present The intermedial interest derived initially from more than one of these dimensions as themes shows an insight in canonisation studies that canonicity how creatively the challenge was picked up by is not a static, singular condition, but intimately Europe’s academic community, and how timely the bound up with the power to adapt to new media HERA call must have been to elicit such a response. (turning Shakespeare’s Othello into an opera, It is to be hoped that, if cultural exchanges consti- or Victor Hugo’s Les Misérables into a musical). tute identities, then all this scholarly cooperation This process of re-mediation, which emerges as helps cement the identity of a European research a centrally important aspect of the dynamics of community in the Humanities. cultural self-perpetuation, proved, in the research projects that were inspired by it, to involve also Professor Joep Leerssen the shifting boundaries between popular culture University of Amsterdam, Chair of the and “high” culture, and the role of emerging media Working Group for the HERA JRP theme as carriers of historical memories. The projects ‘Cultural Dynamics: Inheritance and “Rhythm Changes: Jazz Cultures and European Identity’ Identities” and the abovementioned “Popular Music Heritage, Cultural Memory and Cultural Identity” illustrate this. 9
Cultural Memory and the Resources of the Past, 400-1000 AD (CMRP)
This collaborative project set out to explore Modern European identity shaped Project Leader the value of the Early Middle Ages for understanding by its medieval cultural memory national and cultural identities in modern Europe. Every age exploits the past as a resource, and early The project as a whole explored the diverse ways in medieval Europe exploited both classical antiquity which the post-Roman successor states of Western and the Bible. Indeed, almost all our surviving copies Europe in the early middle ages digested and made use of classical and Biblical texts derive from the period of the cultural resources of their immediate past. This between 400 and 1000 AD, when they were copied revolved around two principal aims. Firstly the project Professor Walter Pohl and reinterpreted. The Early Middle Ages is the first set out to determine the role played by the resources Institute for Medieval Research, period of history from which many thousands of of that immediate past in forming the identities and Austrian Academy of Sciences, Austria original manuscripts survive. Ancient literature and communities of early medieval Western Europe. scholarship, the Bible and so-called patristic writing This work has highlighted the importance of Rome, Principal Investigators: by the early Christian Church theologians were Roman history, and the integration of Christian and Professor Mayke De Jong assessed in this project through the filter of that period, imperial Rome into the cultural memory of early History Department, University of rather than by their original source. This rich mate- medieval Europe. Utrecht, Netherlands rial has mainly been used to edit texts as witnesses Secondly there was the hope of identifying elements Professor Rosamond McKitterick of the period in which they were written. But it also of the complex process by which the new discourses, Faculty of History, University of constitutes a fascinating resource to study the process ethnic identities and social models of early medieval Cambridge, United Kingdom of transmission and transformation of texts and other Europe have come to form an essential part of modern Professor Ian Wood cultural sources. It has shed new light on the codifica- European national and transnational identities. The School of History, University of Leeds, tion and modification of the cultural heritage and its extant manuscript material from the early Middle United Kingdom political applications, and constitutes an exemplary Ages constitutes a major resource to shed new light case study for cultural dynamics in general. Just as the on the process of codification and modification of The number of PhD students linked to Carolingian period (8th/9th century AD) filtered and the cultural heritage, and for the study of cultural (and trained in the framework of) the project: reinterpreted the past on the basis of its concerns and dynamics in general. 8 PhD students: Vienna (2), Utrecht (2), cultural norms, so the Modern Age has used and some- These aims were pursued via four separate but Leeds (2), Cambridge (2) times misused its ancient and medieval heritage. closely interrelated projects, ‘Learning Empire – 9 Associated PhD students: Vienna (3), ‘Cultural Memory and the Resources of the Past, Creating Cultural Resources for Carolingian Rulership’ Utrecht (3), Leeds (2), Cambridge (1) 400-1000 AD’ was the title of this collaborative research (Vienna), ‘Biblical Past as an Imagined Community’ project shared between the Austrian Academy of (Utrecht), ‘Otherness in the Frankish and Ottonian Sciences and the Universities of Utrecht, Cambridge Worlds’ (Leeds), and ‘Migration of Roman and and Leeds, funded by Humanities in the European Byzantine Cultural Traditions to the Carolingian Research Area (HERA), under the JRP call ‘Cultural World’ (Cambridge). Dynamics: Inheritance and Identity’, which took place between June 2010 and August 2013. 10 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
Our friendship and our scholarly Carolingian empire emerged from Social and political norms “collaboration were intensely enriched from contradictory precedents were shaped by the Bible working together on the project, and we were very proud of the way our students and post- The project ‘Learning Empire – Creating Cultural The project ‘Biblical Past as an Imagined Commu- docs worked together and bounced ideas off Resources for Carolingian Rulership’ identified nity’ explored the construction of an authoritative each other. We had some very enjoyable and that the powerful Christian monarchies of Western past or history in post-Roman Europe in the inspiring meetings and learnt a lot from each Europe, including the medieval kingdoms of France Carolingian world of the 8th and 9th centuries. Those other, in Cambridge, Rome, Vienna, Wassenaar and Germany, emerged from a political culture involved concentrated on the impact of biblical and Leeds. I think we can thank HERA for the based on a rather varied body of texts and models and patristic resources on the development of heartening way they supported scholarship for the construction of the Carolingian empire. new social and political norms. There was a strong and research development, for we feel that This empire did not follow one particular blueprint, emphasis on communicating the project’s objec- we have now nurtured some leaders for but found its way on the basis of often surprisingly tives to fellow scholars at Utrecht and beyond, the next generation of scholars. contradictory precedents. and at the same time to the general public in the ” After a period dominated by regional realms, in Netherlands. A workshop (“From Widukind to the 8th/9th century the Carolingian Empire resumed Wilders”) challenged popular and populist uses more ambitious political designs. This project of the early Middle Ages. focused on the role of the papacy as a ‘cultural broker’ supplying the Carolingian mayors of the Role of Roman and Biblical texts in palace, kings and emperors with resources to create dealing with alien societies Professor Rosamond McKitterick and consolidate their rule in vast parts of Western Principal Investigator Europe, which included both cultural models and The project ‘Otherness in the Frankish and Ottonian images of ‘the Other’ (the topic of a monograph by Worlds’ considered how the Frankish and Ottonian C. Gantner). It also addressed the ways in which the worlds dealt with alien societies that existed past was used to redefine the concept of Christian beyond their eastern frontier, extending into the empire. To this end, it followed various threads Salian period between 1024–1125 for comparison. in the transmission and reworking of texts. For It was noted that the Franks drew both on Roman example it asked what could be gained about Chris- ethnography (as available in historical narratives tian empire from late antique histories, and how and in cosmographical works) and increasingly on were they used in the Carolingian period. Another Biblical and eschatological texts dealing with ulti- key question was how Frankish identity was shaped mate destinies when responding to nearby societies. and reshaped in Frankish historiography and This played a role in establishment of the interna- through its complex manuscript transmission. tional project “Networks & Neighbours” that in many ways follows the research outline developed for CMRP. 11 Cultural Memory and the Resources of the Past, 400-1000 AD (CMRP)
Roman and early Christian images helped form Western European cultural memory
The project ‘Migration of Roman and Byzantine Cultural Traditions to the Carolingian World’ explored how the multiple images of Rome in Europe and of the Roman imperial and especially Christian imperial past played an important role establishing the cultural memory of Western Europe. This project resonated with the three others in its preoccupations and also the precise cultural and textual models used to pursue the investigation. Its conclusion over the role of both Rome and its integration of Christianity was central to the whole CRP.
Primacy of Rome in Europe’s cultural memory
Common themes emerged from the work of the four projects, the principal one being the importance of Rome and Roman history, together with the integra- tion of Christianity, in constructing the cultural memory of early medieval Europe within the wider framework of identity formation. This included have been transmitted are therefore traces of social © Dagmar Giesriegl perceptions of difference on the part of specific practice and of its changes, not only in a merely social, political and religious communities, based descriptive way, but also as part of a cultural effort on case studies that made substantial contributions to shape the present by means of restructuring the both to methodology and to knowledge and under- past. standing more generally. This work was presented in A striking aspect of CMRP as a whole was the the individual ‘outputs’ as well as in a collaborative cross-fertilisation and interchange between the volume of essays. Secondly the project explored how four individual projects based in Cambridge, Leeds, particular texts and their early medieval manu- Utrecht and Vienna. As a result the work coalesced script representatives in Italy, Francia, Saxony and into four interlocking and overlapping themes, all Bavaria reflect ethnic, social and cultural identities. reflecting particularly strong aspects of use made It has been demonstrated that the written texts that of the resources of the past. 12 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
The Final Conference of the project was organised CRP has produced a Facebook page and two project in February 2013 and took place at the British School folders, one presenting the outline of the project, at Rome. There, researchers from all over Europe the other containing short abstracts of most impor- convened and commented on the then preliminary tant output of each sub-project as presented in the results of the project. The conference also featured Final Volume (see link above). an evening lecture by Rosamond McKitterick that A cooperation with the HERA CRPs ‘SAWS’ and found a larger audience among the humanities ‘Dynamics of the Medieval Manuscript’ was also researchers working at Rome. This conference was initiated. CMRP has created a lively international organised in addition to the project work plan, which network that is carrying on its work as a forum where had only foreseen the yearly presentation of the issues of cultural memory can be discussed between project at the International Medieval Congress at senior and junior scholars. The pre-existing “Text Leeds. The project organised its own sessions at the and Identities” Network has been further strength- IMC (International Medieval Congress) 2011 and 2012. ened and will continue to support PhD students from At these sessions, all members of the project partici- all over Europe for years to come. The network also pated in some form. Guests, especially younger organises a yearly strand of sessions at the IMC at scholars, were also invited. The sessions were a big Leeds. Besides, the Leeds IP has helped to launch the success with the international audience and helped new project “Networks & Neighbours” that features establish the research of the project members for the annual international workshops as well as a new final collaborative volume. In addition, most partici- peer reviewed, open source journal, available pants presented CRP-related topics at the IMC 2013 in print and online. (For further information see and the folder containing results of all subprojects http://networksandneighbours.org.) was presented to the audience on several occasions. (For the folder, containing further information on the results of the IPs, please see http://cmrp.oeaw. ac.at/media.htm.) The presentation of CRP achievements has culmi- nated in the final collaborative volume ‘Cultural Memory and the Resources of the Past in Early Medi- eval Europe’. The volume is finished in manuscript form and is currently being prepared for publication Website: by Cambridge University Press. http://cmrp.oeaw.ac.at The project website http://cmrp.oeaw.ac.at was Contact: built up during the first months of the project and has Walter Pohl (Project Leader) been enhanced ever since. Further plans for dissemi- [email protected] nation and knowledge transfer were developed: The 13
Investigating Discourses of Inheritance and Identity in Four Multilingual European Settings (IDII4MES)
Societies in the developed nations of Europe and The project pursued five related objectives leading Project Leader elsewhere are increasingly multilingual and multi-ethnic towards its central question. Firstly the range of language as a result of growing globalisation and global migration. and literacy practices of multilingual young people in the ‘Inheritance’ and ‘identity’ are no longer necessarily four European settings was investigated. Secondly the tied to the nation-state, as allegiances and cultural cultural and social significance of language and literacy traditions cross national boundaries more often than in practices of multilingual young people was explored the past. Many parts of Europe are now characterised in these four European countries. Thirdly, researchers by ‘superdiversity’, distinguished by dynamic interplay investigated how the language and literacy practices of Professor Adrian Blackledge in various ways among migrants of multiple origins. multilingual young people in the four European settings School of Education, University of This sociolinguistic ethnographic project investigated are used to shape and define their inheritance and identi- Birmingham, United Kingdom how multilingual young people negotiate ‘inheritance’ ties. Fourthly innovative multi-site, new methodologies and ‘identity’ in four European countries. based on interlocking case studies across national, social, Principal Investigators: cultural, and linguistic contexts were developed for Professor Jan Blommaert Investigating language and identity the project as a whole, taking account of ethnographic Tilburg University, The Netherlands among European immigrants differences. Then finally the project’s findings are being Professor Jens Normann Jørgensen applied to help formulate policy and practice over University of Copenhagen, Denmark This project investigated the range of language and inclusion of non-national minority languages in the Professor Jarmo Lainio literacy practices of multilingual young people in wider European educational agenda. Department of Baltic Languages, Finnish cities in four countries, Denmark, Sweden, The Neth- and German, Stockholm University, erlands, and the United Kingdom, in order to explore Innovative collaborative approach to Sweden their cultural and social significance and to investi- investigating language and heritage gate how they are used in the context of inheritance The number of PhD students linked to and cultural identities. At the same time the project In order to interrogate the different ways in which young (and trained in the framework of) the project: focused on development of innovative research people constitute their culture, heritage, and identity, 5 PhD students methods to fulfil these aims, with the ultimate objec- researchers conducted ethnographic investigations tive of making relevant and valuable contributions to in four national countries: policies and practices relating to support for minority • in two subject teaching classes in a mainstream languages in Europe. school in Copenhagen, Denmark In this study a research team across four universi- • in a class in a bilingual semi-private school where pupils ties investigated how cultural heritage and identity are taught in both Swedish and Spanish, as well as two are dealt with in and beyond educational settings, and bilingual Sweden Finnish schools, in Stockholm, Sweden how multilingual young people relate to inheritance • in a community-run Panjabi language (complemen- and belonging. The aim was to extend current under- tary) school in Birmingham, UK standing of cultural heritage in the context of local, • in a community-run Chinese language (complemen- national, and global identities. tary) school in Eindhoven, The Netherlands 14 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
It is my privilege to have started my PhD Fieldwork included observations in classrooms, often countries, associating people with particular social “with the HERA-founded project right from the supported by audio-recording, and sometimes by classes or values. There was a tendency for certain beginning. As a member of the Chinese diaspora video-recording, with closer observation of selected ideological positions to be built up over time, so that in and a multilingual researcher in the Netherlands, students. Texts used in classrooms were analysed, Birmingham for example village (‘desi’, or ‘pindufied’) the project ‘Investigating discourses of as well as interviews with teachers, parents, school varieties of Panjabi were associated with uneducated inheritance and identity in four multilingual administrators, and teaching assistants. Students’ people. European settings’ appealed to me enormously. written essays were also examined, along with atten- The overall situation was more complex than this During the years, I not only had the opportunity dance at ceremonies in the community and use of though. The regulation of dialects or idioms was not to work with and got supervised by the world’s social networking web sites. confined to ‘correction’ of non-standard varieties prominent professors in the field, but also The research team developed a collaborative by the school. School staff had to put on their “best attended the numerous project meetings and analytic approach so that connections could be made Panjabi” when speaking to elderly members of the conferences in which the research processes across the diverse data sets to analyse the dynamics community in Birmingham, or to relatives. Here and outcomes were presented in Europe of inheritance and identities among young people in different histories overlapped in layers, as varieties and beyond. In this stimulating international and around the multilingual sites. Research sites were associated with patterns of multiple migration and academic environment, I was exposed to selected to represent different kinds of educational transnational belonging intersected with understand- inspiring thoughts, interesting discussions, and linguistic settings, allowing the international ings of the values associated with certain dialects, wrote publications and met new colleagues. research team to observe linguistic and literacy accents and patterns of discourse. In Copenhagen Currently, I am in the final stage of producing practices in a wide variety of contexts. The research students in a multilingual secondary school intro- my PhD dissertation. sites were chosen to enable detailed investigation duced labels for two ways of speaking that differed ” without sacrificing breadth. This was accomplished from what they referred to as ‘normal’. One was over twelve months by collecting sociolinguistic data ‘integreret’ (integrated), and the other ‘gadesprog’ in a wide range of settings relating to education. This (street language), or ‘perkeraccent’ (‘perker’ was a ensured that each case yielded unique data that at the pejorative term used to refer to immigrants). In use same time contributed to the generation of knowledge within groups, however, the latter term referred to across the sites. a social category defined by ethnic minority status Jinling Li across various ethnic groups, and in this context was Tilburg University School of Translanguaging, translation, not usually pejorative. In local in-group use, ‘perker’ Humanities, Department of Culture and transliteration invoked values of toughness and street-credibility. Studies, The Netherlands ‘Integrated’ speech was ‘the way teachers speak, being Relating to the first objective about linguistic prac- academic’, as a means of showing respect and being tices, it was found ‘natural’ and ‘automatic’ for polite, but was not acceptable among peers. young migrants to mix languages. In the classroom, It was found throughout the ethnographic study teachers too adopted practices including translitera- that the meaning of linguistic signs was not fixed, tion, translanguaging, and translation. Attitudes to but rather mobile, as the meaning of a sign in one linguistic idioms or dialects were recorded in all four time and place may be different from its meaning in 15 Investigating Discourses of Inheritance and Identity in Four Multilingual European Settings (IDII4MES)
another time and place. Multilingual young people discussed their languages on a social network site, were acutely attuned to these differences, and were and expressed their anxiety that they ought to be more prepared to regulate language and literacy practices proficient in their respective varieties of Chinese: accordingly. ‘whuhahaha, ik kan alleen vietnamees verstaan, niet spreken, maar wel een klein beetje mandarijns praten. Subtle interplay between language and identity Verbaast me niet als mijn ouders schamen voor mij’
and the role of language in them. The main point was that Far reaching implications of working in a transnational ethnographic team enabled migrant language research collective reflection leading to broader and yet deeper conclusions than can be obtained by lone researchers. The research has far reaching implications for Euro- One strength of the project was its reach and scope pean and national policy makers in education, across national sites, while retaining considerable community relations, international affairs and public depth and detail. The project was innovative in devel- opinion. As local, national, and European govern- oping a collaborative approach to analysis, enabling ments seek to tailor policy to the needs of individuals connections to be made across diverse data sets, and groups, they need to understand that people’s helping understand how inheritance and identities are identities are self-determined but at the same time constructed in and around the multilingual sites. shifting rather than stable, governed by changing time and space. Identities are neither fixed nor unitary, but Analysis helping shape educational policy are bound up with overlapping histories, and are best understood through examining the fine grain of local The project was able to develop new knowledge about interaction in the light of these histories. culture as a process in European cities and this was highly valuable in reaching towards the fifth and final project objective of contributing to policy and practice in the inclusion of non-national minority languages in the wider European educational agenda. At European level and beyond, the Interna- tional Consortium on Language and Superdiversity InCoLaS) and the Sociolinguistic Diversity Working Group, Max Planck Institute, have developed from the IDII4MES project, and have provided a valuable platform for networking with politicians and policy makers. Findings of the research project have been disseminated at academic conferences throughout Europe as well as in the United States and New Zealand. Website: This has already helped determine policy and practice http://www.birmingham.ac.uk/research/ in local and national contexts, while the research find- activity/education/mosaic/index.aspx ings have been presented to teachers, education policy Contact: makers, local politicians, members of subject associa- Adrian Blackledge (Project Leader) tions and schools advisors, as well as to students and [email protected] parents in the schools. 16 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity 17
Memory at War: Cultural Dynamics in Poland, Russia and Ukraine (MAW)
The Memory at War project set out to expand and refining the whole concept of Memory Studies Project Leader the boundaries of Memory Studies by shifting the in the East European context. focus to post-socialist Eastern Europe. The ‘memory 1. Transnational perspective. Two concepts boom’ that has overtaken Western Europe and North enabled the project to step beyond national bound- America at both a popular and scholarly level since aries, the memory war and the memory event. The the last decades of the 20th century, has centred concept of memory war captures the fraught, highly overwhelmingly on West European memories of the contested and deeply interconnected processes of Holocaust and Nazism. Meanwhile, East European remembering, defining and debating past experiences Dr Alexander Etkind memories of the 20th century, which differ sharply as part of the struggle to build present and future Department of Slavonic Studies, Faculty in both form and content, often contradicting and identities in a post-socialist region. In the project, of Modern and Medieval Languages, clashing with their West European counterparts, various different dimensions of these memories of University of Cambridge, United Kingdom have been relatively under-studied. Memory at War wars were studied with a view to uncovering what is at aimed at addressing this emerging dichotomy between stake in this struggle to define past, present and future Principal Investigators: West and East European memory. With a focus on relationships throughout the region. The concept Dr Sander Brouwer three main target countries, Poland, Russia and of memory event encapsulates our view of cultural Faculty of Arts, University of Groningen, Ukraine, an international team of scholars mapped memory as dynamic and unstable. Memory changes, Netherlands and analysed the dynamics of cultural memory in often explosively, through these events, which are Dr Markku Kangaspuro the region, and developed new tools and concepts for distinct from commemorative rituals that merely Finnish Centre for Russian and East approaching and understanding memory in Eastern reinforce accepted visions of the past. Finland European Studies (Aleksanteri Europe. The team focused on the interplay between 2. Transdisciplinary perspective. The project Institute), University of Helsinki, Finland memory, identity and political developments more took account of how memory events unfold in many Dr Maria Mälksoo broadly in this region that has gone through dramatic cultural genres, from funerals to historical debates, Institute of Government and Politics, and incomplete transformations in recent decades. from museum openings to court proceedings, from University of Tartu, Estonia At the same time, through the context of Eastern the erection or the destruction of a monument to the Dr Ellen Rutten Europe, the project also set out to investigate and announcement of archival findings, as well as film Department of Comparative Literatures, refine the field of Memory Studies itself. premieres, novels, exhibitions, and websites. These Bergen, Norway events are simultaneously sources and products of Six key objectives memory, having their authors and agents, as well as The number of PhD students linked to their censors and foes. Here, the analysis of political (and trained in the framework of) the project: The project approached the subject from six different discourse was related to analysis of film. Literature 5 PhD students attached to the MAW innovative directions, a transnational perspective; was also used to help with interpretation of the project at Cambridge, and 4 students in transdisciplinary approach; from post-socialist digital aesthetics of monuments and the histories of their other participating universities memories; through collaborations within the humani- construction. Commemorative rituals must now ties; by mapping, interpreting and debating events as take account of media studies methods, particularly they unfolded in real time; and finally by challenging in relation to digital media. All of these aspects and 18 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
The experience of working on the HERA The project afforded great opportunities for more were incorporated into the work of Memory “research project Memory at War has been vertical and horizontal collaboration within at War across and within its partner projects. extremely useful for me in many ways. Working and across institutions: for me, as a postdoc, The book Remembering Katyn (Polity Press, 2012) on the project has provided me with invaluable it was not only useful to communicate with showed the results and benefits of the project’s experience in various fields and equipped me others at the same stage in their careers, but transnational and transdisciplinary approaches to with important tools that I feel make me a more also to work so closely with senior colleagues, memory wars and memory events. Remembering effective researcher. One important aspect and gain experience of helping, and in a sense Katyn sets out to track the movement of memory of the project’s work was its collaborative mentoring, PhD students. MAW encouraged projects across national borders via a case study of the element. Memory at War was based on me to pursue my research via media that I had memory wars over the Katyn massacre. This was the cooperation across five universities, with not previously used, such as a research blog, first study to examine the impact of this emblematic cooperation of various kinds with a number and on social networking websites. Using event throughout the East European region, from of other institutions, from museums (like these new media tools to communicate with Poland and Russia through to Ukraine, Belarus and the Museum of Ethnography in Vienna) and colleagues and share my research has opened the Baltic states, and in a range of cultural forms, from NGOs (such as Memorial, Moscow) to other up practical possibilities to allow my research traditional historiography, museums and monuments universities (Oxford, Warsaw, UCL). Our own to reach wider audiences, and has also revealed through to literature, cinema and rock music. This network provided a vibrant community in which the possibilities of new media as both a research transnational and transdisciplinary approach to discuss the problems of memory studies in tool and object of academic investigation. Some was made possible by the spread of linguistic and Eastern Europe across the varied experiences, of our colleagues (Rolf Fredheim, Alexander cultural expertise across the project’s research team. disciplinary backgrounds and areas of expertise Etkind, Galina NIkiporets-Takigawa) have taken Remembering Katyn also analyses a central memory of the core MAW team. We were also able to the study and use of new media in the field of event of recent years, which was the Polish presi- plug in to other international networks, such as memory studies in truly groundbreaking new dential plane crash of April 2010 and its multiple the ENRS (European Network Remembrance directions, and it has been extremely exciting reverberations throughout the Polish-Russian- and Solidarity), via our colleagues at the to witness these developments. Ukrainian triangle, reshaping the memory of the past, Genealogies of Memory project in Warsaw. ” as well as present relations and political landscapes These contacts allowed us to arrange several across the region. important conferences that brought together 3. Post-socialist digital memories. Post-socialist and consolidated a vibrant community of modes of remembrance have entered a new period European and North American memory studies of flux with the recent advent of digital media researchers. Our project was characterised by throughout the region. Memory wars are increasingly a strong culture of communication via regular Uilleam Blacker fought online, and these web wars are waged using meetings at various levels of formality, from University of Cambridge and a common set of new media tools, languages and in-project weekly meetings over pizza, to a member of MAW practices, which are actively framing and fashioning meetings with international partners at which (now at University of Oxford) the ways in which users engage with their past and more formal research presentations and present experiences and realities. Here media and discussions were held. memory mutually influence and determine each other. 18 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity 19 Memory at War: Cultural Dynamics in Poland, Russia and Ukraine (MAW)
This strand of Memory at War was led by the Bergen Web Wars project. Web Wars explored the new online commemorative practices in concert with the new media that enable them, and the identities that they perform and negotiate. Digital forms of memory are fast moving, fluid and unpredictable, and have altered dramatically the ways in which cultural memory is transmitted. These new forms also bring memory conflicts into the sphere of online political tensions, such as that seen around the Russian protest move- ment of 2012. The project’s showpiece publication here was Memory, Conflict and New Media: Web Wars in Post- Socialist States (Routledge, 2013), the first full length book about these issues. This includes samples of the project’s ground-breaking experimental quantitative analysis of the presence of the past online. 4. Collaboration in the humanities. Remembering Katyn (Polity Press, 2012) was a pioneering effort on this front. Collectively authored by a team of seven magazines in Russia, Polish national talkback radio, A protester hammers at a statue of former scholars, the book has been described by Jay Winter Ukrainian academic websites, and Estonian profes- Soviet leader Vladimir Lenin during a (Yale University) as a ‘rare example of collective sional foreign policy journals. The target countries, pro-European protest in downtown Kiev, Ukraine, 8 December 2013. scholarship that is more than path-breaking’. A key Poland, Russia and Ukraine, all feature among © iStockphoto related aim was to initiate genuine pan-European the top ten country-based audiences for the website dialogue and exchange, both with the academic www.memoryatwar.org, confirming the project’s community and the general public throughout Eastern relevance and its success in generating and sustaining Europe and beyond. Many scholars and memory a lively pan-European conversation. practitioners from the region have participated in the 5. Mapping, interpreting and debating events as project’s events and contributed to its publications they unfolded in real time. The project responded and discussions. Findings were discussed in over 50 to current developments, identifying new trends and media interviews for online, press, radio and TV in commenting on events in the form of public lectures, Belarus, Estonia, Poland, Russia and Ukraine, as well blog posts, academic and media articles and inter- as Australia, Finland, and the Netherlands. The work views. It participated in debates on breaking news has been reviewed and reported in media outlets from a wide variety of events in the region. These ranging from The Economist and the Times Literary included the transformation of cityscapes linked to Supplement, to intellectual and glossy popular Jewish pasts in Warsaw and Lviv, the use of memory 20 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
models in the Russian protest movement, Putin’s These were a collective volume on narratives of suffering historical revisionism, the campaign to institution- and victimhood (forthcoming, Berghahn Books); alise condemnation of the communist legacy at the a volume on suffering, agency, and memory in Polish, pan-European level, the growing political-commemorative Russian, and Ukrainian film; a volume exploring the power of the Russian Orthodox Church, and the connections between martyrdom and memory (edited memorial clashes linked to the 2012 European Football by Blacker and Fedor); monographs on urban space Championships. The project’s e-newsletter, East and memory conflicts (Blacker); and official memory European Memory Studies, its collective blog and its politics in Russia (Fedor). With these publications, Facebook forum, have played key roles here in dissemi- the ongoing individual research projects of the PhD nating findings throughout and beyond the academy students, and the ongoing operations of its digital and providing an open-access platform for sharing platforms (website, blog, Facebook forum) Memory reflections, resources, and work in progress. at War is continuing to generate ground-breaking 6. Challenging and refining the paradigm of research after its official conclusion, further consoli- Memory Studies by bringing it into the East dating East European Memory studies as a dynamic European context. This involved investigating how and growing sub-discipline. academic practices of Memory Studies are being applied, adapted, and transformed in the countries of East-Central Europe and the former Soviet Union, as well as experimenting with combining tools and insights from Postcolonial Studies and Digital Memory Studies. The results have been brought together in a landmark volume Memory and Theory in Eastern Europe (Palgrave, 2013), which features a detailed introduction setting a new theoretical and research agenda for East European Memory Studies. A number of additional individual publications by project members have employed concepts drawn from Memory Studies to illuminate new aspects of post-socialism, from mourning for the victims of past crimes, explored by Etkind in his book Warped Website: Mourning (Stanford University Press, 2013), to nego- http://www.memoryatwar.org/ tiating the legacy of the perpetrators, the subject of Contact: Fedor’s Russia and the Cult of State Security (Routledge, Alexander Etkind (Project Leader) 2011). Five additional book-length publications were [email protected] at various stages of preparation at time of writing. 21
Photographs, Colonial Legacy and Museums in Contemporary European Culture (PhotoCLEC)
PhotoCLEC was an international research project This led to another fundamental question, concerning Project Leader studying the role the photographic legacy of the ways in which photographs, with their particular colonialism has played in helping determine the intimacy and directness, are themselves sources multi-cultural identities of modern Europe. Partners of tension and controversy between social groups and from the UK, the Netherlands and Norway explored institutions in relation to shared and contested inheri- this through museums, as these are major sources of tance, identity, memory practice or even amnesia. historical narratives. A major objective was to conduct these debates within a practical museum and heritage setting and Professor Elizabeth Edwards Photographs link colonial past with in turn inform and stimulate larger debates about the Photographic History Research Centre, Europe’s multi-cultural present nature and construction of national narratives. De Montfort University, Leicester, United Kingdom Europe’s current multi-cultural societies have roots Museums as case studies in their colonial history for most of the larger Principal Investigators: countries and this project analysed some of these PhotoCLEC adopted an ethnographic methodology Professor Susan Legêne connections through the photographic record in using museums as ‘field sites’, conducting inter- History Department, Faculty of museums. This prompted various questions views and exploring the collections of photographs, Arts, Universiteit van Amsterdam, concerning the way in which varied but linked experi- including archives. This methodology was applied Netherlands ences from the colonial past have been translated across all aspects of PhotoCLEC because the different Professor Sigrid Lien into the postcolonial present and in turn shaped sources of photographs, including exhibitions, Department of Linguistic, Literary and the photographic archive and current engagements displays and collections, were all aspects of the same Aesthetic Studies (LLE), Kunsthistorie, with it. One key question was in what ways changing processes of collection, description, management, University of Bergen, Norway conceptual approaches to collections have been policy decisions, political pressures, epistemological determined by social developments in European assumptions and engagement. This meant that the communities and their relations with their former research provided comparable data about patterns of colonies that have since become independent visibility, the forms of articulation of colonial pasts nations. and the institutional policies that shape these discus- A fundamental question was to determine what sions. kind of historical narratives are being constructed with photographs and for which groups of people. UK focus on ethnographic study The exact part these photographs have played in of museum practices perceptions of the past, present and future of Europe and in its global relations, especially with the colo- In the UK, the focus was on ethnographic study of nies, were all key questions. In turn it was asked museum practices, examining how photograph whether this legacy has the potential to enhance collections related to the colonial past. Under the title or hinder cultural understanding. “Photographic Heritage, ‘Difficult’ Histories and Cultural 22 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
Being part of the PhotoCLEC team has Futures,” the project addressed how ‘the colonial past’ Netherlands focus on histories “been enormously rewarding. It has included was managed and represented in UK museums in represented in photographic legacy sometimes very exotic fieldwork, many the contexts of, on the one hand, the specifics of UK interesting and eye-opening discussions with cultural politics and state-managed multiculturalism In the Netherlands, the focus was on the question of museum and archive professionals concerning and, on the other hand, in comparison with the overall what kind of histories are represented in the Dutch and colonial photographs, theoretical challenges Collaborative Research Project (CRP). The tracking Indo-Dutch photographic legacy of colonialism. The in analysing museum exhibitions, and not least of this political and cultural context was undertaken starting point was the 60,000 photographs collected the possibility of discussing such experiences against a background of a shifting public debate about in an Indo-Dutch photograph collection created after and challenges with the other PhotoCLECers multiculturalism in the UK, and how this played out in decolonisation by IWI (Indisch Wetenschappelijk in the UK and the Netherlands. It has also been an environment of increasing financial stringency in Instituut, or Indo-Dutch Scientific Institute). These a great privilege and an honour to work under the country’s public sector. This has had a clear impact photographs had been digitised, and the originals the steady and generous leadership of an on the way museums are willing or able to engage with donated to the Tropenmuseum in Amsterdam, while international renowned academic. PhotoClec more controversial histories. many of these images have also been used in the new has in short been one of the best experiences in Interviews with museum curators, educators, facil- Indisch Remembrance Centre (Indisch Herinnerings my academic career. itators and focus groups and supporting archival work Centrum-IHC) at Bronbeek. ” were undertaken in numerous museums in Oxford, The project started by compiling an extensive Birmingham, Leicester, Bristol (British Empire and ‘social biography’ of the IWI collection, in order to Commonwealth Museum), London and Liverpool. investigate the meaning of colonial photography The team also visited a large number of museums in in postcolonial identity formation, social memory London, Edinburgh, Bristol, Cambridge and elsewhere and museum policies within the Netherlands and analysing displays in terms of the visibility of colonial in connection to Indonesia. The project then inves- Professor Sigrid Lien narratives, both visual and textual. tigated how these colonial photographic legacies Principal Investigator In the second half of the research, work focused in interact with other memory texts and how these visual particular on questions that had arisen in the earlier sources were interwoven in the national ‘texture of stages, namely: firstly the problems of negotiating memory’. This approach was in response to HERA’s within the museum space a homogenised and popular remits concerning cultures of self-reflection and notion of colonialism, compared with the realities of how different versions or interpretations of the past historical complexity; secondly the impact on the use compete. In conjunction with this, through interviews of photographs of the conflation of questions of race and site visits, curators in 11 different institutions were and culture in post-colonial society; and thirdly the asked to explain their views on the meaning, content dominance of a very specific imagery of late 19th and and coherence of ‘their’ photograph collections. early 20th century colonialism. These collections are kept in public institutions and include historical archives, art, history, ethnography museums, photograph museums and community museums. 23 Photographs, Colonial Legacy and Museums in Contemporary European Culture (PhotoCLEC)
Based on these findings, an in depth analysis was made Research data comparing national of the IHC exhibition, which was also discussed with practices in constructing narratives the main stakeholders, both at the museum and within the community. PhotoCLEC developed a very substantial body of research data of lasting value that will continue to Tracing patterns of competing histories be published even after the project has finished. through Norway’s photographic legacy This data is clustered around comparative themes on ‘national’ practices in narrative construction, The Norwegian project, “Foreign and Home Images the visibility of the colonial past, and various aspects of Unacknowledged Colonial Legacies” explored how of contemporary relevance in post-colonial and the photographic legacy of the specific Norwegian multi-cultural societies. colonial style and colonial related activities is An agreed framework for discussing nostalgia, addressed in museums and archives in order to trace repression and revision in relation to colonial histo- patterns of competing histories and outline key theo- ries has emerged, although with different nuances retical and analytical frameworks. The focus was for each of the countries. This showed that while mostly on the museum exhibitions. One result of this colonial desire and colonial expansion emerged from was the development of a methodology for analysing a broad common European cultural consensus with PhotoCLEC workshop at Leicester exhibition stories. It undertook the research in four similarities in power relations, economic and cultural Museum, 2011 case study institutions, Ethnographic Collection at expansion, there are marked differences in postcolo- © PhotoCLEC the Museum of Cultural History in Oslo, The Mission nial responses to this history. Archives in Stavanger, Riddo Duottar Museat, Karasjok, The Sami Collection, Karasjok, and The “Thinking photographically” highlighted Norwegian Emigrant Museum at Hamar. Extensive different colonial practices data was collected, especially in the analysis of displays and the way in which photographs are or Photographs and the ways museums visualise their are not integrated in the multimedia field of museum collections were central to the research. PhotoCLEC exhibitions. The Norwegian team developed impor- had been especially innovative in demonstrating how tant aspects of methodology, which not only allowed ‘thinking photographically’ through a range of social a new, transnational, approach to local questions, and museological problems relating to articulation of but the patterns of public narrative through which the colonial past in public history can highlight and Norwegian colonial involvement and its photo- draw attention to different discourses and practices. graphic legacy had become invisible helped bring into These would not necessarily have been apparent focus the discourses and practices of the UK and had photographs been seen as marginal illustrations the Netherlands. rather than potential channels of communication about the colonial past. In particular it has highlighted 24 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
the complex nature of how the colonial past has been Embedded Knowledge Exchange visualised in public narratives of history, which oper- ates in a complex medium of cultural politics, image Networking with museums and museum professionals content, concepts of context, and concerns about the played a pivotal role in PhotoCLEC’s activities. ‘uncontrollability’ of photographic meaning. Working with museums involved a significant amount of ‘intangible’ Knowledge Exchange in the course Questioning ‘colonial works’ of the research. These discussions are encapsulated as a museum category in PhotoCLEC’s major public outlet, its website http://photoclec.dmu.ac.uk. A major achievement of PhotoCLEC has been to The perspectives, methods and practical results of question the way ‘the colonial’ works as a category in PhotoCLEC also addressed questions that are central museums, and the work of photographs in bringing to the HERA programme Cultural Dynamics: Inheritance these problems of inclusion or exclusion to the surface. and Identity. With its emphasis on process and complexity This enabled a comparative debate on photographs as they relate to histories and identities in a dynamic and the workings and effects of colonial nostalgia. European dimension, PhotoCLEC addressed collective Both colonial disavowal and colonial engagement were identities before and after the nation state and has at stake in all three PhotoCLEC countries, creating helped with HERA’s remit to explore questions a peculiar memory take on national historiography. concerning the making of European and global The project saw how in some instances, (as in the case heritage. of the Sami in Norway) colonial photographs were Overall the project has demonstrated the centrality deliberately not put on display in order to allow for of the colonial past to European identities. Photograph new interpretations of their past society and culture collections reveal that the inclusion of the histories beyond colonial visual legacies. In other situations of postcolonial immigrants and repatriates from all (as in the case of the Indo-Dutch communities in the over the world in contemporary European history Netherlands) collecting and interpreting photographs challenges the grand narrative of national citizen- from the colonial past was chosen as a strategy to ship made in Europe. They also force us to think of empower this immigrant minority group, organ- museums beyond the notion of national tools of ising themselves around such visual legacies. Across empire. A major result of PhotoCLEC relevant to the the three European countries studied, there was a HERA JRP therefore is the insight that photographs marked difference in the willingness of museums to in museums enable us to rethink how mechanisms of Website: engage with the colonial past in European history and inclusion and exclusion in society, European as well http://photoclec.dmu.ac.uk identity. Much of this, the project found, depended on as colonial, connect with feelings of belonging and Contact: the extent to which ‘ethnic minority and immigrant estrangement within the contemporary postcolonial Elizabeth Edwards (Project Leader) groups’ wished to position the colonial past as a shared societies in Europe. [email protected] history, if a violent and difficult one. 25
Popular Music Heritage, Cultural Memory and Cultural Identity Localised popular music histories and their significance for music audiences and music industries in Europe (POPID)
Exploring the changing cultural expressions of lifestyle orientations and prefer- Project Leader values of popular music ences through music and fashion for instance have become powerful signals of identity and belonging. The POPID project examined the strengthening By exploring the dynamics of meaning and identity role and significance of popular music in shaping formation around popular music, POPID considered cultural identity and heritage at both a local and how local popular music histories and their remem- national level. The project took a comparative brance challenged any consensus that had been approach by focusing on different countries and created around a ‘narrative of nation’. Professor Susanne Janssen various localities within them to build as complete In parallel with this, notions and understandings of Department of Media and a picture as possible of popular music’s contribution culture have become progressively more grounded in Communication, Erasmus School of to cultural memory across Europe. To tackle this, and intertwined with popular cultural expressions and History, Culture and Communication, the project assembled a team of internationally estab- products, indicating how boundaries between high and Erasmus University Rotterdam, lished academics in the fields of popular music studies, low culture have been shifting. Popular music partici- Netherlands sociology of the arts, media research, and cultural pates in these processes, particularly through the studies. The Erasmus Research Centre for Media, intermediary of ‘consecrating institutions’ associated Principal Investigators: Communication and Culture at Rotterdam’s Erasmus with the media and cultural industries. Through the Professor Sara Cohen University led the project, with partners including the collection, preservation and celebration of its material School of Music, Institute of Popular University of Liverpool, the University of Ljubljana and immaterial culture, by public and private institu- Music, University of Liverpool, United and the University of Vienna. tions alike, popular music has increasingly been applied Kingdom ‘Popular music’ for this project was defined loosely in the creation and evolution of heritage. By studying Dr Andreas Gebesmair as a music form that emerged largely after the end the trajectory of popular music as heritage in a variety Business Department, St. Poelten of the Second World War in 1945 and that has been of contexts and institutional set-ups, the POPID University of Applied Sciences, Austria consumed primarily through mass media and distri- project teased out and challenged the changing mean- Dr Peter Stanković bution via a variety of physical formats and latterly ings and values of popular music as a cultural practice. Department of Cultural Studies, digital as well. During this era popular music soon Faculty of Social Sciences, University of came to revolve around commercial aesthetics and Probing relationship between popular Ljubljana, Slovenia became increasingly entwined with other facets of music and contemporary cultural identity Professor Alfred Smudits the consumer age as well as becoming closely associ- Institute for Musicology, University of ated with identity and the sense of belonging. For By looking at the expressions of popular music heri- Music and Performing Arts, Vienna, generations born after 1945 popular music forms tage in various European countries and localities, Austria such as rock and punk have become just as potent POPID examined popular music’s contribution to symbols of national or local identity and heritage as the narratives of cultural identity and representations The number of PhD students linked to more traditional representations, such as national of cultural memories. Furthermore, it explored how (and trained in the framework of) the project: and regional insignia, food, drink, and sport. With these expressions are represented and negotiated in 6 PhD students the increasing role of consumerism in everyday life, the practices and products of the music industry and 26 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
In 2010, I joined the project ‘Popular Music the heritage sector. The project had two clear overall 6. How can European music industries better respond “Heritage, Cultural Memory and Cultural aims. Firstly it sought to assess the role played by to audiences’ understanding of local popular music Identity’ (POPID) as a PhD student member local popular music as a cultural form consumed via heritages and their willingness to engage in cultural of the Dutch team at Erasmus University. mass media, in influencing cultural identity at a local, memories? Within the framework of POPID, I explored national, and European level. Secondly it aimed to 7. What new markets and possibilities exist for music how narratives of popular music heritage assess how the European music industry can generate industries (e.g., downloading, CD re-issues of previ- and memory resonate with cultural identities ongoing connections to local popular music heritage ously unreleased obscure popular music, and DVD at local, national and European levels. The in a way that continues to be meaningful for local audi- issues of live performances and documentary material)? international scope of the HERA joint research ences. The POPID project then proceeded to explore programme has enabled me to approach the the relationship between popular music, cultural Taking four nations as cross central themes of my dissertation from a identity and heritage through an examination of the sections of the ‘new Europe’ transnational perspective. I greatly benefited following key questions: from the international workshops that 1. What are the connections between cultural To answer these key questions, POPID undertook brought together researchers from different memory and expressions of popular music heritage extensive field studies among music archivists, heritage academic disciplines. These collaborations in specific European contexts and how do these practitioners, music industry workers, and music audi- with people from various European universities relate to national and local cultural identity? ences in four European countries: Austria, England, have enriched my work, as they provided new 2. In what ways do such audience representations the Netherlands, and Slovenia. Previous studies of research directions. Furthermore, I particularly differ from dominant or official representations localised music heritage have focused mainly on single appreciate how HERA actively supports of national and local cultural identity? localities and/or single countries within Europe, with researchers to organise and participate in 3. How do localised narratives of national and researchers concentrating on their own countries of Knowledge Exchange activities. These events local identity as these are constructed through the origin and/or the main centres of the international enabled me to share and discuss the findings of medium of popular music set the agenda for expres- music industry. The scope and the international my project with both researchers and people sions of national and local cultural identity within comparative angle of the POPID project offered working in the field of popular music heritage. a contemporary European and broader global the researchers in each country the opportunity to ” context? move beyond such singular case studies and set their 4. How do these localised narratives resonate with research findings in a wider international context, official understanding of pan-European identity, or thereby extending and enriching their outcomes. conversely with the concept of a ‘new’ Europe based Studying the relationship between popular music, around micro identities and regionalism? cultural memory and notions of cultural identity and 5. What is the relationship between audiences’ heritage in a trans-national European context also Arno van der Hoeven, MSc understanding of local popular music heritages and added significant value to the project in that the find- Department of Media and Commu- the understanding of cultural industry workers and ings applied to other European countries. Culturally, nication, Erasmus School of History, popular music experts who produce official versions demographically, economically and geographically Culture and Communication, Erasmus of popular music history in national and international speaking, the four nations chosen for investigation University Rotterdam, Netherlands contexts? constituted a cross section of the ‘new Europe’. 27 Popular Music Heritage, Cultural Memory and Cultural Identity (POPID)
The case of the Netherlands provided an insight into how issues of popular music, cultural memory and resulting notions of national / local identity play out in a small country on the margins of the European music industry. England, on the other hand, is at the heart of the global music industry with established and well known music centres that are recognised worldwide as originators of various music trends and genres. Then Austria is a European nation whose identity has long been rooted in its classical music tradition and still is to a very large extent. Nevertheless even in Austria, global and local popular music has gained in importance as a source of identification and national narratives. Recently Vienna also became a gateway to the music and cultures of Eastern Europe that feed local identities. Slovenia is a recent addition to the European Union with a turbulent past. Slovenia’s rapid geograph- ical and cultural evolution offered an important alternative perspective on the interplay between the mediated popular and the vestiges of residual traditional cultures and how this plays out in a contemporary European context. In each country, the research zoomed in on a variety of localities, some of which have rich musical histories and have made a significant contribution to the national and global music industries, while others are less well known for their popular music heritage. Much of the popular music studies literature has Exhibition ‘Special Request - Cuby & the been concerned more with performance rather Blizzards in the sixties’ in Centraal Museum First project to link popular music than the place of popular music heritage in expres- Utrecht (NL) expression with cultural identity sions of cultural identity by individuals, groups, and organisations. An exploration of how these The relationship between cultural memory, popular articulations are represented in the practices and music history and locality has not been examined products of the music industry and the heritage before, either in a European or international context. sector has also been missing. The POPID project 28 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
has addressed these gaps and in doing so has iden- produced popular music that is seen as socially and tified the variations in understanding of popular culturally significant. The POPID project provided a music heritage. wealth of information and insight for organisations The breadth and scale of the POPID project, and practitioners in the music industry, as well as the embracing the work of music archivists, historians, fields of heritage, tourism, and public cultural policy, journalists, curators, exhibitors, broadcasters, music in showing how cultural memories and identities producers, event organisers, policy agencies and centring around local popular music may be used to tourism bodies, as well as the thoughts and percep- re-connect and engage with audiences that at first tions of a diverse range of music listeners across the sight appear to have been dispersed and disengaged four countries, provided an unprecedented overall in contemporary societies as a result of ongoing view of the music heritage sector in Austria, England, processes of globalisation/internationalisation, the Netherlands, and Slovenia. individualisation, and rapid technological change.
Highlighting the different meanings of heritage
The POPID project recognised and exploited the wide range of meanings that the term “heritage” has and explored the different ways in which it is used and interpreted. The project was able to examine how heritage is practised by individuals, groups and organ- isations in different European countries, as well as how groups and organisations across different sectors and countries use the associated language and discourse for certain ends (especially marketing) and for constructing a sense of shared musical identity and history. Furthermore, in examining heritage issues as seen by individual audience members’ and practitioners’ through their understanding and appreciation of popular music, the project demonstrated that heri- Website: tage, in addition to its connection with space and http://www.eshcc.eur.nl/hera_popid/ place, may also have a pan-European dimension that Contact: is preserved and expressed across generations. This Susanne Janssen (Project Leader) is bound together through shared understanding of [email protected] generic styles such as rock and punk, along with locally 29
Rhythm Changes: Jazz Cultures and European Identities (Rhythm Changes)
The project Rhythm Changes: Jazz Cultures and Prizewinner, Paul Floyd Blake, in preparation for Project Leader European Identities examined the inherited traditions the 2013 Rethinking Jazz Cultures Conference, which and practices of European jazz cultures in Austria, took place at the University of Salford’s Media City Denmark, the Netherlands, Norway and the UK. UK campus. The exhibition, entitled ‘Rethinking The project developed new insights into cultural Jazz’, featured 30 photographs taken at three leading exchanges and dynamics between different countries, European Jazz Festivals (Copenhagen, North Sea groups and related media. It was broken down into and London) and provided a fitting opening to the five work packages that linked directly into the theme showcase event, which featured over 100 speakers Professor Tony Whyton of Cultural Dynamics, aiming to develop a broader from 22 countries. School of Arts & Media, Salford Music understanding of the relationship between counter- Research Centre, The University of point, tradition and myth, community and identity. First project to explore transnational Salford, United Kingdom Over a three-year period, Rhythm Changes achieved a complexities of jazz significant impact on the field of jazz studies, offering Principal Investigators: a model for cross-disciplinary working, networking Rhythm Changes was the first collaborative humanities Dr Anne Dvinge and Knowledge Exchange. project to explore the complexities of jazz as a transna- Department of Arts and Cultural tional practice and in particular its relationship with Studies, University of Copenhagen, Rethinking Jazz changing European identities. The project generated Denmark a body of work that has challenged the way in which Dr Petter Frost Fadnes The project began with background research, jazz cultures are represented and understood. Issues Department of Music and Dance, literature reviews and establishment of the of collectiveness, transnationalism, cultural identity University of Stavanger, Norway communications and knowledge exchange frame- and place have played out in complex ways within each Professor Franz Kerschbaumer work, including a website, initial data gathering, work package and several substantial outputs were Institute of Jazz Research, University networking, media dissemination and partner produced, including: of Music and Performing Arts of Graz, liaison, training, performances and workshops. • Nine books (monographs or edited volumes), either Austria There were also conference presentations and published or contracted, including the Eurojazzland Professor Walter Van De Leur Knowledge Transfer events. Then during the second collection, the first collection of writings on European Institute of Culture and History, year, the first Rhythm Changes conference took jazz culture and criticism past and present. University of Amsterdam, Netherlands place in Amsterdam and the project team continued • A monograph series with Routledge entitled to work on reports about jazz scenes in partner ‘Transnational Studies in jazz’, to be launched in The number of PhD students linked to countries. Research was presented at leading inter- 2014, which will feature monographs entitled Rhythm (and trained in the framework of) the project: national conferences and high profile Knowledge Changes: The Discourses of Jazz, When Jazz was 3 PhD students Exchange projects, while performance events were Foreign and Jazz Nation. staged with a range of European partner organisa- • Over 30 articles and book chapters in leading jour- tions. There was also a commissioned photography nals and collections, several of which are available on exhibition from National Portrait Photography the project website or via institutional repositories. 30 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
As my PhD project was coming to an end I • A special double issue of Jazz Research Journal on Dynamics - Inheritance and Identity’ from the first JRP “started to realise the great impact the Rhythm post-WWII jazz collectives and a special issue of Jazz- call, as each partner country had a rich and varied Changes Project had made on me. Over its forschung, which includes historical overviews of jazz historical relationship with the music. Indeed the course the project enabled me to discuss my in partner countries. project explored jazz’s changing representation and research topics (jazz and improvised music, • Over 80 conference presentations by members of meaning in different European contexts, examined cultural identity, transnationalism) within a the project team, as well as several keynote addresses different reactions to the African American influence, broad range of interdisciplinary settings. I and invited presentations. and investigated how jazz can shed light on the spread gained experience as a scholar by giving papers, • 12 open access reports, ranging from studies of and exchange of culture, as well as how art forms are hosting sessions, co-organising two Rhythm national scenes to collaborative work with the Europe assimilated, appropriated and/or rejected in different Changes conferences and writing articles. Jazz Network. settings. Above all, however, I feel privileged to have • Over 10 workshops and performance projects Rhythm Changes also challenged romantic and been part of such an enthusiastic team of exploring project themes through practice-led popular depictions of jazz as a universal language and international scholars, who introduced me to research methods. stressed the importance of understanding the music’s their fields of expertise, and who generously • Knowledge Exchange activities, work with Music polysemic nature capable of a wide variety of interpre- provided me with the necessary feedback. Centre Netherlands (MCN) on the development of tations. Jazz functions simultaneously as a national Thanks to the project, I will start my academic the NL Real Book and a collaboration with the Europe and transnational art form, working both within and career with experience, new insights and an Jazz Network (EJN) on the production of the research outside the confines of the nation state. It continues to international network of scholars (friends, survey of its membership. mean different things to different people in contrasting even). As such, the Rhythm Changes has taken • Partnership with Serious/London Jazz Festival, times and historical moments. These ideas were me beyond borders, in every sense of the word. which has led to a number of valuable collaborations discussed during the Rhythm Changes conference at ” and co-produced research activities (including the the University of Salford’s Media City UK building on ‘The Time and The Place’, the final showcase event for the theme ‘Rethinking Jazz Cultures’. This gave both the first HERA Joint Research Project (JRP). scholarly and professional communities the opportu- nity to question existing understandings of jazz and New ways of exploring jazz accordingly rethink the way research will be carried out in future. Loes Rusch On top of the published output, Rhythm Changes PhD candidate at the University developed and promoted new approaches to working Collaboration with other cultural projects of Amsterdam and thinking about jazz. Working practices developed within the project have promoted interdisciplinary The Rhythm Changes project engaged in a range and transnational approaches to the humanities, and of Knowledge Transfer, Knowledge Exchange and the team constantly resisted the straightforward and Co-Production activities, encouraging different audi- limited representations of culture that had domi- ences to contribute to project themes and share ideas nated the discourse until that point. Jazz provided as well as experiences. Activities ranged from staging the perfect model to explore the theme of ‘Cultural Rhythm Changes public engagement events at different 31 Rhythm Changes: Jazz Cultures and European Identities (Rhythm Changes)
European festivals to the production of a Dutch Real Book in partnership with Music Centre Netherlands. Over the course of the project, the team developed a format for Knowledge Transfer events under the umbrella of ‘Thinking with Jazz’, which provided an opportunity to raise awareness of key research ques- tions and the broader themes of the HERA JRP, and to demonstrate how issues concerning inheritance and identity play a part in everyday life. In January 2013, the Rhythm Changes team worked in partnership with the HERA-funded POPID project to discuss Knowl- edge Exchange and the ability to engage with different stakeholder groups. This in turn led to several collabo- rations between different projects funded as part of the HERA JRP. Most notably, in May/June 2013, the Rhythm Changes project played a key role in deliv- ering the final showcase event for the first HERA JRP. Entitled ‘The Time and The Place: Culture and Identity in Today’s Europe’, the three-day festival of the humani- resonating way beyond the jazz studies community. Paul Floyd Blake ‘Rethinking Jazz’ ties was delivered in partnership with the live music The practice-led outcomes continue to have a major collection producer Serious. impact on musicians, artists, students and audiences. Musicians participated in performance projects and Reaching jazz scholars, education workshops, and developed an awareness musicians and enthusiasts of the Rhythm Changes research questions through practice-led activities. The outputs of Rhythm Changes were studied and Performances were scheduled as part of high appreciated by a variety of audiences, including profile festivals and other events in order to maximise scholars, musicians and jazz lovers. As a result, the the impact on audiences. Published in 2011, the Dutch value and impact of the project has varied according to ‘Real Book’ project continues to generate a body of the types of activity undertaken. But from all perspec- compositions and lead sheets that encourage new tives the project plugged the gap in critical scholarship work and challenge existing perceptions and concepts about jazz in Europe. Rhythm Changes conferences of Dutch jazz. This initiative, developed in partner- brought together leading scholars in the field to ship with Music Centre Netherlands, is a resource that discuss issues surrounding inheritance and identity will be sustainable beyond the duration of the project, and the findings from these activities are already adding between 50 and 100 new titles per year to the 32 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
Dutch ‘Real Book’. The NL Real Book will clearly have an impact on performers, composers and audiences and will also assist policy makers such as Music Centre Netherlands in achieving their core objectives of promoting and nurturing Dutch music. The project has also had a big impact on the Europe Jazz Network (EJN), a Europe-wide association of producers, presenters and supporting organisations that specialise in contemporary jazz and improvised music created from a distinctly European perspective. With a wide membership including 80 organisations (festivals, clubs and concert venues, independent promoters, national organisations) in 26 European countries, EJN exists to support the identity and diversity of jazz in Europe and awareness of this vital area of music as a cultural and educational force. The Rhythm Changes team worked in partnership with EJN on its research programme, adding qualita- tive case studies to EJN’s own quantitative social and economic survey. The research demonstrated the value of jazz in different European settings and will enable national jazz agencies, festivals and venues to make the case for jazz within different cultural settings. Policy makers will also be interested in this work and the broader comparative studies of Rhythm Changes, which will address the way jazz works in different contexts.
Website: www.rhythmchanges.net Contact: Tony Whyton (Project Leader) [email protected] 33
Sharing Ancient Wisdoms: Exploring the Tradition of Greek and Arabic Wisdom Literatures (SAWS)
SAWS developed modern digital methods to explore excerpts came to be seen as an inferior activity. Yet the Project Leader the large collections of ancient sayings that provided collection process still involved exercise of judgement a crucial mechanism for exchange of ideas in medieval and selection and can thus provide valuable historical Mediterranean and European societies over many insights into what the priorities were in a given field at centuries. This material has often been neglected the time, whether the writer was collecting recipes, since it is difficult to handle in printed form, but is laws, or opinions. These anthologies can therefore be now ripe for analysis, to demonstrate what concepts valuable resources for historians of a particular field, were considered worth preserving and transmitting. whether of morality, science or law. As an example, Professor Charlotte Roueché The metaphor of picking flowers was regularly used if a collection of medical excerpts failed to include a Centre for Hellenic Studies, King’s to describe this selection process, giving us the terms particular illness that had been in the original text, College London, United Kingdom anthology (from Greek), or florilegium (from Latin). this might indicate that this illness was not prevalent Selections of this kind are always useful, but they were in the region and time the collection was made. Principal Investigators: of particular value in a world before printing, when Moreover, such collections also continued to be Professor Stephan Procházka large texts were costly to produce. an important conduit for exchange of ideas between Institut für Orientalistik, University cultures. Throughout Europe and the Middle East of Vienna, Austria Collected texts persisted as conduits collections were therefore translated frequently, as a Professor Denis Searby between cultures after advent of printing swifter route to new knowledge than complete texts. Department of French, Italian and Classical Languages, University of Collections of texts were prevalent throughout Focus on maxims and anecdotes Stockholm, Sweden the ancient and medieval worlds because of their in verse or prose efficiency at a time when large volumes were very The number of PhD students linked to expensive to produce. They included abundant Information and ideas of many kinds circulated in this (and trained in the framework of) the project: anthologies of theological texts used in ecclesiastical form over many centuries, but this project concen- The SAWS project included no fully- disputes, as well as assemblies of technical or medical trated on collections of wise and pointed sayings funded PhD students. But several information. (maxims/gnomai in verse or prose, apophthegms, students working for associated PhDs Ironically the first dated book produced in 1477 anecdotes), known as gnomologia. These collections were trained and employed. Of these by Caxton, who introduced printing in England, selected citations for their moral and philosophical six were co-authors of the final outputs: was a collection from this tradition called Dictes and value, and are therefore of central importance to the London (1), Uppsala (2), Vienna (3). Sayings of the Philosophers. But the new technology theme of cultural dynamics. Such collections of ideas Many more contributed to the project in gradually made it easier and less expensive to repro- and opinions, ranging from pithy sayings to short a variety of ways, and from a variety of duce longer texts, and so reduced the need to create passages from longer philosophical texts, are tradi- places: Bologna (1), Georgetown (1), Halle collections. This helped increase the primacy of the tionally described as Wisdom Literature. They are (3), Ioannina (2), Liège (1), London (5). original text and anthologies came to be valued only key components in understanding the societies where for any fragments they might contain of otherwise lost they circulated, and the formation and transmission of works. After the invention of printing the gathering of ideas, both within those societies and between them, 34 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
SAWS gave me the opportunity not only since many have been chosen for translation. Indeed attributed. This very rich tradition has been identi- “to apply my knowledge of text encoding to the collection of sayings published by Caxton, which fied to date in 16 manuscripts, each with significant new materials, but also to delve into the circulated in several western European languages, was variations, all of which were fully explored in this world of Linked Data and to help to solve a based on the Spanish translation of an Arabic collec- publication, accompanied by an English translation. number of intellectual questions about how tion, itself drawing on ancient Greek traditions. Another part of the project presented gnomo- to represent, describe and display these texts logical and philosophical collections in Arabic, several within a digital environment. It was particularly Digital technology comes to the rescue of them so far unpublished, accompanied in several exciting to be part of such an interdisciplinary cases by their Greek sources, or by Spanish texts trans- project and to engage with the process of The advent of printing, however, not only promoted lated from the Arabic. There was also a re-editing of exchanging knowledge with scholars from a the idea of the complete text, but also created a an 11th century advisory text that draws on the gnomo- range of disciplines. Even more valuable was medium in which collections were particularly logical collection, which has been published with a full the opportunity to train a wide range of young difficult to publish. This is because compilers of commentary, and accompanied by translations into scholars in the application and development of anthologies were not just trying to reproduce an English, German, Italian, Russian and Spanish. these approaches. archetype but attempting to compose their own All this material was published in the Dynamic ” unique collections. When such anthologies were Library on the project website, with the option of published in book form this presented serious difficul- exploring them in conventional format beside their ties for the editor, who had to associate each item in translation into the user’s language with the help of the collection with a large amount of commentary and various aids produced by the project. The material can discussion, both of the text and of its origins. However also be explored via indices, which are accessed via the advent of digital publication at last offered radi- the Folioscope window. These group together all the Dr Charlotte Tupman cally new methods for tackling this problem, and the names of people and places found in the various texts. Research Fellow, aim of this project was to explore and develop this However the project developed a more innovative King’s College London potential. The team made new materials available, third route through visualisations and explorations. while demonstrating what can be done. This was the most difficult part of the project, as it involved working with technologies that are themselves Focus on Greek and Arabic traditions part of a relatively immature and rapidly developing research area, the Semantic Web. The aim was to While such collections exist in many Middle Eastern provide an entirely new approach to understanding and European languages, the team decided to focus on the relationships between texts by taking advantage just two traditions: the Greek (where there is a great of contemporary developments in these technologies. deal of unedited material) and the Arabic (which is For data preparation, publication and exploratory closely related to the Greek). visualisations, the project built on established stan- The project produced a new and full edition of dards and current state-of-the-art Semantic Web a particular tradition of gnomai arranged in alpha- research. betical order of the speakers to which the sayings are 35 Sharing Ancient Wisdoms: Exploring the Tradition of Greek and Arabic Wisdom Literatures (SAWS)
As an example, almost every place-name in any of where the materials do not closely match the schemes the texts has a link to online geographical informa- being followed for the test case, Homeric materials. In tion, almost all using the resources provided by the collaboration, the project has helped develop the CTS Pelagios project, which aggregates information about scheme to accommodate more complex and diverse particular locations in the ancient world from trusted manuscript examples such as those studied within online sources. In many cases, excerpts from ancient SAWS. texts are connected to online editions of the full text, Another requirement was the construction of an particularly those in the Perseus digital library. This ontology - a set of agreed statements that can be made allows the reader to go directly to the text being cited about the relationships between any two manuscripts, or discussed, which has been done wherever this was or any two sections of text. Here again the project possible. Similarly, mentions of persons have, wherever aimed to develop structures compatible with existing possible, been linked to fuller descriptions of such schemes. The team therefore worked to construct, persons, using a variety of resources. define and apply an ontology of relationships that was The analysis also required a unique identifier to relevant to the materials, and consistent with other be given to each passage of text in the collections. schemes, extending the FRBR-oo model (an existing The principle of standard references has always been collaborative ontology combining the cultural highly developed in the study of classical literature, heritage model CIDOC-CRM and the bibliographic and it is therefore unsurprising that the concept works model FRBR). of machine-readable unique references is being In many ways this project was most important developed for classical texts, with the support of the for the tools, methods and knowledge that it created Andrew W. Mellon foundation. The team worked for further application and exploration. All the tools closely with the Canonical Text Services (CTS) project are designed to be downloaded and reused, while the to provide unique identifiers for its materials, and XML files of all the texts are also available online for to help them test their approach. CTS identifiers are experimentation. intended to identify individual texts or parts of texts The team hopes to encourage further study of this in a format that, where possible, incorporates existing kind of text, and draw attention to the relevance and abbreviations and names used to refer to these texts. importance of such collections for researching medi- Many research projects are starting to incorporate eval cultures. But it also hopes to empower colleagues this style of identifiers, such as the Perseus Digital to publish further collection texts, not only gnomo- Library and the manuscript database projects at CASG logia, but also other kinds of material, such as medical Aristotle teaching and at MOPAI. As this reference scheme becomes or legal collections. To this end a series of workshops © British Library more popular for digital resources, there is a growing were held with groups of specialists, discussing need for the CTS project to provide supporting the problems inherent in different kinds of material, software. Various versions of the software have been and ways in which the SAWS methodologies might provided, along with many examples for the CTS team be of use. 36 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
Challenge of rapid innovation
Working in a pioneering field the project had to cope with rapid changes in methods available during its course and made a significant contribution to these itself. Many things that were difficult at the beginning of the project were much simpler by the end, yet some resources or tools were still not available. For example the new catalogue of ancient authors at Perseus only became public during the final month of the project. The development of the Alpheios project at Harvard persuaded the team to alter its approach to Arabic sources, since there was no point in doing the same thing twice, but it was impossible to link to them in their current state of development. It would have been very helpful to be able to link the materials to the new Diktyon website of Greek manuscripts, which will provide permanent identifiers for the information currently held in Pinakes. This means that in some ways the team’s accom- plishments will date quite quickly, as new possibilities emerge, but this will be driven in large part by what the SAWS project itself has accomplished. One reason why the material has been made freely available in XML is that, in a few years’ time, a new transformation and enrichment of all the texts will be quite feasible. The team is very grateful to have been part of this process, and to have been able to demonstrate the key role of European collaborative research in the humanities.
Website: http://www.heranet.info/saws/index Contact: Charlotte Roueché (Project Leader) [email protected] 37
The Assembly Project – Meeting Places in Northern Europe AD 400-1500 (TAP)
Assembly places and practices are fundamental Comparative studies to break Project Leader to our understanding of how medieval society in down national boundaries Northern Europe was transformed from a network of small scale local power-structures to a competing The project adopted a broad geographic approach to system of large kingdoms with royally driven admin- break down the national boundaries that have inhib- istrative infrastructures. The assembly or thing was ited past research on the development of political an institution that emerged in a variety of shapes and structures in Europe. By undertaking comparative forms in different parts of the North Sea zone, and work across England, Scotland, the Faroe Islands, Dr Frode Iversen provided an arena within which authority and power Iceland, Norway, Denmark and Sweden, using a strict Department of Archaeology, Museum could be negotiated, consolidated and territorial methodological framework and a common Geograph- of Cultural History, University of Oslo, control extended. ical Information System (GIS), the project opened Norway up the question of how complex society emerged in Assemblies led to Europe’s Northern Europe to broader and deeper scrutiny. Principal Investigators: complex political units The project successfully moved the debate away Dr Natasha Mehler from the constraints of a national focus and a Institut für Ur- und Frühgeschichte, This project was set up to establish a critical nationally comparative agenda. Instead, through Universität Wien, Austria understanding of the role of the assembly in the workshops, themed journal volumes, joint publica- Dr Alexandra Sanmark consolidation and maintenance of collective identi- tions and monographs, it facilitated cross-European Centre for Nordic Studies, University ties and emergent kingdoms in medieval Northern comparative, critical evaluation of how and why of the Highlands and Islands, United Europe. The project had three broad objectives: systems of administration evolve in complex societies. Kingdom 1. Examining how authority was articulated in In order to progress understanding four core themes Dr Sarah Semple landscape terms in the medieval North by new were adopted: time, space, the social dimension and Department of Archaeology, Durham and developing kingdoms and how ideas of control reception and evaluation. University, United Kingdom and consensus were transferred and established. 2. Creating a cohesive account of the development Time The number of PhD students linked to of administrative systems within early and late (and trained in the framework of) the project: medieval Britain and Europe, taking account of the At the start of the project there was limited under- 3 PhD students impacts and effects of Norse colonisation in several standing of how assembly practices changed over regions. time, especially under the influence of emerging royal 3. Assessing how assemblies were given value and power structures. It was not clear whether practices perceived on a pan-European basis in the early in one territory influenced those emerging in another, modern era, and how certain viewpoints were through colonisation or political alliance. An impor- promoted by Romanticism and then by nationalism tant aim therefore, was to achieve much greater in the late 19th and 20th centuries. chronological resolution for individual sites and this was done through field research and excavation 38 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
The funding for TAP gave me the opportunity (Anundshög, Sweden, Sites in Shetland, Iceland and A major theme for the project was research on the “to fully dedicate myself to a research topic that I Norway) and the use of LiDAR remote sensing data for migration of systems into new areas such as Iceland, had been working on since 2003. Through TAP some of the key sites. Faros, Northern Scotland and North Eastern England. I was able to travel widely, visiting and recording At the same time the mapping of larger networks An important discovery was the consistency of the key archaeological sites in different countries, and retrogressive landscape analysis enabled the team translation of these systems to new areas, even when and I could in this way significantly widen the to work back through time, positioning meeting places settlement lasted only a short time. This suggests that scope of my work. Another major advantage within a framework of districts, units and kingdoms. the assembly was important, if not intrinsic, to social was that my research could now be placed Overall the project improved knowledge of the activity and to Norse identity. in a wider European context. When we first early origins of assembly and its change over time, instigated TAP, the provision of such a context providing evidence for increasing regulation, more The Social Dimension was one of the key purposes of the project, and formality and stricter divisions linked to the emer- I am pleased to say that we achieved this gence of kingship and kingdoms. At TAP’s inception little was known about who through cooperation within TAP and through attended the assembly and how its dynamics worked. our four workshops to which we invited experts Space Using written sources such as charters, laws and from a number of different disciplines and sagas, TAP has investigated who attended and countries. All in all, TAP provided me with a Understanding the spatial development of adminis- actively participated in the assembly meetings and solid research experience and an extended trative systems, and the place and role of assemblies which social groups and genders had access to them. international network, which will be of within them, was pivotal for the project. Mapping Another aim has been to establish how power was immense benefit to me in the future. administrative boundaries using GIS and the integra- achieved at the assembly and who controlled them. ” tion of key data sets (known locations of assembly, Written sources formed a primary basis for this area surviving place-names, churches, settlement of research but the intra-site investigation and evidence, national monument data etc.) was the main mapping also facilitated scrutiny of the relationship method used. of one unit or territory to another, and associations Around the 9th and 10th centuries, in Scandinavia with old burial grounds and burial mounds, properties and England, more rigorous systems of administration and farms. Dr Alexandra Sanmark and justice begin to show more clearly in the mate- Principal Inverstigator rial and landscape record. TAP’s work shows that the Reception processes of kingdom formation and territorialisa- tion began to have a distinct effect on the shape and Research on the valorisation (giving value to) of divisions of administrative units and on the form and assembly in the Romantic era and in times of resur- functions of the assembly. It is in this era that royal gent nationalism was undertaken to provide a way dynasties gained ground. Kings needed more perma- of exploring the invention of traditions and the nent structures in order to consolidate their power in types of political climate that might lead to estab- newly acquired or disputed regions. The work of TAP lishment of local assemblies, debate and political has confirmed this. theatre. TAP has reviewed and set out the European 39 The Assembly Project – Meeting Places in Northern Europe AD 400-1500 (TAP)
research histories for assembly studies and under- Achieving international scholarship Yet at the same cross-regional and trans-national taken a critical comparison of previous approaches attributes existed, e.g. a connection at early assemblies and methods, which has served to shape its project The Assembly Project has succeeded in progressing between collective and cultic activities. methods. Through research and fieldwork TAP has research on early political development in Northern Assembly has been identified by TAP as a powerful revised understanding of assembly site features in Europe well beyond the traditional national agent in establishing territorial boundaries and the the Scottish Islands and in Iceland, demonstrating constraints that have inhibited academic study on this emergence of complex networks. It provided power the way in which sites were given value and physi- topic to date. By bringing together four interlocking and access to resources for elites, while at the same cally enhanced in the modern era, as well revealing projects covering a geographic area encompassing time allowing collectives to manage elite power weaknesses in antiquarian and early 20th century England, Scotland, Iceland, Norway, Denmark and access. In this sense it was not merely a tool in a research (e.g. Tingwall, Shetland). Sweden, the project broadened and deepened knowl- process of expansion but a dynamic entity in its own edge on the emergence of complex society in Northern right. In Norway, Sweden and England for example Assemblies helped shape Europe. This resulted in five major original contribu- TAP argued that the assembly institution was intrinsic common sense of identity tions to the field. to the consolidation of large kingdoms. 1. Towards a trans-national synthesis. Advance- 2. A new narrative for European state formation. The emergence of the assembly and its associated ment of knowledge in the 20th and even early 21st The project is countering the long-held model of systems can no longer be seen as a simple top-down centuries was restricted to nationally-driven power and law in Medieval society as being elite and centre-out process. The project has revealed historical and archaeological exploration. This work driven, top-down and centre-out. Instead power was how the archaeology of these sites attests to a has often been limited to site specific studies and facilitated and expanded through networks in which common need to signal collective decision-making involved the listing of sites and administrative units. there were many agents, and assembly was a prime and how their setting, structure and the rituals TAP began by generating and consolidating knowl- agent and driver in the process. The project is arguing involved in assembly served to shape the collec- edge to create an overarching position statement, that power was achieved, not through centralisation, tive sense of identity. We have also shown how the and translated this to new contexts, adding entirely but through constant negotiations and interactions assembly or thing may have developed as a powerful new research and fieldwork across seven countries, between agents and tiers of authority, managed and regulating agency in its own right. Rather than bringing novel methodical and theoretical insights to facilitated through the assembly network. diminishing in power, in some regions, elites and the topic of state formation in Europe. 3. Re-configuring the emergence of political iden- the thing were dependent on each other. The ways in The project has deconstructed nationally-driven tities. Identity is a subjective construction, dynamic, which administrative frameworks were migrated to narratives and taken account of shared European negotiable and variable. Assemblies have largely been and imposed on new areas has revealed important traits, examining evidence within a framework of soci- envisaged as ‘national’ entities or constructs, which is evidence for how systems were reshaped to new eties that differed in religious orientation, but which evident even now in the creation of ‘national’ assem- terrains. Again this argues against any simple top- shared the developing political and social geographies blies in the UK, e.g. the Welsh Assembly and Scottish down model for the north, for instead the evidence of emerging complex organisation and kingdom Parliament. The project examined national discourses signals processes of negotiation between people, formation. TAP has demonstrated that the assembly from the outside, and as a result has shown that elite powers and place. in terms of its form, location and function was a ‘national’ concepts of the emergence of political struc- diverse entity, and that existing localities and tures are misplaced. We now know who attended, and topographies and systems exerted influence upon it. that women, traders, merchants and clergy participated 40 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
in political debate and law making. This radically Assembly influenced political revises long held perceptions of the assembly as male consciousness at all levels only, composed of free men who held arms. The project also revised the idea of assembly as TAP showed that over time assembly exerted a powerful a monolithic construct. It showed that gatherings influence on political consciousness at local to supra- involving ritual were powerful agents in the forging, regional levels. In particular it revealed how assembly consolidation and maintenance of local collectives. exerted a phenomenal hold over local consciousness 4. Revealing the centrality of cultural memory and identity for generations and how even major to competing political discourse. The past has long structural shifts in ruling systems failed to dismantle been recognised as a powerful tool in forging new such local networks. A far-reaching discovery is that authorities. TAP revealed a more complex situation in far from attempting to overwrite systems and places, which the past and memory can be seen as inspiring, elites and colonisers engaged strategically in a more competing discourses. The ancient material past is a reconciliatory approach, attempting to absorb and common thread connecting the placing of assemblies reshape existing places and systems. in many regions across the first millennium. TAP The sites themselves often have remarkable argued that the shape of the assembly and the activi- trajectories, sometimes active for over a thousand Anundshög, Västmanland, Sweden, a site ties performed there have been ritualising forces, years, which is a considerable achievement for places of gathering and assembly from the early resulting in enduring structures often at a local level, lacking major devotional or regal standing struc- Iron Age to the Late Middle Ages. but sometimes at higher tiers of authority as well. tures such as churches or palaces. These places, often © Daniel Löwenborg, University of Uppsala Memory of events and rituals played a crucial role in through their monuments or role as landmarks, have the remarkable longevity of some sites and systems. acted as powerful curators of local memory and 5. ‘Writing’ the non-literate ‘history’ of political identity across generations. Yet assembly places are development. Political history has often relied only frequently overlooked in modern scholarship and in on documents as a resource. TAP has broadened its museum exhibitions, interpretation and educa- scope by situating archaeology and field investigation tional dissemination. TAP redressed this omission at the core of the project, creating an approach that has through extensive public communication, through a successfully revealed a new vision of complex power major exhibition in Norway, work with museums in structures and political evolution at multiple scales. the North East and its social networking presence, TAP argued that this underlines a need for a material- as well as new academic networks. The aim was to led approach to Early Europe, in which archaeological re-engage museums, heritage and the public with the Website: and landscape work are at the forefront in writing idea of assembly as something powerful for local and http://www.heranet.info/tap/index grand narratives. regional identity. Contact: Frode Iversen (Project Leader) [email protected] 41
The Dynamics of the Medieval Manuscript: Text Collections from a European Perspective (DynamicsoftheMedievalManuscript)
Modern editions of medieval literary texts tend intrinsically dynamic, which was partly because of their Project Leader to give the false impression they have come down to convenient length, typically up to around 1500 lines. us in single-text manuscripts or well-ordered antholo- These dynamics are also partly the result of their gies, with only minor revisions along the way. The generic indeterminacy, meaning that they move truth is very different, since in reality most medieval easily between manuscripts, shifting positions within texts, though perhaps originally composed individu- different codices and migrating from one linguistic ally, evolved and were read in multi-text manuscripts, context to another. The project considered how new organised in a variety of ways. Throughout the Middle meanings were generated by the constantly evolving Dr Bart Besamusca Ages, these texts were copied and recopied by scribes roles and forms of these narratives within multi-text Department of Dutch, Faculty of to yield different manuscripts in a variety of contexts. codices, and how these evolutions, produced both Humanities, Utrecht University, With each new copy and changing of context, both the by new juxtapositions of texts and by textual inter- Netherlands works and their meanings evolved, often significantly. polation and complex rewriting, changed habits of This project was set up to investigate the textual reading and thinking. Principal Investigators: dynamics of this revision and rewriting process and The corpus of work for the project comprised text Professor Matthias Meyer the implications both for contemporary readers of collections from the Low Countries, the German Institut f. Germanistik, Philologisch- the manuscripts and the concept of authorship in speaking countries, France, and England (in some kulturwissenschaftliche Fakultät, pre-modern and pre-print cultures. The project also cases multilingual, including Latin), dating from Universität Wien, Austria sought to understand how these dynamic processes the 13th to the 15th centuries. The manuscripts were Professor Karen Pratt shaped readers’ identities in the later Middle Ages, studied both as samples of the literature connected Department of French, King’s College one of the most important formative periods for the to a specific cultural and linguistic area and as collec- London, United Kingdom cultural and social fabric of modern Europe. tions that functioned within a wider transnational Professor Ad Putter This was the first large-scale study to investigate framework. The researchers identified general Euro- English Department, School of multi-text codices from a wider European perspective. pean characteristics in the organisation of multi-text Humanities, University of Bristol, The project sought to answer nine specific research codices, and an analysis of their cultural and social United Kingdom questions, with three more added during its course to contexts has enhanced understanding of their role make up 12. in forming textual communities with shared cultural The number of PhD students linked to and ideological interests. (and trained in the framework of) the project: Focus on the short verse narrative 4 PhD students Three stages – collecting, This project concentrated on short verse narratives, deepening and synthesising which included courtly lays, bawdy fabliaux, moral fables, romances, Saints’ lives and proverbial material, There were three main stages. The first stage of the all within late-medieval codices. These were chosen project involved collection and review of biblio- because they were rarely reproduced in single manu- graphical and codicological data, studying the results scripts before the advent of print. They are as a result of earlier scholarship and beginning the analysis of
42 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
The HERA funding for our ‘Dynamics of the several multi-text codices. This led to the second stage 1. ‘Which principles of organisation govern “Medieval Manuscript’ project has enabled me when the aim was to broaden and deepen the analysis miscellanies?’ was the underlying question – the term to do truly comparative work with a group of of a much larger corpus of manuscripts, bearing in ‘miscellanies’ being revised into ‘multi-text codices’, European medievalists specialising in English, mind the project’s research questions relating to the essentially most medieval books. The answer span- Dutch and German literature. HERA financed principles of organisation, the role of authors as a ning all nationalities and languages was that length of a series of valuable fieldtrips to libraries in means of imposing cohesion onto text collections, and individual texts, genre, thematic coherence, local use France and further afield, enabling my two the generic implications of the role of short narra- or readership and authorship were all used to govern PhD students and myself to do intensive tives within multi-text codices. This involved taking the organisation. These principles can also apply to codicological research and to collect a great account of some particular European trends in text parts of text collections, and the degree of perceptible amount of material which forms the basis production within multi-text codices. For example, organisation does vary. In addition, clusters of related of two PhD theses and several articles. We compilers of manuscripts in different European stories can be identified in many multi-text codices. have benefited enormously from the sharing languages adopted similar approaches to author attri- The availability of texts can be a factor governing the of findings with colleagues at our intra CRP butions as an organisational principle for their text inclusion of certain narratives. workshops and at our final conference, when collections. It was noted, furthermore, that it was vital 2. ‘Which tales function as anchor texts in a we were able to expand our knowledge of short to distinguish between medieval books produced in codex and which texts or text types are ubiqui- narratives in multi-text codices to include one go and those that were produced in phases, which tous across miscellanies in all four languages?’ Mediterranean and Scandinavian evidence. The was the majority. This question is rather ambiguous because there is opportunity to train two young medievalists in The stage was then set for the final synthesis, no precise definition of what an anchor text is, but French manuscript studies has been a privilege which involved comparing the different texts in the even so some light has been shed. It was noted that and I am amazed at how much the whole group multiple languages and reaching a deeper under- texts appearing at the beginning of multi-text manu- has achieved in a mere three years. We have standing of the cross-national characteristics of scripts can impose a certain thematic organisation produced much more than the sum of our parts. multi-text codices. This also involved study of how on the collection as a whole, with texts on love being ” short verse narratives migrated from one linguistic an example. However in the case of longer works, context to another, with the conclusion that hardly frequently didactic story collections with frames of any story spread across Europe in a single version. reference, such as fable collections, also often set Individual themes and motifs travelled much more the tone and consequently the reading parameters widely than whole texts. for a multi-text codex. As for the question on ubiq- uity, there was again a difference between shorter Professor Karen Pratt The 12 research questions and longer texts. Some short verse narratives were Principal Investigator available in more than one language, such as the The factual, analytical and interpretative details of Chastelaine de Vergi material and the Pyramus and the research are available in 12 articles, with 26 more Thisbe and Griselda material, but no story was iden- expected to be published, along with four PhD disserta- tified that spread across Europe in the same version. tions and a volume of conference proceedings addressing However for longer narratives, such as courtly, the 12 research questions, summarised as follows. especially Arthurian, romance, the situation was 43 The Dynamics of the Medieval Manuscript: Text Collections from a European Perspective (DynamicsoftheMedievalManuscript)
completely different. In that case European-wide bestsellers can easily be identified. 3. ‘How does the power of authorisation (naming of authors, author attribution) function in the transmission and reception of collections, and how do (re)contextualisation and textual trans- mission create an author?’ Author attribution is a cross-national phenomenon, which may have been, for example, used as an organisational principle, or as a means to guarantee the integrity and importance of the individual text. It was interesting therefore to find that in certain cases author attribution was suppressed. This may have been because the compiler had another organisational principle in mind, such as subject matter, but the phenomenon may also suggest manuscript, in which the text collection is designed to Manuscript Stuttgart, Würtembergische that texts could acquire their authority from their appeal to a larger audience of potential buyers. Landesbibliothek, Cod. Poet. et Philol. 22 content, or simply their inclusion in a valuable book, 5. The question ‘Can shifts in late-medieval generic Fol (the so-called Comburg Manuscript) consists of six codicological units. rather than because they were the product of a named classifications be detected?’ elicited particular © Daniël Ermens author. interest during the project. It was not possible to 4. ‘Is there evidence that boundaries between identify common cross-national characteristics and so ‘high’ and ‘popular’ culture are clearly demarcated the answers were specific to each language area. In any or blurred in miscellanies?’ This question was also case it was noted that there is a lot of evidence across problematic since it rests on how we define ‘popular’ nationalities that medieval text collections do not fit and for that matter ‘highbrow’ for medieval written readily with our modern generic distinctions. culture. But the question is interesting and it was 6. ‘What is the importance of multilingual collec- found that many of the multi-text codices challenge tions for the formation and analysis of culture?’ our modern binary distinctions as between high and turned out to be most relevant for the English situa- low or between clerical and courtly because in medi- tion. It was discovered that the degree of language eval manuscripts there is often a juxtaposition of what mixing in insular miscellanies depended particularly we perceive as serious moral literature with bawdy on the type of text contained within them. In various comic tales. The important distinction for multi-text linguistic areas Latin paratexts surrounding the core collections therefore is not between high and low, text suggest these were aimed at specific educated but, so it seems, between the idiosyncratic multi-text manuscript users. codex, in which texts are collected according to the 7. The question ‘How do the different types of book taste of an individual patron, and the commercial production (workshops, fascicular production) 44 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
impact on the creation of (and changes in) meaning?’ 11. ‘Is there evidence of short narratives breaking was productive for the whole of the project. The free from their context within frame narratives restricted availability of typical examples may and being copied individually, as well as larger affect selection of texts, and thus have an impact on frame narratives attracting new material?’ This meaning. Any conclusion depends on the amount of question cannot be answered beyond all doubt, but available evidence concerning production, which it was noted that the incorporation of new material varied from one specific time and place to another. could involve the rewriting of beginnings and endings 8. The question ‘What features of ownership, of texts. Furthermore, different paratextual arrange- sponsorship and readership (e.g. annotation) can ments and page layouts could highlight for readers be discerned?’ generated a considerable amount of the integrity of the story collection as a whole, or its data. Some examples were used to illustrate various constituent parts. aspects of codices and their ownership in a Virtual 12. ‘What is the evidence for multiple stages of Exhibition (www.everycodextellsastory.eu), under the creative (re)organisation of text collections and heading ‘people’. what are the implications of that evidence?’ This 9. ‘What are the consequences of the 15th century question lay at the heart of the project and elicited shift in medium for the miscellany?’ The printing evidence such as discrepancies between the order press had just been invented and was best suited to of the texts in a manuscript and the ordering and production of single-item books. This requires further information given in a table of contents. Medieval research, but within the time available the project quire numbering and re-numbering is also evidence identified differences between countries in the impact that reorganisation of quires and consequently of the printing press on texts. In England multi-text items within a codex did take place. This could result collections persisted, with unusual longevity for stan- in different interpretations of the boundaries of a zaic romances in early prints, while among German work, which conflicts with our modern notion of the and Dutch texts there was a shift to one-item books integrity of a text. It also warned against drawing and prose at the time printing presses came along. In premature conclusions about textual organisation France, some author based collections persisted into and possible reader experiences until the exact order print, such as the works of Alain Chartier. in which items occurred at different stages during 10. The question ‘What happens when an individual the Middle Ages had been ascertained. text travels from one multi-text collection to Websites: another?’ arose during the course of the project, as http://dynamicsofthemedievalmanuscript.eu/ did questions 11 and 12. It led to discovery of numerous www.everycodextellsastory.eu examples of compilers and/or scribes adapting short Contact: verse narratives in order to integrate them into a new Bart Besamusca (Project Leader) context. It was also found that a text’s meaning could [email protected] change radically in a new context. 45
The Role of Language in the Transnational Formation of Romani Identity (ROMIDENT)
The Romident project was overdue given the past, but instead there is a bottom-up process in which Project Leader rapid ascent of the Romani language over the last individuals take ownership and establish associated two decades following the collapse of communism linguistic practices. The case of Romani shows that in former Eastern Bloc states. Romani is now by far regulation of status and planning of a language can be the biggest first language in the European Union that instigated and even implemented by institutions other is not spoken by a majority of people in any region than national states. All this leads to pluralism of form or country, with at least 3.5 million speakers living rather than unification. Yet language is a key locus for in dispersed communities. Traditionally an oral political mobilisation, allowing participants to claim Professor Yaron Matras language whose use was largely limited to informal authenticity and offering intervention by external Department of Linguistics, School of interaction in the family domain, over the past few sponsors. It provides a forum for discussion through Languages, Linguistics and Cultures, decades Romani has gradually expanded in function which traditional images can be challenged and recog- University of Manchester, United to embrace formal usage including various functions nition can be awarded. Kingdom in public discourse. Having started in the 1960s, this development gained momentum after the early 1990s Romani case helping understand diasporic Principal Investigators: following the democratisation process in Central and identity in era of globalisation Professor Peter Bakker Eastern Europe, where the majority of the Romani- Linguistik, Institute for Anthropology, speaking population resides. Romident set out to The project set out to investigate what roles language Archaeology and Linguistics, Aarhus investigate the ongoing role of language in forging has played in forging the modern Romani identity. Universiteit, Denmark the modern Romani identity and in turn shed light on These roles include as a key cultural asset providing Professor Dieter Halwachs our theoretical understanding of trans-national and a foundation for identity, as an emblem of identity, Institute for Language, Plurilingualism diasporic identity formation in the age of globalisation. and as a medium through which identity is presented and Didactics, University of Graz, and communicated. It assessed what social condi- Austria Political freedom and electronic tions and attitudes support pluralism or diversity communications have helped in the formation of identity, and at the time the The number of PhD students linked to Romani expansion forces that encourage convergence or uniformity. (and trained in the framework of) the project: The project explored the role new technologies play 1 PhD student The emergence of new Romani political, cultural in the innovative use and shaping of language and and religious networks supported by trans-national the extent to which European-led initiatives and organisations, coupled with the rise of electronic processes have helped raise the profile of Romani communication, have contributed to a massive in individual countries. It tried to address the more expansion of Romani into new domains. Romani is a specific question of how local initiatives, emanating fascinating test case for the role that language plays from Non-Governmental Organisations (NGOs), in the consolidation of identity in a globalised world. local authorities and individual activists, are reacting Standardisation is no longer inherently connected to to a recent Council of Europe initiative on Romani. the ‘territorialisation’ of language as in the historical Another key question was how members of Romani 46 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
communities are inspired to engage in ‘language user networks. The project also examined hybridity activism’ through trans-national encounters. In a in Romani identity and language, involving the extent broader sense the project was taking the Romani of mixing with the surrounding European languages. model in its pluralist and trans-national context as a This included structural hybridity exemplifying case study for enhancing theoretical understanding of contact between languages at various levels, including trans-national and diasporic identity formation in the choices in spelling, grammar and innovations in use of age of globalisation. words. Then in order to obtain a picture of the role Analysing Romani written work language plays in the process of identity consoli- dation through public debates as well as personal These questions were tackled by collecting and analysing participation and networking, the project analysed a wide variety of relevant written work in and about policy measures at the European level, covering Romani, coupled with samples of speech to assess the consideration of Romani in political resolu- the role of dialect and structural variations in the tions, recommendations of the Charter for Regional language. The written work comprised educational or Minority Languages, and their implementation publications and translations of texts into Romani, as through state-based measures. This extended to well as resolutions and reports by international organ- examination of how language is used in online and isations pertaining to the status and protection of the published narratives that deal with Romani identity Romani language. Spoken language data on Romani and history, and the extent to which Romani identity was obtained from a variety of dialects in order to is supported by linguistic data and discussions of obtain a clearer picture of structural variations within language. Complementing this analysis, the project Romani and how these are distributed. looked at how images accompany the promotion and The project investigated structural variation delivery of Romani language teaching in textbooks across dialects through in-depth documentation of and on websites. spoken varieties and then identifying key features of To this end, the project developed a series of variation. These features were then compared with procedures for compilation and evaluation of bodies samples represented in writing in both coherent texts of writing and speech. Together, these various such as translations and educational materials, and procedures are what gave the project its unique meth- in spontaneous online exchanges on social media. odological character. It compiled a body of Romani Special attention was given to the varieties of Burgen- language works, many of them translations of political land and Mitrovica and to the Romani dialects of and information texts in other languages, and then Romania as examples of dialect variation. The project developed an automated system for parsing and investigated how clusters of structural and ortho- tagging these that recognised established (previously graphic variants, involving differences in spelling and recorded) vocabulary. This system also identified grammar for example, can be traced through online grammatical formants, meaning the parts of spoken 47 The Role of Language in the Transnational Formation of Romani Identity (ROMIDENT)
words where the acoustic energy is concentrated, Expanding vocabulary and giving an idea of intonation. On that basis it was able to structural complexity identify new lexical formations and so define a sort of subset corpus of what the project termed ‘new vocabu- The project was able to characterise the structural lary’. This was significant because new words are one changes that accompany the functional expansion of the principal manifestations of a language whose of language use into new domains. These include use is entering the public domain. the emergence of a more complex syntax, new The project recorded samples of spoken data and functions for cases and creation of additional words developed a method of annotating and tagging items, for new concepts. New nouns were created, often retrieving structural variants into a table repre- from existing verbs or adjectives, for more complex sentation, which facilitated automatic linking of a concepts. These expansions in vocabulary in partic- descriptive structural overview of a dialect with audio ular emerged through integration and hybridity with and transcription examples from a body of connected the ‘contact language’, meaning the one dominant speech samples. The project applied a computational in a given region, which is often English in this case. method for assessing network connections among Hybridity plays a role in that written Romani often online users of social media, using the example of replicates the code of the dominant language syntac- comments on YouTube videos, which were used to tically as well as lexically. The project was therefore plot the distribution of dialect-structural and ortho- able to identify a new dimension of contact-induced graphic variants among clusters of users. This enabled language change, one that is distinct from that found online social networking to be linked with a bottom- across spoken varieties of Romani. The analysis of up approach to classify the language. Finally, the written samples showed that Romani on purely infor- project used elements of critical theory and discourse mative websites is confined to symbolic functions analysis to interpret narratives on Romani identity whereas the contact language, often English, covers and their reliance on information about language and the communication. On the other hand, Romani is how it is represented in political resolutions. This also also used for communicative functions on interactive involved analysing shifts and the emergence of new websites primarily used by Roma. ideas in concrete language policy with consideration In such cases written Romani is transposed from to the contributions of agents, facilitators and audi- oral usage in everyday life and private contexts into ences. the informal style of social media for interaction As a service to the community of users, the project among people in public, even when they do not know created a Romani Virtual Library containing a each other. Here, the project identified the common catalogue of educational material, text translations, liberty users take to mix languages and follow what reports, resolutions and project publications. was termed ‘cosmopolitan practices’. In these online forums, there are two kinds of user network as far as the choice of dialect features and orthographic 48 HERA JRP: Outcomes and Achievements – Cultural Dynamics: Inheritance and Identity
representation is concerned. The first is a cluster of absence of a home territory, collective historical users who belong to the same or similar Romani ‘group’ awareness, leadership structures, formal institu- or ‘nation’ and who share a dialect, so that their online tions, and literacy, all of which as elements build an network tends to display consistent selection of ‘imagined community’ in the sense of Anderson’s dialectical features. However orthography, primarily (1991) substitute term for ‘nation’. There is now the spelling and grammar, varies, because of the hybrid initiative to grant Roma recognition at the European factor through contacts with majority languages. level, followed by implementation. We also witness This factor is variable since the online communities the emergence of a different kind of language policy often represent dispersed diaspora communities. This discourse that departs from conventional language means there is consistency in use of dialect but diver- planning and views pluralism of form as enabling sity in orthography, including spelling and grammar. expansion into new domains. The other kind of user network identified by the project was more dispersed, united around a Implications beyond Romani common Romani theme (often musical or religious or both) but in this case exhibiting a pluralism or Altogether, the project has heralded the emergence diversity of dialects as well as orthography. We can of a language policy that may be characterised as therefore recognise a Romani ‘virtual community’ non-territorial in its outreach, transnational in its which tends to make use of the flexibility offered by strategic approach, and pluralistic in its practical the informal character of social media to transpose implementation. The project’s resources as presented everyday multilingual practices, such as switching in its Romani Virtual Library will help understand between languages, from face-to-face, private and oral and implement teaching and learning strategies communication into remote, public communication in that follow this pluralistic process, i.e. cater for the writing. At the same time this exploits the opportuni- language needs of a trans-national audience and ties offered by electronic communication to promote make use of the opportunities of digital technology a codified form of speech variety that has so far been for both language promotion and analysis. limited to vernacular use. The analysis of Romani and its representation in identity narratives has shown us that Romani language is acknowledged as a key feature of the culture of the population referred to in the polit- Website: ical discourse as ‘Roma/Gypsies’. http://romani.humanities.manchester.ac.uk/ Language serves as the ideological basis from atmanchester/projects/RomIdent.shtml which elements of nationhood are derived, such as Contact: territorial origin and similarity, as well as a common Yaron Matras (Project Leader) cause in the promotion of language itself. This is [email protected] especially crucial in the case of the Roma due to the 49
Humanities as a Source of Creativity and Innovation 50 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation 51
Introduction
It is important to establish the historical context of On the one hand, there is legitimate concern that the It is difficult also to approach the Arts and this programme, focusing as it does on creativity and values of creativity – the imaginative leap, the risks Humanities as a source or panacea for creativity innovation. The specification, written in late 2007, of the genuinely new, the iconoclasm in the face of and innovation. This always seemed to risk being states the context thus: established conventions of thought – are tamed and profoundly instrumentalist, offering a promise Historically, critically and practically, creativity instrumentalised when they are placed at the service that Humanities research was not being conducted is a central term in the vocabulary of the arts and of the economy. On the other hand, the very centrality ‘for its own sake’, but was part of an agenda of social humanities. Implicitly or explicitly, it informs our of the conjunction offers arts and humanities research improvement and economic impact. On the contrary, value systems and our critical discourse. Histori- the opportunity for real interdisciplinary engagement it seemed to me, precisely what Humanities brought cally, it contributes to our sense of the periodisation with the ways in which the terms of creativity are being to the mantra of ‘Creativity and Innovation’ was that of culture. Then practically, it defines the aims and revalued by science, technology and the wider economy. humanistic scepticism the Humanities have been aspirations not only of the creative and performing It offers the chance to bring our own research to a better bringing to sacred languages and final vocabularies arts but also of new thinking in almost any area of understanding of what it means to link creativity to since the Renaissance. Rather than providing a mecha- intellectual endeavour. This includes science, medi- innovation, culturally, socially and economically. It is nistic source, the Humanities might return creativity cine, engineering and technology, which would all lay the aim of this programme to seize this opportunity. and innovation to questions of value, imagination, and legitimate claim to creativity as a central term of The programmes outlined below do exactly this: ethics. Somewhat to my relief, although the projects their research and development. And yet, despite they seize the opportunity, and in creative, innovative, are undoubtedly about creative and innovative prac- its centrality, the nature of creativity – its defining and surprising ways. While one might have anticipated tices, about how they work, how they are regulated, conditions, its workings in different arenas, and its some engagement with issues of the measurement and how they are valued in a number of very inter- values – seem often to be assumed rather than criti- of impact, or of authorship or preservation in the esting contexts, the researchers seem to have shared cally understood. digital age, it is a surprise and delight to find research some of my scepticism and have largely avoided the In recent years, creativity has come to be absorbed engaging with issues of creativity and innovation in search for the illusive (and illusionary) source. almost formulaically into a new conjunction, ‘creativity the Bronze Age or in early modern fashion, in ways They have done what Arts and Humanities researchers and innovation’, which is proposed as a key driver of which draw in, contemporary artists and innovators characteristically do: they have been properly, appro- the economy. Not only in the ‘creative industries’, but while building on their work. priately, and intellectually subversive. Even a project also in business and industry more generally, creativity Historically, after the various banking and finan- like HERAVALUE, which sets out to measure the and innovation are seen as forces to be harnessed in cial crises of 2008 (the year in which this programme societal impacts of universities’ research into arts and the service of economic growth. Policy reports and was launched), it became even more difficult to the humanities, and which seems to take the title publications such as the Lisbon Declaration (2000) approach the magic formula of ‘creativity and innova- of the programme on its own terms, manages to recast argue that creativity and innovation are central to tion’ without some degree of caution and scepticism. the question of impact from economic value to public progress and development, and the goal for Europe With the collapse of financial markets and the public to become the most competitive and dynamic knowl- rescue of banks, what had perhaps been missing from edge-based community in the world by 2010 has put the formula was ‘risk’ - creativity, innovation, and risk. Digital world. Composite artwork of the innovation at the top of the European research agenda. This made it even more apparent that there were ques- Earth superimposed with alphanumeric This conjunction of creativity and innovation can tions of value, ethics and public responsibility buried digits. © Christian Darkin/Science Photo Library be perceived both as a threat and as an opportunity. in the easy formula. 52 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
value. The strength of the projects is in opening up a the creative communities of electronic literature constantly revisiting and re-opening debates. The field of enquiry around fields of creativity and innova- (ELMCIP), or on the ways in which globalisation may question of research value is not always about find- tion – mapping a topography – rather than fencing it hamper or stimulate cultural production (CIM), or ings and outputs, but about processes and outcomes. off behind instrumental, mechanistic or formulaic on the impact of scarcity on design-led architectural As with the Large Hadron Collider, the real lasting boundaries. creativity (SCIBE), are clearly central questions, and value may not just be about discovery, but about My other concern was that the rhetoric of they could be addressed within national boundaries the processes of collaboration, of crossing national, creativity and innovation seems to reverberate with as national Research Council projects. Each of the disciplinary and professional/public boundaries, the present and the future and there was a risk that projects however seems to me to be both richer and and of the technologies that allow us to do this and history might be absent. I was clearly wrong. Not more productively complex by bringing together disci- imagine research differently. only is one of the projects, CinBA, on Bronze Age plinary and national perspectives, and by engaging On that count I feel both pleased and privileged craft, another on the history of fashion (Fashioning with practitioners and a wider public. On a reading to have been involved with this first HERA Joint the Early Modern), but others – on authorship in of the reports, the interest is precisely in the interna- Research Programme, with the people who have worked the digital environment (OOR) or on the digitisa- tionality and engagement, in the cultural perspectives in HERA to develop and support it, and with the tion of cultural heritage (CULTIVATE) are clearly from which they come and in the comparisons which modes of working and the possibilities of research historical in their analyses and are quite explicit in they enable. That is where the surprising insights lie, which it has enabled. challenging the relentless ‘spectacle of the present’. and it is where the paradigms begin to shift. From a In fact, it is this capacity – this predisposition – to research perspective, the reports are testimony to the Professor John Caughie think historically, which seems to me to be charac- value of collaboration, of internationality and of inter- University of Glasgow, Chair of the teristic of Humanities research; and it is exactly what disciplinarity in opening the research to questions Working Group for the HERA JRP theme the Humanities brings to Creativity and Innova- that cannot be contained within frontiers and could ‘Creativity and Innovation’ tion: a historical scepticism about formulaic, closed not be addressed as ‘local’ intellectual or practical language, which in turn opens the formula up to ques- problems. tions of value, ethics and progress, of emerging and Issues of instrumentalism and impact are not residual meanings. going to go away, and public funding is going to At the centre of the HERA programmes is cross- continue to ask questions about the societal value of border European collaboration. This is the first Joint publically-funded research. In many ways, I think this Research Programme run by HERA, and it repre- is right, and if our research is of the kind that needs sents collaboration, and a quite remarkable level of the injection of public funding then issues of value for engagement with the public and with creative commu- money are legitimate. I think part of the business of nities, on issues which are genuinely enriched and arts and humanities research is to complicate instru- complicated by working across national and cultural mentalism and take a different view of the impact, boundaries, and across academic and non-academic while addressing the associated questions. And I think sectors. Projects on the cross-fertilisation between the projects here have accomplished that. Research creative artists and creative, commercial and tech- in Arts and Humanities is an area in which intellec- nological industries and businesses (TEF), or on tual advance is not always made by discovery but by 53
Copyrighting Creativity: Creative Values, Cultural Heritage Institutions and Systems of Intellectual Property (CULTIVATE)
The digitisation of cultural archives makes them Originality). Equally there was interaction with Project Leader more accessible to the public but also creates difficult other HERA projects where copyright issues were challenges relating to copyright and intellectual prop- relevant. This is highly timely given that large-scale erty that were previously either irrelevant or had been digitisation of cultural heritage has become an thought to have been settled. CULTIVATE was set internationally hot issue that is increasing further in up to address these challenges through a three-year relevance as the question of big data becomes more research collaboration between the Universities of and more pressing. Big data is more commonly asso- Copenhagen, Uppsala, London, Utrecht and Iceland, ciated with science and technology but is becoming Professor Helle Porsdam as part of the HERA Joint Research Programme for increasingly significant for the humanities as digi- The SAXO Institute, Faculty of the theme ‘Humanities as a Source of Creativity and tisation creates new ways of accessing information Humanities, University of Copenhagen, Innovation’. and conducting research through analysis of diverse Denmark sources of data in archives and on the Internet. Tackling the relationship between creativity, CULTIVATE has focused on one significant Principal Investigators: intellectual property law and cultural heritage thematic issue in pursuing its objectives. This was in Professor Eva Hemmungs-Wirtén recognising the seminal role heritage institutions play Professor of Mediated Culture in the Digitisation creates new opportunities for making in making culture accessible and also encouraging Culture Studies Tema of the Department culture accessible and presenting it as the collec- new creative output. The ambition of CULTIVATE of Social Change and Culture, Linköping tive memory of society. But digitisation also raises a has been to address the overall relationship between University, Sweden wide range of issues around intellectual property: the creativity, intellectual property law, and cultural Professor Fiona Macmillan process of digitisation involves copying, and when heritage from a European perspective. This has been School of Law, Birkbeck College, the digitised information is made available via an internal done against Europe’s unique background of multiple University of London, United Kingdom network or the Internet, also publication. languages, cultures and legal traditions. Assistant Professor Lucky Belder and This comes at a time when humanities scholars are Professor Madeleine De Cock Buning becoming more interested in copyright and intellectual Building collaboration Centre for Intellectual Property Rights, property as a whole in the European context. For many Faculty of Law, University of Utrecht, years, copyright lawyers have paid growing attention to Collaboration and exchange of ideas were encouraged Netherlands questions concerning ownership and reproduction of throughout the project to build on existing expertise Associate Professor Valdimar Hafstein creative and innovative output in cyberspace, in a sense in the field of copyright and apply it in the context of Department of Folkloristics/Ethnology, exploiting terms and practices that historically have cultural heritage. The project began by setting up its University of Iceland, Iceland been the preserve of the humanities. own website as a key first step, serving as a common It has therefore been a major goal of this project reference point for all partners, and for the work plan. to generate a critical and useful discussion around All deadlines were then met, with three key joint the subject of intellectual copyright and share knowl- meetings for members of CULTIVATE during the edge with the other HERA project that focuses on period. The first CULTIVATE meeting took place in copyright issues, called OOR (Of Authorship and Steningevik, Stockholm, Sweden from 29 September 54 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
For two years I have participated in Professor to 1 October 2010. Individual presentations were given Spreading the message “Helle Porsdam’s HERA-project CULTIVATE as by PIs (Principal Investigators) and researchers a postdoc and I have greatly benefitted from from the five participating universities as well as by As with other HERA projects, an important aspect was working with the five leading scholars from representatives of the Associated Partners. These making the findings as widely available to the public various universities in Europe. Coming from were followed by a panel discussion. around the world as possible. This led to a variety of a background in comparative literature I was CULTIVATE’s interim meeting took place in events during the project, such as an expert meeting in completely new to the areas of copyright, Amsterdam on 29-31 October 2011. In addition to indi- 2012 initiated and organised at Utrecht University and creativity and cultural heritage, but the entire vidual presentations by Principal Investigators and open to the public, discussing Public Private Partner- group of senior scholars have been welcoming researchers from the five participating universities, ships (PPPs) in the cultural sector. and inspiring – scholarly as well as personally. as well as by representatives of the Associated Part- There was also a tour to Indonesia where a number During the two years I got to participate in ners, a workshop on a joint interdisciplinary project of public seminars and conferences were organised workshops and meetings around Europe and on Albrecht Dürer’s famous Rhinoceros woodcut, and on cultural heritage and copyright. This trip served attended a conference at Tate Modern in a concluding PI meeting, this interim meeting also for further discussion and research on intellectual London organised by the CULTIVATE team. offered a lecture that was open to the general public. property issues, which also featured in a seminar at Furthermore, I visited both Harvard University CULTIVATE’s final meeting was a two-day confer- the University of Iceland. Knowledge-exchange and the University of Cambridge together with ence, which took place in London on 26-28 April 2013 and dissemination to non-academic audiences were Professor Porsdam. In toto: HERA has enabled - at the TATE Modern, one of the British Associated conducted at high-profile venues such as the Danish me to meet and work with internationally Partners. The conference featured 10 invited guest Royal Library, the Danish National Museum and the esteemed scholars and to continue working speakers and was open to the general public. CULTI- Tate Modern. on questions regarding cultural heritage, VATE PIs and researchers from the five participating CULTIVATE also engaged widely in public relations digitisation and culture in a cross-disciplinary universities used a pecha kucha – a presentation style and communication. The website (cultivateproject.dk) network. in which 20 slides are shown for 20 seconds each (six was the central source of information, but the project ” minutes and 40 seconds in total) – to present major also had a Facebook site, put pictures from its sessions research findings. and events online on Flickr, started a YouTube channel The minutes and documents from all the meetings with its own interviews and other related material, are available on the project website, along with the and put audio files online. CULTIVATE hired the programmes. Italian documentary film-maker Federica Messina Representatives of CULTIVATE also participated to make a short documentary during the London Mia Rendix in other HERA-related events, including a workshop in meeting at TATE Modern in April 2013. The film, Postdoc with CULTIVATE and now Vienna in June 2010, a workshop in Zagreb in June/July which is available online, was shown at HERA’s final Associate Professor at Aalborg University, 2011, and HERA’s final meeting in London in May 2013. meeting in London in May 2013, where it served to Denmark All members of CULTIVATE furthermore participated present CULTIVATE to members of the other HERA in April 2011 in a workshop on copyright. projects, as well as to members of the general public. 55 Copyrighting Creativity: Creative Values, Cultural Heritage Institutions and Systems of Intellectual Property (CULTIVATE)
Denmark example of small state which will be published by the University of Chicago Cultural institutions as pressured by global forces Press (http://press.uchicago.edu/ucp/books/book/ consumers and producers chicago/M/bo19722759.html). This is far from being The project took Denmark as a case study of a small just another conventional biography on the famous Cultural heritage institutions such as museums exhibit state whose population perceives itself and its culture Polish-French scientist, and is the result of work by a dichotomy in being both producers and consumers to be under pressure from both European and global the author Hemmungs Wirtén in CULTIVATE. The of work protected by copyright. This means they are forces. The country is ready to enter the ‘copyright book focuses on the cultural construction of the rights holders as well as users, with a key role serving wars.’ On this front two different themes were pursued, Curie persona, unveiling the mechanisms behind the public interest in the protection of cultural heri- the questions of who owns cultural heritage and of claims of authorship and intellectual property made tage and cultural diversity. This aspect of intellectual digitisation. in the name of the person/persona Curie. The book property was studied by the Dutch CIER/CULTIVATE For both topics CULTIVATE was able to draw on addresses the role played by print culture in under- project on ‘Cultural Heritage Institutions, Copyright the expertise of the two Danish Associated Partners writing these key aspects, tackling questions such and Cultural Diversity’, reflecting on the position in the project: The Danish National Museum and the as how the icon Marie Curie was made, and how she of cultural heritage institutions with respect Danish Royal Library. This meant firstly that inter- made herself. The book provides an innovative and to copyright-related questions. Since globalisation national copyright debates could be related to the historically grounded study on the role played by makes the practice of digitisation of cultural heritage particular Danish, small state, context; and secondly intellectual property in this story of the making of also relevant outside the European Union, this study each of the competing interests in the copyright wars an icon. included a non-western frame of reference by consid- could be seen to be understandable and legitimate ering cultural heritage institutions in Indonesia. of themselves. It was concluded that the solution to Copyright, human rights and arts festivals the copyright wars lay in finding the right balance Protecting the “Unknown Author” between these different interests. This project featured a case study on the policy and practice of arts festivals, examining the relationship The final part of CULTIVATE was the project Protecting Intellectual Property, Celebrity there between copyright, cultural property and human the “Unknown Author”: Collective Creativity and Culture and the Power of Print rights. This involved an analysis of the concept of the Intellectual Property, featuring various case studies. arts festival as a site of creativity and cultural heritage. This started with a study of the concept of the The story of Marie Curie is of one of the greatest It then considered the role of copyright in promoting “unknown author” as set out in article 15(4) of the scientists who uniquely won Nobel Prizes in two and protecting creative relations within the space of Berne Convention covering protection of literary and different sciences, physics and chemistry. It is also the arts festival, as well as the relationship between artistic works. This article specifies that all creative a story of an icon and of how it helped raise modern copyright, other intellectual property rights, and the output shall be copyrighted for at least 50 years after science in the public consciousness through the protection of cultural heritage in this context. The publication or first showing if the author is unknown, power of celebrity and print culture, all under the main impact of this work has been the development of with the exception of photography when it is 25 years. influence of intellectual property. This second a new approach to the relationship or interaction Then the project considered an actual historical case aspect of the story has been told for the first time in between private and public/community rights. of a conflict over authorship and ownership of folktales the book, ‘Making Marie Curie: Intellectual Prop- between the Brothers Grimm and H.C. Andersen, as erty and Celebrity Culture in an Age of Information’, well as a study of an international debate over copyright 56 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
regarding the folk song known as “El Condor Pasa”. created by the failure of the law, internationally and Fourthly there was a case study of a national debate, nationally, to recognise the conflicts that arise when which had international repercussions, over copyright private property rights and community/public rights over an Icelandic folk song known as “Vísur Vatnsenda co-exist in relation to the same intangible cultural Rósu”. There was also an ethnographic study of WIPO’s subject matter. Intergovernmental Committee on Intellectual Property Finally, the work on Festivals looks set to make a and Genetic Resources, Traditional Knowledge and conceptual breakthrough that will benefit scholarship Folklore; a case study of the “Ballad Wars”, a polemic in the humanities (and economics) and policy-forma- debate in Denmark in 1847-1848 concerning editorial tion in the cultural sector. policy, folklore, and authorship; a critical evaluation of New funding opportunities are actively being the cultural heritage as a concept, a catalyst, and a bone pursued; collaborations and partnerships are set to of contention; and finally a critical evaluation of the continue. concept of cultural rights, its history, construction, and currency.
Creativity involves adaptation Final CULTIVATE meeting at the TATE Modern, as well as originality London, 26-28 April 2013. © Sigurdur Olafsson With its interdisciplinary combining of legal studies and cultural heritage research, this project has overall potential to revise the understanding of the importance of intellectual property for the humanities as well as of the role of creativity in the arts, giving credit to adaptation as well as originality. It has already had a tangible impact in one instance, with The Performing Rights Society of Iceland (STEF) making a radical change in policy with regard to traditional music. The project has furthermore highlighted the position of cultural heritage institutions as both ‘consumers’ of copyright protected works and as ‘producers’, and Website: therefore rights holders, to copyright protected works. http://cultivateproject.dk/ It has shown how modern science emerges in the inter- Contact: section of celebrity culture, through the power of print Helle Porsdam (Project Leader) culture, and under the influence of intellectual prop- [email protected] erty. It has offered proposals for resolving the impasse 57
Creativity and Craft Production in Middle and Late Bronze Age Europe (CinBA)
Studies of creativity frequently focus on the Material culture driven by creativity Project Leader modern era, yet creativity has played an important role throughout human history. Creativity can there- This project investigated Bronze Age objects as a fore only be properly understood by complementing means of gaining insights into the development of present-day studies with investigations of the past. creativity before the written word. The Middle and This collaborative research project aimed to fill that Late Bronze Age is a fertile period for such study gap by exploring creativity during Middle and Late because changes in material culture were driven Bronze Age Europe (1800-800/500BC), looking at largely by developments related to creativity rather Dr Joanna Sofaer developments in decorative motifs, techniques and than technology, which saw only modest changes. Department of Archaeology, Faculty of skills for three different materials: pottery, metal Types of loom remained basically the same, while Humanities, University of Southampton, (bronze) and textiles. methods for casting objects were being established United Kingdom The Bronze Age was rich in creativity, including and potting techniques were not substantially altered. key steps in human history such as development of The main shifts were the result of developments not Principal Investigators: metallurgy, establishment of long-distance contacts, in technology itself but in the skills needed to apply it Professor Lise Bender-Jørgensen and changes in ritual life. This was accompanied and the creativity to exploit the potential of materials, Department of Archaeology and by unprecedented flowering of craft activity with a in particular their surfaces and different degrees of Religious Studies, Norwegian University distinctive emphasis on the pleasing aesthetic through plasticity. of Science and Technology, Norway intricately elaborated objects. Crucially, this period These developments in skills varied between mate- Dr Flemming Kaul precedes the development of the state and urbanism, rials, reflecting differences in properties, the kinds Danish Prehistory, National Museum in which craft production became separated from the of experimentation and decision-making processes. of Denmark, Denmark domestic sphere and the making of art recognised as a For pottery, there was sophisticated, complex and Dr Anton Kern distinct activity. varied treatment of clays, use of distinct colour Prähistorische Abteilung, Furthermore, specific regional differences in effects including black vessels, and more elaborately Naturhistorisches Museum Wien, Austria culture and ways of life led to a wide diversity of decorated surfaces combining a variety of finishes Dr Ivan Mirnik practice, with cross-fertilisation between materials and decorative techniques. Bronze objects were cast, Department of Numismatics, and cultural groups. The Bronze Age is therefore a twisted or beaten into complex shapes, techniques of Archaeological Museum in Zagreb, Croatia critical moment for understanding the dynamics of surface decoration were being experimented with, and Dr Marie-Louise Stig Sørensen creativity in cultural products. These changes have new motifs appeared. For textiles, there were impor- Department of Archaeology, University previously been analysed, but primarily in social tant changes in the production of patterned surfaces, of Cambridge, United Kingdom or economic terms, neglecting the creativity that the selection of raw materials, the introduction of underpinned them. In addition, the potential impact dyes, and the elaboration of surfaces through embroi- The number of PhD students linked to these objects may have today as a source of inspira- dery. (and trained in the framework of) the project: tion and means of creative engagement for different The research comprised comparative studies of 3 PhD students paid directly by the project, groups, including craftspeople, has never been these materials in three regions on a north-south 3 affiliated to CinBA, 1 Masters student considered. axis: Scandinavia, Central Europe and South East (dissertation completed within the project) 58 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
In 2010 I had the privilege of joining CinBA as Europe. It focused on the development of craft-skills • The Perception of Prehistoric Craft Today “a doctoral research student at the University and stylistic characteristics, comparing their similari- The question under this heading was how different of Cambridge. With its explicit focus on ties and differences. Examination of contemporary contemporary groups respond to the creativity creativity, the project provided fertile ground engagements with Bronze Age objects helped eluci- inherent in prehistoric objects. For contemporary for innovative, interdisciplinary research into date the relationship between ancient and modern designers/makers this may lead to use of the objects as Bronze Age material culture. creativity. The research was divided into four related inspiration for their own creativity, while for the wider Alongside its role as a source of intellectual analytical areas: public, participation in the reproduction of prehistoric inspiration, CinBA was a springboard for • The Qualities of Materials objects may change their view over how things are academic collaborations both within and Key questions investigated under this heading include made. Within previous heritage and museum studies, beyond archaeology. Thanks to CinBA, I was how the innate qualities of each material inspire, much attention has been devoted to visitor experi- able to attend international conferences and guide and restrict the production of objects, and what ence but this has not included explicit investigation of to organise an interdisciplinary workshop in specific decisions were required to work with them. how people today may find inspiration from engaging Cambridge. For example how did the qualities of metal surfaces with prehistoric objects. This is important since it may Ultimately, CinBA has not only fuelled my make it possible to develop new figurative designs provide the basis for new types of heritage experiences fascination with the Bronze Age, its objects and such as the decorative compositions on razors? in which the creative potential of objects is explored people; it has also corroborated my belief that • Motifs and Skills more imaginatively, as well as providing inspiration what archaeologists have to say about the past Here the project looked at the development of skill and suggesting new roles for the contemporary craft is relevant in the present. And at a time when and motifs, and comparisons between the materials sector. the humanities as a whole and archaeology in terms of technical relationships and cross-material in particular are under constant threat of influences through the transfer of knowledge. For Creativity guided by potential of materials being reduced to a cultural commodity, this example, what technical solutions were developed and realisation seems more acute than ever. which were shared between materials (such as use of The focus on the fundamental nature of creativity ” moulds)? through its material expression has shed light on the • Spatial and Temporal Trends crucial role played by the qualities and potential of This involved tracing changes within and between materials. Under each of the three material categories, materials in the context of trends identified under the textiles, metals and pottery, the project analysed the first two questions above. For example, was patterned responses of Bronze Age craftspeople to the innate weaving developed independently in different parts qualities of each material and the impact this had Sebastian Becker of Europe and to what extent did designs in textile on creativity. This yielded a detailed understanding CinBA PhD student at University production become shared? The application of modern of how potters responded to the plasticity of clay in of Cambridge archaeological techniques meant that with the terms of the manipulation of their material. In the focus on its material aspects, this project was able to case of metalwork, the use of tin-alloys led to unifor- provide an in-depth analysis of how the expressions mity and standardisation. In textiles the desire for of creativity change over geographical areas and also new fibres had a profound effect on herd management change over the long term. through selective breeding of sheep for white wool and 59 Creativity and Craft Production in Middle and Late Bronze Age Europe (CinBA)
finer fibres. This in turn drove development of appro- Apprenticeship and design principles can have different dynamics, with one element shared priate tool kits and practices to handle the new fibres between groups without the other. Specific aspects of effectively. At the same time on the textile production Light was shed on the role of apprenticeship in each shared iconography, such as the bird, may be empha- side, there were developments with colour, pattern and of the three materials. This also revealed specific sised in one region but not in another. texture to exploit the new fibres that were becoming instances of co-operation between several different Another key finding was how innovations within available. The project unearthed some of the earliest people in the making and decoration of objects, in metallurgy inspired imitations and developments evidence of dyed textiles in Europe, their geographical some cases highlighting group creativity. throughout Europe. At the same time specific shapes, spread and the range of colours used. Investigation was carried out of design principles such as the idea of the one-edged razor, were adopted used in the decoration of Bronze Age objects. This and further developed in some geographical areas, Creativity linked with beliefs identified contextual and material-specific design but ignored in others. In the case of textiles, there rules in terms of the use and placement of particular was rapid diversification in central Europe, but not in Creative developments in crafts were intimately motifs on and between materials. This revealed how Northern Europe. linked with other areas of human life, with influences creativity can be expressed within constraints and in both directions. The project examined in detail the identified how inspiration was transferred between Prehistoric craft inspires people today links between creativity in making objects and other materials, highlighting in particular the importance aspects of society including cosmology and belief that of textiles during the period. For example ornamental Working closely with CinBA's non-academic part- developed during the Middle and Late Bronze Age. twists seen in bronze jewellery from Scandinavian ners The Crafts Council and Sagnlandet Lejre, the This in turn helped lead to a better understanding Bronze Age graves may have been inspired by the project analysed in detail the contrasting responses in of the conditions or circumstances under which twist of yarns in textiles, as were cord impressions emotion, experience, and practice of different groups creativity may flourish. on ceramic vessels. of contemporary people to prehistoric objects. This In ceramics, for example, some Late Bronze included contemporary craft makers, those involved Age bowls were designed as 3D representations of Shifting creativity in time and space in reconstructing prehistoric objects, the public, and cosmologically significant emblems, such as the sun archaeologists. It was found that the senses, emotions and wheel, giving people the potential to re-enact The project revealed contrasts and shifts in creativity and also story lines relating to the archaeology of the myths during their use. In textiles the direction of over time and space both within individual materials objects all influence the creative processes of modern spin patterns was related to the myth of the cycle of and between the three material categories. This led to people engaging with the Bronze Age. The project the sun. There was also the use of 3D motifs to create exploration of the conditions under which creativity found various ways in which the past can be used as specific and deliberate haptic effects such as direc- took place. For all three materials the complex a basis for modern creativity, to the extent that it has tionality and impressions of animation or movement dynamic between external influences, local prefer- given craft makers a new role as novel interpreters of through their placement and repetition, in particular ences, copying, transgressions, and shifts in forms the Bronze Age. the bird motif on objects made from bronze. and their contextual meaning were investigated. A distinction was identified between “hard”and This showed that such relationships were significant “soft” (technical vs emotional) material engage- aspects of innovation and creativity in the produc- ments, with some materials proving far more tion of objects. For example it became clear that the inviting for the general public than others. This led technology of pottery making and of its decoration to differing creative outcomes, with a distinction 60 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
between those resulting from tactile rewarding part of the CinBA website has proved popular. It experiences and those connected to cognitive offered collaborative art projects designed by CinBA, engagement. which presented opportunities for the public to participate in CinBA by producing and transforming Communicating the outcomes images originating in Bronze Age motifs. Furthermore the approach to knowledge exchange Given the wide range of outcomes from CinBA of has proved of interest to policy makers within the interest to diverse groups of people, the project’s Humanities. CinBA has been invited to present its dissemination activities were of particular impor- approach to knowledge exchange at several high- tance. These outcomes resulted in over 295 individual profile international events, with the research outputs transmitted via 24 different kinds of published in refereed journals, monographs, edited dissemination. Knowledge exchange was embedded books, on-line, popular publications, magazines, throughout the project and CinBA activities extended national newspapers, and TV broadcasts, ensuring a the reach of the project to creative professions and wide reach for the findings. heritage organisations. The number and range of outputs has enabled CinBA to maximise impact while also directing these at particular stakeholders, including academics and students, contemporary craftspeople, cultural heritage institutions, tourism Bronze Age razor, and craft centres, and the wider public. Thighøj, North Jutland. The research led to a report on the potential of © Courtesy of National Museum of Denmark creative expression for heritage institutions. Major European museums (National Museum of Denmark; Natural History Museum, Vienna; Archaeological Museum in Zagreb) have engaged with the project through exhibitions and visitor activities, using CinBA research to enhance content and delivery of outreach programmes. The CinBA Live Project involved over 150 contem- porary crafts students from 5 Higher Education Website: Institutions. In the Maker Engage¬ment Project http://cinba.net/ CinBA worked closely with 6 established makers. Contact: Both have been successful both in tracing responses Joanna Sofaer (Project Leader) to the Bronze Age and in generating new contempo- [email protected] rary craft objects and practices. The public access 61
Creativity and Innovation in a World of Movement (CIM)
CIM explored the dynamics of cultural production visation) highlighted the fact that cultural producers Project Leader and creativity in an era of intensifying globalisation always work within contexts of situational possibili- and transnational connectivity. Instead of assessing ties and constraints, whether aiming to reproduce the relative novelty of end products, the project took a or recycle existing designs or inventing entirely new processual approach by analysing practices of appro- ones. We examined how such creative dynamics priation, consumption and (re)contextualisation in played out in a world in which people and places are the spheres of (popular) art, religion and museums. increasingly interconnected through selective trans- Acknowledging the significance of individual or national networks and mediating technologies. Dr Maruška Svašek group-specific understandings of ‘creativity’, the The aims and objectives were pursued through Department of Anthropological Studies, project explored critically how different notions successful ethnographic fieldwork in India, Sri Lanka, School of History and Anthropology, of cultural value and processes of authentication, Ghana, Argentina, Brazil, Barbados, Trinidad, Suri- Queens University Belfast, United Kingdom authorisation and commoditisation affected people’s name, Guyana, Canada, Australia, Norway, France, engagement with objects and images. A broad perspec- Austria and the UK. The project members focused Principal Investigators: tive was obtained by investigating concrete, partially primarily on three groups: Professor Øivind Fuglerud interlinked processes across five continents. • Contemporary artists, roadside artists and producers Department of Ethnography, University of of popular religious images who recycle, appropriate and Oslo, Museum of Cultural History, Norway Investigating how objects and images merge globally circulating styles and images. Professor Birgit Meyer are produced, recycled and consumed • Curators and leaders in cultural centres, museums Department of Social and Cultural and religious organisations who continually reassess arte- Anthropology, Faculty of Social The overall aim was to investigate concrete facts and imagery, often with specific objectives in mind. Sciences, Vrije Universiteit Amsterdam, discourses, practices and embodied experiences • Consumers of art, craft and religious artefacts who Netherlands of creative production, and to identify the distinc- creatively engage with the items in various settings. Dr Leon Wainwright tions and potential conflicts that arise between local, Formal and informal interviews were conducted Department of Art History, The Open national and global trends or influences. with contemporary producers of art, craft and fashion, University, Milton Keynes, United Kingdom The investigation revolved around four central with museum curators, gallery owners and art histo- and inter-related concepts. The first (transit) related rians, with Hindu and Christian priests and devotees, The number of PhD students linked to to the movement of people, objects and images across and with members of various dispersed diasporic (and trained in the framework of) the project: space and time. The second (transition) explored how communities. The project also took a large number of 10 PhD students participated in ROIE, objects and images in transit acquired new meanings, photographs of works of art, craft, religious imagery, the interdisciplinary Postgraduate interpretations and emotional impact during their and the settings in which they were produced, Forum, entitled ‘Researching Objects- journeys. The third (transformation) examined how displayed, sold, and used. In India and Australia, some Images-Emotions’ (ROIE), established artists and others involved in the production of object- filmed material was also produced. Participatory by CIM as part of their HERA project. and image-focused cultural output experienced and research was completed in all locations, and various 12 PhD students presented papers at the performed changing notions of self, in some cases historical documents were explored. While fieldwork Postgraduate conference ‘‘Material Lives: claiming specific identities. The fourth focus (impro- was conducted on an individual basis, there was a Objects, Images and Emotions in a World of Movement’, organised by CIM/ROIE 62 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
For the small Ethnographic department strong focus on the comparative elements of the indi- this understanding of creativity, the act of ‘repeated “at the Museum of Cultural History in Oslo vidual projects with frequent communication between doing’ is highly valued, and creation and destruction the possibility to participate in the HERA- the Principal Investigators and both their Project are regarded as cyclical processes. The new diasporic CIM project has been of great value, linking Leader and their researchers throughout the project market has, however, pushed the remediation of Kolam academics working in the museum with similar- period. designs. For practical purposes, the designs are now minded colleagues in Europe and beyond. I readily available in the form of mats, stickers, cushions feel confident that this network will outlast Creativity as improvisation and other items. Ready-made, replicated Kolams have the project and be of mutual benefit in the thus found their way into domestic altars and ritual future. The project also enabled three of our Improvisation proved to be a useful analytical tool celebrations, not only outside India but also in the young researchers working on aesthetics and to unpick specific claims to creative personhood, country. Far from being static things, the designs are material culture, two PhDs and one preparing from ‘keeper of tradition’ to ‘agent of innovation’. commoditised and appropriated into new performa- her PhD proposal, to meet senior international The creativity as improvisation perspective empha- tive contexts, gaining potentially changing situated colleagues and receive feedback from them sised the processual nature of cultural production meanings and efficacy. on their own research questions. For all of and highlighted the paradox of repetition/anticipa- them participation in the project has been tion and innovation/newness. The project found that Interpretative appropriation an enormous boost, providing confidence in neither those who aimed to make exact reproductions and situational identity debating their own projects and resulting in of existing forms, nor those who strove to invent publications additional to their PhD work. completely new ones, could escape the intertwining The project explored how people in particular socio- ” of past and present cultural production, as they historical settings understood acts of appropriation, appropriated (elements of) earlier visual repertoires, specifically in relation to discussions about rights contextualising them in new times and spaces. to use and reproduce artefacts/imagery and aims of In changing and overlapping fields of religious and identification. In the course of fieldwork, a finer-tuned artistic practice, different notions of creative person- approach was developed that defined appropriation hood circulated, such as the idea of the creative genius, as an interpretative act with existential implications. Professor Øivind Fuglerud concepts of timeless creative essence, ideas about The revised perspective of interpretative appropria- Principal Investigator destruction as creation, and notions of uniqueness. tion acknowledges the transformational potential of Specific ideas of creative personhood also shifted as objects and images, and the associated political and image repertoires were recycled and produced for emotional dimensions. different audiences. In Tamil Nadu, for example, every The research demonstrated that competing or morning many Hindu women create Kolams, symmet- alternative discourses about, or claims to, creativity, rical designs made with rice powder. The aim is not to whether positively valuing or disregarding copying, create a unique, permanent artefact that can be sold at have often played a key role in identity formation. It an art market, but rather to ritually mark and sacralise was found that, in different situations, discourses the ground space. The work slowly fades during the of creativity and cultural value reinforced claims to day, so the practice is repeated every morning. In being ‘European’, ‘Asian’, ‘Indian’, ‘South Indian’, ‘Sri 63 Creativity and Innovation in a World of Movement (CIM)
Lankan Tamil’, ‘Indo-Caribbean’, ‘Afro-Caribbean’, ‘African’, ‘Ghanaian’, ‘Australian Aboriginal’, ‘Venezu- elan’, ‘European’, ‘British’, ‘Norwegian’, and ‘Sami’. The project team concluded that these situational claims can only be understood in relation to long-term processes of empire building, missionary activities, colonial rule, movements of cultural and political independence, civil war, migration, and the forma- tion of diasporas. Interpretative appropriation and identification reflected and shaped the formation of stretching, shrinking and reorienting social and political fields. In fields of contemporary art practice in India, Norway and the Caribbean, for example, the use or rejection of ‘ethnic’ imagery was related to both national identity policies, the development of transna- tional art markets, and heritage politics.
Reproduction, rights and identity
One key question CIM explored was about rights to beyond these relationships was negotiated between ‘Manisha Raju at work in Cholamandal’ reproduce and use specific material objects or images artists and external parties in two London exhibi- 2010 in a variety of contexts, asking questions about the tions. © Dr Amit Desai ‘who, what, how, where, when, and why’ of replica- tion within and across specific religious, artistic or Creative practice and material mediation museum settings. Which designs should not be repro- duced, or should only be copied in certain situations? The project demonstrated that people’s creative When and where could specific images be presented, engagement with artefacts does not take place in a and for which audiences? How were the implicit or phenomenological vacuum, but is shaped by wider explicit rules justified? For Aboriginal clans in north processes of authentication and authorisation in east Arnhem land, for example, the visual reproduc- evolving fields of power that stretch across the globe. tion of colour and image in ancestral and Christian Several projects that explored creative practice in reli- art is circumscribed by rights through the correct kin gious fields demonstrated the entanglements of state lines. New genres of artistic representation could only policy, religious authorities and people’s ritual use of be developed by permission within limits through artefacts. In the case of devotion to Aparecida in Brazil, extended family relationships. The display of artwork for example, the Catholic Church, with its main seat 64 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
of power in Rome, authenticated specific material- with ‘ancient’ producers of Hindu temple sculptures. focused practices conducted by pilgrims, such as the As they were making sketches of the sculpture pieces, use of ex-votos. Since Aparecida was Brazil’s national their imagined connections were materialised and patron saint, these practices were also indirectly experienced as real. interlinked with, though not fully determined by, the exercise of state power. Value and authenticity in global markets To understand how devotees in various religious settings appropriated religious imagery, the project Research in various locations in the different conti- applied theories of material mediation, exploring how nents found that artists and gallery owners worked statues of saints and Hindu deities were vested with within multi-layered and changing local, national and divine power and life. Research in Ghana, for example, transnational art markets. They responded to market demonstrated the significance of mass produced demands that valued practices of copying and innova- images of Jesus, circulating in the households of tion in different ways. Artists had often limited control Catholics and Protestants (Pentecostals) in Accra. over the contextualisation of their works. Despite the In Chennai, Belfast and Paris, mass produced depic- rhetoric of equal exchange and interaction, artists tions and globally circulating depictions of Hindu gods and curators at an exhibition of Surinamese art in the were also experienced as significant mediators of the Netherlands, for example, were not equal partners in divine. Images were not just globally distributed in a single ‘global contemporary art’ community. Dutch outward movements, but sacred locations that housed funding bodies and curators who were embedded in specific religious statues also managed to attract local processes of place-making strongly influenced devotees from places all over the world. Objects, the framing of their works at the exhibition. bought at these sites, were taken back home as effec- The concept of ‘artification’ identified processes of tive souvenirs, stimulating further (memories of) value transformation in the Indian fashion industry, a religious transformation. strategy used by a number of Indian fashion designers CIM extended the material mediation approach to increase the price and status of their products, beyond religious spheres, drawing on theories of presenting them as unique masterpieces. Linking the social imaginary. The project found that people in products to the magical aura of high art and alluding various settings appropriated technologies of material to ideas about the authenticity of pre-colonial Indian mediation to place themselves within different social traditions, the designers claimed creative agency, worlds – some close by and others stretching to other downplaying the creative input by the embroiderers Website: times, places and peoples. In Argentina, for example, who manufactured the items. As with some of the http://www.qub.ac.uk/CIM amateur potters experimented with clay materials as other cases explored by CIM, the commoditisation Contact: they attempted to get close to, but not directly copy, process clearly reproduced economic inequalities. Maruška Svašek (Project Leader) the ancient artefacts and their makers. By contrast, [email protected] art school students in South India strongly identified 65
Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP)
This three-year collaborative research electronic literature around different disciplines and Project Leader project was set up to investigate how creative agencies. Another important line of investigation was communities form and engage on a multi-cultural and around the connections between electronic literature transnational basis in the modern world of globalised and other forms of digital arts practice, along with the and distributed communications. The project focused applicability of traditional and contemporary literary on the electronic literature community in Europe as theory and models of poetics to electronic literature. a model of networked creativity and innovation in The various roles of electronic literature were exam- practice, studying its formation and interactions. It ined, including as a performance outlet in its own Professor Scott Rettberg also aimed to advance electronic literature research right, as well as in curating, publishing, and exhibiting Department of Linguistic, Literary, and and practice in Europe. in diverse contexts such as books, online publications, Aesthetic Studies, Faculty of Humanities, The ELMCIP project had four clear objectives: live performance, and gallery exhibitions. The University of Bergen, Norway • Understand how creative communities form and interact through distributed media. Promoting understanding and Principal Investigators: • Document and evaluate various models and forces use of electronic literature Professor Simon Biggs of creative communities in the field of electronic Edinburgh College of Art, University literature. ELMCIP did not just analyse the growing role of of Edinburgh, United Kingdom • Examine how electronic literature communities electronic literature in creative communities, but Dr Maria Engberg benefit from current educational models and develop also elevated understanding and developed tools Department of Culture and Communication, pedagogical tools for teaching. or methods to help apply it. As a result the various School of Planning and Media Design, • Study how electronic literature manifests itself outputs of the project are relevant in themselves as Blekinge Institute of Technology, Sweden in conventional cultural contexts and evaluate the well as for what they contain. They included: Mr Jerome Fletcher effects of distributing and exhibiting e-lit in such • Case studies, reports, and research papers. Department of Performance, School of contexts. Scholarly outputs included special issues of journals Media and Performance, University College such as Dichtung Digital, Performance Research Journal, Falmouth, United Kingdom Different factors and models for Primerjalna književnost; and also books including Dr Raine Koskimaa electronic literature communities Remediating the Social, and Electronic Literature as a Digital Culture, University of Jyväskylä, Finland Model of Creativity and Innovation in Practice, alongside Dr Janez Strechovec The project identified the various categories of many peer-reviewed articles in scholarly journals. University of Ljubljana, Slovenia creative community in terms of the factors that unite There were also some major reports, including an Dr Yra Van Dijk the individual members, which include language, extensive one on electronic literature publishing Moderne Nederlandse Letterkunde, region, genre, platform, events, and institutions. It venues. University of Amsterdam, Netherlands also looked at the different publishing models for • Series of public seminars and workshops. electronic literature and the history of electronic The ELMCIP project organised seven different inter- The number of PhD students linked to literature publishing in Europe, as well as pedagogical national conferences addressing specific research (and trained in the framework of) the project: models for teaching, researching and institutionalising themes. 1 PhD student formally attached to the project, at the University of Edinburgh. 3 PhD students at the University of Bergen have also participated in various aspects of the project. 66 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
The most surprising aspect of the ELMCIP • A major international conference including and has been documented by ELMCIP in a series of “project from a training perspective was how performances and an exhibition. The ‘Remediating essays, showing how electronic literature is a unique quickly the group involved in the project grew to the Social’ conference and exhibition included panels synergy of scholarship and art, theory and cultural expand beyond the researchers directly funded and public exhibitions of peer-review commissioned production. While this model is still evolving it has by the project. There was a real interest in the electronic literature artworks and performances at been embodied as a far as possible in the ELMCIP international electronic literature research Edinburgh College of Art and New Media Scotland. Knowledge Base, a knowledge network that is itself community, and many scholars and artists • The Electronic Literature Knowledge Base. generating even newer models for scholarship and wanted to join in our seminars. So we decided An extensive open-access cross-referenced biblio- research-based practice, while making them globally to really open things up and accept submissions graphic and documentation research platform for the accessible. for all of our seminars and projects. The digital field of electronic literature, the ELMCIP Electronic humanities projects we developed, such as Literature Knowledge Base (http://elmcip.net/knowl- Public involvement and knowledge exchange the ELMCIP Knowledge Base and the ELMCIP edgebase) now includes more than 9000 records through interdisciplinary research Anthology of European Electronic Literature, documenting authors, works, critical writing, also opened up new opportunities and events, publishers, organisations, archives, and The ELMCIP project was fundamentally interdisci- strategies for researcher training. A number of teaching resources. plinary and focused on knowledge exchange among our PhD students at the University of Bergen, • The ELMCIP Anthology of European Elec- the groups, based firmly on the idea that each output and even our undergraduates, contributed tronic Literature. With the ELMCIP Anthology of should be viewed not in isolation, but as a branch from to the development of the project, and have European Electronic Literature (http://anthology. which a larger community could bud. The aim was learned a great deal from it. elmcip.net) the project published 18 works of Euro- to reach out beyond the core team to involve diverse ” pean electronic literature in 10 different European writers, artists, and researchers. Professor Scott Rettberg languages. At the same time research outcomes were Project Leader • Video documentaries. Richard Ashrowan’s published not just in established peer-review jour- ELMCIP Remediating the Social documentary: http:// nals but also in new peer-review and knowledge vimeo.com/59494603 was released and distributed on exchange platforms created for the project. In each the web in five and 12 minute versions. The documen- case the principal investigators sought to bring in tary provides publically accessible documentation of diverse disciplines and voices. Perhaps most impor- the conference, exhibition and events, along with a tantly, while each of the project events included brief overview of the project as a whole. some panel presentations, papers, and other tradi- tional means of disseminating scholarly discourse, Electronic literature created new the majority also included public performances at medium for arts and publishing which works of electronic literature were read and performed before a live audience. In each case these With electronic literature we have witnessed the performances included local authors and artists emergence of an entirely new mode of artistic practice alongside international artists. within a single generation. This is without precedent 67 Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP)
The project also put a premium on longevity and sustainability. Exhibitions staged by ELMCIP were at cultural venues and ran for far longer than the conference. When the team produced an anthology, it solicited artists from across Europe and distributed it in libraries and conferences across the continent. Research databases set up by the project were not only open-access but also open to contributions from authors and researchers around the world, as a basis for international knowledge sharing.
Sowing seeds for further education and research
The project laid the ground for further research and wider education. Two of the most significant products, the Knowledge Base and the Anthology of European Electronic Literature, serve as both teaching and research tools, long outlasting the project itself. Both these openly accessed online projects are already being used in classrooms around the world on a daily basis. At the same time the Electronic Literature Knowledge Base, which already documents thousands of works and resources, continues to grow.
Future impact and application of ELMCIP results
ELMCIP achieved several important results with lasting impact and providing scope for further research. These are: of electronic literature, but lacking the common enter- Photos from ELMCIP Remediating • A cohesive but interdisciplinary European prise or network already existing within the field in the the Social conference and exhibition, research community in the field of electronic liter- Americas. After the conclusion of the ELMCIP project, Edinburgh, November 2012 © Scott Rettberg ature. Before the ELMCIP project, there were many Europe is squarely in the centre of the international researchers and creative artists working in the field field. In 2013, the two most significant international 68 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
conferences in the field, the Electronic Literature Orga- nization conference, and the E-Poetry Festival, were both held in Europe, in Paris and London, respectively. • A robust digital humanities research infrastruc- ture. After three years of continuous development, the ELMCIP Electronic Literature Knowledge Base is currently the most extensive open access research platform in the international field, including thou- sands of records and used daily by researchers and in classrooms across Europe and internationally. • A strong foundation for research, education, and policy. The ELMCIP Anthology of European Electronic Literature, the Remediating the Social book, the European Publishing Venues Report and the many other publications of the ELMCIP project not only address specific research questions but also provide a basis for further research, for classroom teaching, and for policy makers considering how best to integrate digital culture and its study into future policy and culture programmes.
Knowledge exchange the most lasting impact
One of the project’s major and most lasting successes was the basis for knowledge exchange it has created. By reaching across disciplines, traditional boundaries between academia and the arts, different sectors of the public, means of distribution, and platforms, the project has achieved an extended reach that will far outlast it. Website: http://elmcip.net Contact: Scott Rettberg (Project Leader) [email protected] 69
Fashioning the Early Modern: Innovation and Creativity in Europe, 1500-1800 (Fashioning the Early Modern)
This interdisciplinary project sought to under- if they appeared in similar ways and with similar users Project Leader stand the role of early modern fashion in creativity and in cities such as London, Paris, Lyon, Siena, Mantua, innovation and the way it operated within society in Florence, Stockholm, Copenhagen and Malmö. The setting trends and distributing textile products. It also project then explored how ideas about early modern aimed to generate wider public understanding of Euro- fashion could be displayed in European museums and pean creativity and innovation, both past and present. galleries and how they could inspire today’s fashion This included collaborations with museums such as and textile designers. the Victoria and Albert Museum (V&A, UK), the Royal The team took a wide range of approaches to the Professor Evelyn Welch Armouries and the National Museum of Denmark. problem. One workshop in Helsinki looked at how Department of History, School of Arts Results of the research have helped with ongoing work fashion goods crossed social boundaries, taking and Humanities, King’s College, London, to create the new European Galleries, 1600-1800 at account of the role here played by reputation and United Kingdom the V&A, which opens in 2014, as well as ideas that had branding, past and present, and the construction of fed into our understanding of museum collections in design mythologies accompanying technological Principal Investigators: Denmark and Sweden. The results have also supported innovation. Professor Marie-Louise Nosch broader engagement with key questions of European There was also detailed study of Early Modern The SAXO Institute, University of copyright and design, exploring how a better under- textile production with a workshop designed to Copenhagen, The Danish National standing of creativity and innovation in the past can coincide with the main conference of the Centre Research Foundation’s Centre for Textile inform actions for the future. Internationale d’Ètudes des Textiles Anciennes Research, Denmark (CIETA), enabling the team to work with a wide Dr Paula Hohti Setting the agenda – how fashion spread range of participants from all over Europe and to University of Helsinki, Helsinki ideas and broke down social boundaries discuss the collections of the Rosenborg Castle Collegium for Advanced Studies, Finland conservation department in Copenhagen with inter- Professor Peter McNeil The project was built around several core research national experts. Stockholm University, Sweden questions focusing on the ways in which fashion There was another workshop in Stockholm which Dr Lesley Ellis Miller operates and how the reputation of desirable textiles focused on the spread of ideas about fashion in print Furniture, Textiles and Fashion or fashionable goods was disseminated across time, as well as in practice, asking broad questions such as Department, Victoria & albert Museum, space and social groups. In this context the project whether fashion is truly global and to what extent its United Kingdom considered how objects that may now seem unusual or terms are subject to cultural differences. The project Dr Maj Ringgaard even absurd (such as wigs, full-face masks for women also explored the question of past and present in Nationalmuseet / National Museum of and beauty patches) first became fashionable and terms of contemporary fashion design practice. Denmark, Denmark then commonplace. To do this, the project explored Then there was a final conference in London, a selection of items such as different types of printed focusing on the three key themes of innovation, The number of PhD students linked to and woven textiles, fans, banyans, mantuas and ruffs. dissemination and reputation. This was designed to (and trained in the framework of) the project: Their spread and the terminology associated with provide preliminary answers to the main questions 42 PhD students were trained as part of these objects across Europe was traced, looking to see being addressed, that is how and why certain goods one of the workshops. 70 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
The HERA programme allowed us to work become successful while others failed; how far these The second was the much more agile, less capital- “in very different ways. We were able to set up goods travelled; and how they were transmitted across intensive form of product-innovation that might a network that went across Higher Education linguistic, social and geographic borders. result either in new goods, imitation of imported and a suite of key museum partners in Denmark, products, or just a new way of wearing them. Here the Sweden, Finland and the UK. This allowed Role of copyright and intellectual property innovation might be as simple as a new knitting stitch us to rethink how we use material and visual or a different way of wearing one’s hair. Both could culture as a means to learn about the past One other important issue covered by the project was have profound changes on the ways in which innova- and inform the present. Established and the role of copyright in fashion, explored at a confer- tions were spread, adapted and made into essential early career scholars and curators worked ence called ‘Fashion and Intellectual Property Rights: components of male and female wardrobes. together in collections such as the Victoria Past and Present’ which took place at Queen Mary, These two approaches to innovation were often & Albert Museum, the Livrustkammaren in University of London. This considered contemporary influenced by issues ofgender, with the second less Stockholm and the Danish National Museum policy, practice and research issues concerning the capital intensive approach being far more appealing to identify innovations that could only be protection of Intellectual Property in the fashion and open to women, as well as more flexible for understood by looking at silks, knitwear, new industry. This conference was the result of a partner- dissemination tending to yield products or fashions forms of tailoring as well as at prints, painting ship with the Queen Mary Centre for Commercial Law that were faster both to appear and disappear. and archival evidence. We also worked closely Studies, where the issue of how the law takes account Print was one of the most important process with contemporary designers, who inspired of product designs was discussed, alongside notions innovations for the spread of fashion, not simply in our understanding. We gave them ideas drawn of trade-marks and innovation from the early-modern ensuring its dissemination but also in establishing a for future collections from seventeenth and period to the present day. These areas of discussion demand for novelty within a predictable time span. eighteenth century objects and we remain highlighted how the project can help influence current The appearance of early newspapers on a monthly in close contact, continuing to work together practice and policy relating to protection of intellec- and then weekly basis generated rolling but predict- on creativity and innovation in the early tual property in fashion. able times when consumers would expect to update modern period. their wardrobes or be perceived as being ‘out of ” Core conclusions – big roles for print, fashion’. Professor Evelyn Welch trade and gender in fashion innovation The key figures in this shift to a fashion ‘system’ Project Leader that was based on periodicity were rarely found The research has produced a number of key results among the highest social elites in Europe. Instead, and core conclusions: they were often intermediaries such as merchants, There were two prevalent approaches to fashion diplomats, textile manufacturers and distributors. innovation in the early modern period. The first They were not simply transporters of goods, but was capital-intensive and involved creation of new included well-connected merchants and manufac- technologies for products such as textiles, ribbons turers who also encouraged, explained and promoted and stockings. These technologies were carefully fashion trends. These trade networks were powerful monitored and supported by state interventions, mechanisms for ensuring the continued dissemi- particularly in France but also in Sweden and Denmark. nation of novel fashions across confessional and 71 Fashioning the Early Modern: Innovation and Creativity in Europe, 1500-1800 (Fashioning the Early Modern)
diplomatic divides, ensuring that new fabrics or ‘looks’ spread despite continual warfare and religious conflict. The project also discovered how merchants in Scandinavia, Germany and England worked with Pari- sian shop-keepers and silk merchants in Lyon to help promote and distribute key fashion products, often across social boundaries. For example, study of the archives of Paris and Stockholm unravelled the crucial role played by a small number of elite merchants in ensuring court provision. Combined with material objects themselves, images and descriptions were a powerful mechanism the Nordiska Museet in Stockholm, National Museum The HERA team in the conservation for dissemination and adoption. They also helped Denmark and Old Town Museum in Aarhus, which laboratories of the National Museum translate fashion designs or ideas between different revealed increasing use and survival in Scandinavia of of Denmark, Brede. © Jasmina Bolfek-Radovani mediums. For example a study of knitted garments the glazed worsted fabric, calamanco, which was made in Danish archaeological surveys has shown how in Norwich, England, for export in the 18th century. quickly new forms (such as fringed gloves or ‘sugar- While very few garments still exist in England, there loaf’ hats), moved from one medium such as leather are substantial numbers in Sweden, Finland and to another. At the same time the project’s networks Denmark, which were linked to the surviving Norwich in Scandinavia enabled the team to incorporate other textile sample books held in the V&A. research projects at the Center for Textile Research, such as work on Danish probate inventories, which Training the next generation are confirming findings about transmission across social boundaries. The project aimed to establish new ways of working and long-lasting roots. The project funded 23 bursa- Calamanco made in England ries for attendance at these workshops, plus another survived in Scandinavia 16 for attendance at the final conference. Students and early career curators came from Finland, Estonia, One of the project’s special features was its combina- Italy, Sweden, Denmark, Scotland and England. tion of knowledge of museum collections with close They presented their work in an informal, supportive examination of material goods to trace movement of setting and received feedback from senior scholars and fashion products during the study period. One of the specialists. They were also guided in how to approach most significant and interesting findings from this material culture, textiles and archaeological finds in came from visits to the Porvoo Museum in Porvoo, ways that will help develop skills for a new generation. 72 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
Lasting impact for collaboration investigated during the project, including a web and knowledge exchange trail/app explaining, through eight key objects, the significance of silk during this period and the develop- The project has achieved its ambition of leaving a ment of the fashion textile system in France from the legacy for ongoing collaboration and knowledge 1670s onwards. exchange. It adopted an impact and knowledge The project also benefited from collaboration with exchange strategy focused on working with three another HERA programme CULTIVATE in various communities: museum curators, design professionals, ways relating to copyright and intellectual property and copyright and intellectual property lawyers who rights. It held events in London and Oxford to explore were interested in how contemporary rights to fashion questions of copyright and the arts in conjunction innovations are protected. The project was established with a AHRC (UK Arts and Humanities Research from the start as a collaboration involving museum Council) funded, Beyond Text programme. In 2013, a professionals including curators from National workshop was held in collaboration with the Centre Museums as either Principal Investigators (PIs) or for Commercial Law Studies on ‘Fashion and Intel- Associate Partners. lectual Property Rights: Past and Present’ during A good example of this collaboration came with London Fashion week, attracting both fashion and the first exhibition undertaken by a project member, legal professionals. Patrik Steorn’s Woven Dreams of Fashion, From Ripsa Above all, the project was highly successful in to New York, which opened at Hallwylska Museum, extending its network and creating new international Stockholm in 2011. With the collaboration of curator, connections. It was able to bring together curators Mikkel Venborg Pederson, the Danish National from across Europe to discuss the challenges and Museum drew on the project’s 18th century materials opportunities of new ways of displaying fashion and to support its on-going programme of research on textiles to the public, also working closely with Danish Danish colonialism. The project’s input into the V&A’s designers and artists to explore their responses to plans for the new Europe, 1600-1800 galleries will early modern fashion. At the close the project had result in the inclusion of fashionable textiles and dress produced almost 60 publications including two major within thematic displays (such as Rococo or Shopping) edited collections of essays. In addition to the publi- and a series of podcasts. It will also include displays cations, the project focused on supporting the next dedicated to some aspect of fashion and relevant to generation of researchers. Over the three years, 42 the chronology of each large gallery along with fashion early career scholars joined the project, which was Website: in one of the Activity Areas where the focus is on the then able to support the development of Marie Curie www.fashioningtheearlymodern.ac.uk final years of the ancien régime. This space will involve fellowships gaining an additional 450,000 Euros for Contact: a dressing-up activity and be adjacent to a display early career development. Evelyn Welch (Project Leader) of fashion plates and caricatures. The digital inter- [email protected] pretation in the galleries will use research materials 73
Measuring the Societal Impacts of Universities’ Research into Arts and the Humanities (HERAVALUE)
The ultimate aim of the project HERAVALUE was of the global banking crisis. The failure to achieve Project Leader to develop better ways of evaluating Arts and Humani- any sort of consensus over valuing AHR increased ties Research (AHR) that are more consistent across its disadvantage compared with science, technology, projects and disciplines and yet take account of the engineering and medical (STEM) disciplines, for implicit or societal value and not just the measurable which there were much better agreed high level indica- economic impact. This was broken down into five key tors for assessing value. objectives: HERAVALUE started from this conundrum of why, 1. To develop a conceptual framework that would despite its urgency, a wide range of national debates Dr Paul Benneworth show how a range of societal stakeholders concerned had failed to agree appropriate measures for the value Center for Higher Education Policy with innovation place a value on AHR (Arts and of arts and humanities research. The idea was that the Studies, University of Twente, Humanities Research). value of AHR should be defined socially rather than Netherlands 2. To systematically uncover the implicit valuations captured in an objective set of measures, but that still made so far by key decision makers that underpin the requires agreement over assessment. Social definition Principal Investigators: widespread failure to agree a common approach to takes place between actors in discursive processes Dr Magnus Gulbrandsen valuing AHR. embedded within wider power and political systems. NIFU STEP, Olso, Norway 3. To map key stakeholder groups’ interactions HERAVALUE explored how different actors within Professor Ellen Hazelkorn within wider innovation and political systems that these systems constructed, circulated and contested Directorate of Research and Enterprise, determine how AHR’s value is socially constructed. meanings, aiming to break the impasse over definition Dublin Institute of Technology, Ireland 4. To consider alternative methodologies for valuing of public by creating a conceptually coherent under- AHR that transcend directly quantifiable outputs and standing of it. The number of PhD students linked to economic impacts to reflect these implicit valuations. (and trained in the framework of) the project: 5. Finally to disseminate HERAVALUE’s findings to Three categories of AHR stakeholder 1 PhD participated in the project and improve policies, instruments and indicators for AHR graduated on research partly related evaluation and contribute to debates over AHR’s wider The project assigned AHR stakeholders to three main to HERAVALUE value in the context of a global economic downturn. groups. Firstly were academics and universities, involved in management practices, making sense of Striving for consensus over AHR evaluation public value in terms of research efforts and their own efforts to achieve wider ranking recognition. Secondly HERAVALUE was inspired by the abject failure of were policy makers, who were involved in governance policy makers in measuring the ‘public value’ of practices and whose interest in public value was in AHR despite increasing efforts to do so in a range of ensuring that the considerable sums spent on arts national settings, as well as at the European level. and humanities research were publically accountable. This created an impasse that itself became detrimental Thirdly were civil society partners with an interest to the cause of AHR funding, especially when budgets in research specific to their own domains, covering came under pressure in the late 2000s in the wake discipline-specific organisations such as academies 74 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
The HERAVALUE project was a wonderful and learned societies, as well as wider cultural institu- common methodology developed between the work “opportunity to mobilise a community of people tions concerned with the stewardship and vitality of a packages. This allowed thematic comparison, but also interested in the wider public value of arts and wider ecosystem of cultural/ artistic activities in their the development of deep knowledge about the specific humanities research. This involved researchers own contexts. contexts. These case studies were based on modern, across a range of fields in social sciences and The project was then split into three work groups post 1960s, historical documentary analysis, policy humanities, including science and technology corresponding to these three stakeholder groups, interviews, mapping of debates and circulation of policy studies, higher education and HE policy tracing the debate over AHR’s public value from each concepts, and interviews with stakeholders across studies, evaluation studies, cultural policy, group’s own context: the three systemic areas. history and philosophy. The HERA JRP also 1. Universities and Management Considerable effort was devoted to ensuring that provided us with an entry-point to include This followed the way universities and scholars sought the three work packages were effectively integrated, policy makers in this wider conversation. to embed definitions of public value in wider policy so that the whole research project produced coherent Building that dialogue was hard work and time discourses that were useful for their own aim of messages on the basis of the common conceptual consuming, but enormously satisfying, and has achieving stable and excellent research frameworks. framework. Integration across the work packages enabled us to make a substantive contribution 2. Policy makers and governance was built into the three national projects from the in understanding the public value of arts and This followed the way policy makers sought to define outset, which enabled national and thematic aspects humanities research, as well as helping to place the public value of AHR, partly to improve the public to be debated and reconciled. The underling aim into a wider context the excellent work taking returns on investment in AHR in the context of here was to create a dialogue within an international place within arts and humanities disciplines wider debates about prioritising public resources for community interested in understanding the public themselves. research. value of AHR. ” 3. Disciplinary representatives and civil society Dr Paul Benneworth This followed the way civil society has sought to pin Three major contributions to AHR valuation Project Leader down the value of AHR, both at the macro-level of the media and commodity level for sales. It also consid- The project made a significant contribution in three ered how AHR was valued by civil society actors in academic areas that together will help policy makers their own commercial, educational, managerial, improve the way they measure and assess the public cultural, artistic and voluntary activities. value of AHR. These three areas are: 1. It was found there can never be an agreed way of Three national case studies measuring public value of AHR so a need was identi- fied for new hybrid concepts that bridge the different Three countries, Norway, the Netherlands and Ireland, stakeholders’ interests. The project adopted the term were chosen because they were already conducting multi-scalar slipperiness to explain this phenomenon. vigorous public debates about the meaning and value 2. By exploring the three national research policy of AHR that would provide valuable information systems and developing the concept of ‘public signal- for each of the three work groups. For each country ling behaviours’, the project attempted to resolve this an in-depth case study was carried out following a debate about evaluating culture in society. 75 Measuring the Societal Impacts of Universities’ Research into Arts and the Humanities (HERAVALUE)
3. The project derived a multi-scalar theory of the The project noted that to date academics and univer- public value of research. This reframes the public sities have regarded the public as their ultimate value of all research and not just AHR in terms of its funders to whom they must be in some way account- contribution to societal capacities. able, while policy makers regarded them as rational tax-payers seeking to maximise economic efficiency, Multi-scalar slipperiness and civil society groups regarded them as specific combinations of themselves, their own customers and The term ‘multi-scalar slipperiness’ means that users. The reality was that these were all highly simpli- different actors on the AHR stage value the research fied abstractions that bore no resemblance to the real according to their own purposes, so that there is no interests of particular groups outside the debates. common way of resolving differences rationally. But it was possible to trace how these decision This is the ‘slipperiness’ between the different ‘scalar’ making processes engage with the public in a variety values assigned by varying groups. When these of different ways, enabling people to signal their different concepts of policy come into conflict, they interest in and valuation of AHR. The most valid of cannot be resolved using normal rational thought these for policy communities was in audiences whose processes, because they are just incoherent bundles interest could be reduced to an economic value, for of facts, concepts, beliefs, assumptions and value example using direct visitor expenditure for cultural judgements. facilities, or the opportunity cost of leisure time for These policy concepts can only be understood by media. There are many ways in which people can considering the underlying purposes or motives of the collectively signal their interest in AHR, even if the decision-making process. It is true that policy makers level of engagement may be low at an individual level, need simple metrics to judge between disciplines, but such as watching a TV arts program for 10 minutes. also true that these simple metrics cannot capture The project’s idea was that these signals can be the public value that AHR delivers. This is not logi- aggregated and provide a measure of public interest cally reconcilable. The problem therefore needs to be in AHR that is not immediately reducible to purely reframed to bridge the different stakeholders’ needs, economic values. rather than dividing the debate into irreconcilable © Magnus Gulbransen polar opposites such as excellence versus relevance Contribution to societal capacity in research, or intrinsic versus extrinsic public value. The thesis here was that AHR has often been under- Public signalling behaviours valued compared with STEM because it is not seen as a driver of innovation or wider societal change. The Having identified the problem of valuing AHR, the project has remedied this deficiency by developing a project came up with a solution by introducing the idea model based on the understanding of public signal- of using the public as active agents in these processes. ling behaviours, showing how individual transactions 76 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
(i.e. research projects) generate activities that in turn understanding how essentially private benefits create create new innovative capacities for societal action not ’public’ benefits and how political institutions nego- previously present. These include individual transac- tiate who privately benefits from public expenditure tions between scholars and ‘aggregation actors’ decisions. (e.g. the media), who embed the ideas in artefacts and 4. Society, through a series of debates about cultural services. They also embrace the intermingling of the policy and philosophy, concerned with notions of a public with those actors through mass transactions, good society, how people value culture and cultural such as watching TV. Furthermore these ideas then political economy. circulate in society by influencing and shaping public These debates have remained quite separate so far, discourses, behaviours, and institutions, enhanced in associated with very different sets of players in the recent years by social media. wider AHR network. This has reinforced the intel- This approach puts AHR on the same level as STEM lectual dissonance around the idea of public value of research, whose benefits are already measured in humanities research. Only by unifying these different multi-scalar terms, extending to how knowledge intellectual areas is it possible to understand and transfer leads to new firms and products, creating jobs define properly the public value of arts and humanities and stimulating spending, in turn fuelling economic research, and hence develop better conceptual and growth. Now there is a similar theoretical basis for operational frameworks in particular contexts for its measuring the wider AHR impact. measurement. A recent chapter by Parker in Belfiore & Upchurch (2013) specifically refers to the HERAVALUE Four scales of value for AHR finding of an incoherent, fragmented and unresolvable public debate about AHR value1. The multi-scalar model for assessing the public value The HERAVALUE Framework was explicitly of AHR is not merely a means of measuring that value adopted by the ALIGN consortium (Assessing Multi- through three key processes. It brings a whole new level Impact Generation) in their February 2013 knowledge based framework for understanding the proposal for the FPVII Call “SSH.2013.8.1 Evaluation, public value of AHR at four different scales, each with monitoring and comparison of the impacts of EU their own different concepts of what research should funded Social Sciences and Humanities research in be about. These concepts are: Europe”. 1. Individual, with an active debate within cultural Website: studies regarding the duties of AHR scholars to society http://www.utwente.nl/mb/cheps/ and the ways in which research can produce benefits. research/current_projects/heravalue/ 2. Transfer activity, with a strong community devel- Contact: oping ways of evaluating the societal impact of AHR. 1 Parker, J. (2013) “Speaking out in a digital world: humanities Paul Benneworth (Project Leader) 3. Circulation of knowledge in networks. There values, humanities processes”. In E. Belfiore & A. Upchurch (eds) [email protected] is a strong public policy literature concerned with Humanities in the 21st century. London: Palgrave Macmillan. 77
Of Authorship and Originality: Reclaiming Copyright in Support of Creative Collaboration in the Digital Environment (OOR)
The project ‘Of Authorship and Originality’ of collaborative production of artworks in several Project Leader (OOR) queried how insights from various humanities different media and genres. In collaboration with disciplines can inform concepts in copyright law, to partners in the field of law, it tried to identify ways in collective creative practices in the digital environ- which a renewed understanding could and should lead ment for producers of artworks in different media to revisions and also new interpretations of copyright and genres. To do this, OOR obtained insights from law. The project explored theoretical developments literary theory, music studies, film/visual studies and in several disciplines, while also focusing empirically other Humanities’ disciplines, focusing on the two key or practically on creative processes in audio-visual Dr Mireille van Eechoud and inextricably linked concepts in copyright law of production and popular music, which are heavily Institute for Information Law, Faculty the author and the work. dependent on digital technologies and involve collab- of Law, University of Amsterdam, OOR was a collaborative research project funded orative forms of production. Netherlands by the joint research programme of HERA, the Theatre was also chosen for study as a different Humanities in the European Research Area. It was a example that made for interesting comparison with Principal Investigators: multi-disciplinary collaboration between the Institute film and music, being a more ’analogue’ collaborative Professor Lionel Bently for Information Law (University of Amsterdam, The form, although with some potential for digital trans- Centre for Intellectual Property and Netherlands), the Department of Information Science mission as when popular productions are broadcast Information Law, Faculty of Law, and Media Studies (University of Bergen, Norway) and simultaneously in multiple remote cinemas. The Cambridge University, United Kingdom the Centre for Intellectual Property and Information Bergen project studied these three media and genres Professor Jostein Gripsrud Law (University of Cambridge, United Kingdom). using well-proven ethnographic methodologies, prin- Department of Media Studies, University OOR was divided into three individual projects, cipally participant observation and semi-structured of Bergen, Norway two dealing with authorship and one on the work. interviews. These were Authorship in Collective Arts, Multiplicity of Authors, and The Work as Creative Expression. Multiplicity of authors
Authorship in collective arts At present most national rules on copyright ownership are still based on the author as a single autonomous This project within OOR sought to critically assess agent operating in isolation. As such these rules fail the influence of traditional Romanticist notions of to cater for collaborative creativity in the digital envi- authorship in copyright law, with its excessive focus ronment and this led to a project by the UK Centre for on individual creators to the detriment of collabora- Intellectual Property and Information Law (CIPIL) tive and collective forms of authorship in the digital focusing mainly on problems of multiple author- age. The theoretical challenge lay in achieving this ship. This CIPIL project has re-evaluated notions without sacrificing the rights of creators or authors of co-authorship and explored approaches that are to control distribution and use of their works. To do conducive to collaborative creative production, this the project took into account the characteristics drawing upon the authorship theories explored 78 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
After finishing my PhD in film studies, in the initial phase of OOR and incorporating the of work that would be sufficiently rigorous for copy- “I joined the HERA project ‘Of Authorship and results of its case studies, with contributions also from right law, especially in terms of legal certainty and Originality’ as a postdoc in 2010. The aim of the Infomedia. Central to these studies were the rela- procedural efficiency. project was to explore the possible relevance tions between contributors, with examination of how to copyright law of concepts, theories, and roles are perceived within creative communities, Setting the stage for revisions perspectives from the humanities. This and the status that copyright law attaches to them, in copyright policy proved both intellectually challenging and notably the allocation of authorial control both as inspiring. Most concretely, it gave me the regards economic rights and immaterial interests Although there is still some way to go in updating opportunity to work with some of the leading (the ‘moral rights’ of the author). the laws of copyright and intellectual property for experts in copyright law, which was immensely the modern digital age, the OOR project has yielded illuminating. For example, I enjoyed two The work as creative expression a variety of outputs that bring fresh perspectives on productive research stays, in Cambridge and ways in which the Humanities can inform the debate. Amsterdam, which resulted in two articles The concept of creativity has become devalued in The findings have been presented at conferences and co-authored with legal scholar Dr Stef van Gompel. the copyright world because it is applied readily to workshops, published in peer reviewed academic At the many conferences and workshops intellectual creations of all kinds. This project journals, in book contributions and on the electronic throughout my three years on the project, I also therefore questioned the continued viability of the resources of the partner institutions. A book enti- met numerous humanities scholars from a ‘original work of authorship’ as a legal object. From tled ‘Works of Authorship’ is in production with wide variety of disciplines and traditions. More an economic perspective, the delineation of copy- Amsterdam University Press, while further writing is basically, the project has given me a much deeper right subject-matter is of course necessary in order continuing throughout 2014. The researchers formed understanding of interdisciplinary work. I have to make it a marketable entity. Copyright law thus a wider network of academics from a broad range also become acutely aware of how important has a natural tendency to view creative expression of Humanities’ disciplines with a shared interest copyright law is to media studies, and I now have as a ‘thing’, to which rights are attached. Yet at the in copyright policy. an excellent network to call upon for future same time, the law in many jurisdictions has now This network is also expected to help promote research. evolved to the point where ‘original’ and ‘creative’ discourse on the wider potential of the Humanities. ” have become synonymous terms, both meaning little Because the partners recognise the importance of more than ‘not directly copied’ or ‘resulting from a continued dialogue with academics from different modicum of freedom of choice’. In this project stream humanities disciplines, they have taken concrete the focus was on what insights humanities scholar- steps to ensure the network created in the course of ship can provide to rethink and redefine the concept the project is kept alive and growing. As a result of of ‘work of authorship’. The primary findings are these efforts the team has been approached to take Associate Professor Erlend Lavik that aesthetics, art history and production studies in part in research proposals, present at conferences particular are excellent sources of reference for iden- and be involved in teaching copyright to students tifying what is wrong with work concepts as applied in of humanities/social sciences. contemporary copyright law. It is much more chal- lenging however to articulate alternative conceptions 79 Of Authorship and Originality: Reclaiming Copyright in Support of Creative Collaboration in the Digital Environment (OOR)
Bringing insights from the arts into EU copyright law
The practical value of the OOR research lies in its joint focus on the work and on authorship, two areas where copyright norms have received little critical assessment in recent years, the scope and enforcement of copyright being center stage. The research was also timely in that it coincided with significant revi- sions that are taking place in international copyright law, particularly within the EU (European Union). Copyright regulation increasingly occurs at inter- national level, even though authors have bundles of rights that are separated territorially. The binding international legal norms on authorship and on the work as object of protection are quite flexible, whereas those on exclusive rights (i.e. acts that require authori- sation of the rights owner) are much more detailed. The EU thus has more leeway to adjust copyright policy through re-interpretation of the concepts of ‘work’ and of ‘authorship’. At the start of the project, harmonisation of the national norms at the EU level was in its early stages, so there was considerable added value to be derived from the research. After the project started, EU law started to move at full speed towards defining what is required for a production to enjoy the status of copyright ‘work’. The Court of Justice (the highest of notions of ’work’ and ’author’, were very visible © iStockphoto court on EU copyright law) has taken a very activist in both academic and policy debate inside the EU. approach and is crafting a supranational notion of In the construction and analysis of copyright ‘original intellectual creation’ as copyrighted subject- norms, economic and technological concerns have matter. Its judgments are controversial and raise long dominated the debate. The HERA OOR project many questions, which made the research all the has helped to bring insights from the arts and more topical. Members of the project teams, because humanities research to the fore in this area that they already were involved in a critical re-appraisement traditionally has been driven by technology and 80 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
commercial market requirements. As harnessing ‘creativity’ is an increasingly important topic on both national and international research agendas (e.g. in the EU Horizon 2020, in the programmes of the Dutch national research council and of UK research councils), the work commenced with HERA is being continued and built on. At a time when Arts and Humanities research is under pres- sure to show its value for society, but also finds itself moving into the promising new avenues of digital humanities, arguably the regulation of cultural production is an area where it will have much to contribute. The OOR projects and its sister projects in the HERA programme are an important first step.
Website: http://www.ivir.nl/HERA.html Contact: Mireille van Eechoud (Project Leader) [email protected] 81
Scarcity and Creativity in the Built Environment (SCIBE)
SCIBE was set up to investigate the relationship ment might respond, or have responded, to scarcity Project Leader between scarcity and creativity for the built environ- and how creativity might be affected under these ment at different scales from neighbourhoods to whole conditions. The project viewed these new conditions cities. The research had two complementary strands, as motivations for change rather than inhibitors of firstly development of a theory of scarcity relevant to creative activity. the production of the built environment and secondly an analysis of case studies in four European cities, How does creativity operate under London, Oslo, Reykjavik, and Vienna. These two conditions of scarcity? Professor Jeremy Till strands fed and reinforced each other, resulting Central St Martins, University of the in a productive understanding of scarcity relevant This was the underlying question of the project, Arts London, United Kingdom for practitioners and policy makers. broken down into four key objectives: 1. To investigate both conceptually and empirically Principal Investigators: Motivated by subprime crash the relation between scarcity and creativity, and to Professor Christian Hermansen develop new models of innovation that arise from this Institute of Architecture, Oslo School of The project was formulated at the end of the 2000s relationship. Architecture and Design, Norway during the subprime crash, when the world was moving 2. To clarify the conditions of scarcity that affect the Dr Andreas Rumpfhuber from a decade of growth and accompanying depletion production of the built environment, both generally Technische Universität Wien, Austria of resources, towards a condition of economic and and in a range of specific settings. environmental crisis. The project’s hunch then was 3. To interpret creative responses to scarcity in The number of PhD students linked to that scarcity would become the dominating feature different situations and contexts, aiming to generalise (and trained in the framework of) the project: of our lives in the 2010s and would directly affect them in the collective project. 3 PhD, one in each team creative practice in the built environment. During the 4. To uncover ways in which creativity might be course of the project, this hunch increasingly became deployed within the production of the built environ- reality. This hypothesis that creative practice would ment under conditions of scarcity. have to change to accommodate a new landscape of scarcity became proven and visible, with the project Collective investigation around itself having significant impact, making highly relevant individual projects contributions to the public debate. The project focused on the analysis of ‘systems’ These key objectives were pursued through two main at different scales, locations and contexts, examining strands of work. Firstly there was a collective inves- Vienna as a city, taking a neighbourhood example tigation into the overall concepts of scarcity and from London, looking at Oslo in the historic national creativity in relation to the built environment, and context, and finally Iceland as an ‘autonomous’ island. secondly a series of individual projects in the chosen The team looked at how in these conditions various European cities to examine as well as develop the players involved in the production of the built environ- conceptual findings in these particular situations. 82 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
Quite often research is, and probably needs For the collective part of the output there were the qualitative research into an existing situation, and “to be, a concentrated and lonesome activity. It books The Design of Scarcity and Scarcity: Architecture application of creative methodologies like scenario is therefore all the more welcome to exchange in an era of diminishing resources, the open access collec- building, interpretative mapping and photo elicita- and share thoughts, to have a common field tion Scarcity and Creativity in the Built Environment and tion. This allowed the various teams to develop their of knowledge you want to engage with and the website scarcity.is. own understanding of their particular conditions people whom you want to communicate with. Then for the individual projects, firstly in London that could be aggregated to achieve the overall goal of The SCIBE project provided me with such an Bromley-by-Bow was chosen as an example of a mapping out creativity within situations of scarcity on environment. One particular example was neighbourhood currently undergoing change, as well a European level. the conference “Within the limits of scarcity” as being one of most deprived areas of the city. There which I organised together with my fellow the project investigated how creativity might operate Scarcity is social and political PhD students Barbara E. Ascher (NO) and Isis through optimisation of existing resource cycles in rather than absolute Nunez Ferrera (UK). The conference not only a London community. The team worked with groups brought the three of us together, but even more of designers to assess how creativity can mitigate the The research moved away from the historical model it provided a platform for exchange with other effects of scarcities. of scarcity in the context of neo-classical economics researchers. Another was the collaborative In Oslo, the project investigated the passage from as an inevitable lack or deficiency against which production of a publication together with Jon pre-oil economic ‘scarcity’ to conditions of relative human needs and desires are measured. The research Goodbun (UK), Andreas Rumpfhuber (AT) abundance over a period of 30 years or more. Then clearly shows that scarcity is primarily a social and and Jeremy Till (UK). This was a book that was Iceland provided the perfect case study for the reverse political construct and not just a natural or inevi- written collaboratively, often with the four of us process, an economic boom shifting very rapidly into table condition. The project’s research, both through round the same table. Although time and energy scarcity in 2008 with the collapse of the Icelandic theoretical analysis and the case studies, also clearly consuming, this was a compelling experience banking system. showed that scarcity operates at a range of scales for me and in doing so I have learnt and profited Finally in Vienna the project examined what from the geopolitical to the very local. Scarcities arise a lot. conditions of scarcity arise within the Viennese social out of, and are inherent within, complex relations ” housing procurement model that is currently under between social organisations, economic processes, pressure to be either watered down or abandoned. psychological desires, existential needs and the The team traced the various constructions of scarcity geophysical flows of material, food, water and energy. in the housing model since the 1920s, and then concen- Scarcities can arise from chance combinations of trated on recent developments. The final stage of the these various systems of organisation in the world, research developed scenarios of how the housing but more often are caused deliberately by actors Michael Klein system might be adapted and reinvented by way wielding power over resources. The research also PhD student, Vienna of creativity. confirmed the highly contextual nature of scarcity, A wide variety of research methodologies dependent on the perception and cultural position were used in these projects, in order to give multiple of individuals and groups. perspectives on what is a complex area of study. The different approaches included historical studies, 83 Scarcity and Creativity in the Built Environment (SCIBE)
New scarcity model suggests new, productive, approach based on ecology as a mode of thinking that approaches for architects and designers is inherently relational, and which necessarily encom- passes both human and non-human systems. This new reading of scarcity allows designers to respond in a creative manner by intervening in the How scarcity can stimulate creativity processes through which scarcity is constructed, while taking account of the different scales involved The research showed that far from being a threat, scar- and the relationships between them. In the neo-clas- city provides the context for new forms of creativity. sical conception of scarcity as pure and measurable, Rather than being directed towards production of the buildings and cities were reduced to material objects new, creativity should be exercised on what already that have the same qualities as any commodity. They exists. From this comes a range of creative strate- are then valued economically and in times of austerity gies around redistribution, adaptation, optimisation, developments are reduced in scope. However, if scar- and restarting. These strategies challenge standard city is seen as much more complex and dynamic than conceptions of design creativity, particularly in a pure lack, then interpretation of the built environ- architecture, which has been so closely associated ment has to expand far beyond static objects into the with ‘innovative’ objects. The project’s research has processes that go into the instigation, production and opened up new debates within the design and plan- occupation of those objects. ning community along these lines. Under this broader definition of scarcity, design has to operate in a greatly expanded field across Fostering knowledge exchange multiple dimensions. The designer’s attention shifts and dissemination to the processes of how scarcity itself is constructed, and their scope for creative intervention is increased A key part of the project lay in ensuring that its findings as a result. This project’s research thus leads away and outputs were accessible and useful to a wide audi- from a negative, limiting, view of scarcity towards ence of academics, professionals and policy makers, one that opens up new opportunities for design and and wherever possible directed towards future prac- creativity. tice. With this in mind, the team engaged with a broad range of policy makers, designers and the general The Scarcity Chair, Paulo Goldstein, Leading to new models of sustainability public in order to test and develop the research find- Central Saint Martins, 2013 ings. This involvement ranged from high level policy © Paulo Goldstein The research showed that other approaches to sustain- forums (e.g. World Bank, Salzburg Congress on Urban ability can arise from a new conception of scarcity, Planning and Development) to very public outlets (e.g. shifting from measuring and technically refining London’s Evening Standard, Vienna Public Radio, the object, to understanding its place within a wider Icelandic newspapers, BBC Festival of Ideas), with a and more complex set of dynamics. This indicates an focus on professional and practice-based activity in 84 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
Future legacy
The project laid down roots for further research and has started to influence thinking and practice in the built environment field. For example one of the project members has been developing a larger research project around the spatial, social, cultural, environmental and economic challenges of recent sanitation infrastruc- ture provision in China’s growing cities. In addition, the project’s rethinking of theories of scarcity has The Scarcity Project. Paulo Goldstein. the middle. The project was extensively engaged in implications for disciplines beyond architecture and Central Saint Martins. 2013. education and training, running studios, workshops the built environment. Commissioned by Jeremy Till, Goldstein and summer schools in a wide range of locations. There is also evidence of new creative practices drew on the tenets of the SCIBE project Dissemination activities were extensive, including emerging directly out of the project, with examples and applied them to the design of a room in Central Saint Martins. Taking the ques- five books, four edited collections, 11 book chapters, being commissioning by the London team of ‘The tion, “What happens if instead of adding to 19 peer reviewed articles, six peer reviewed conference Scarcity Project’ (a spatial intervention at Central the world, you redistribute what is already papers and over 50 conference presentations. The Saint Martins College of Arts and Design), the there?”, Goldstein and fellow hunters project also organised four exhibitions and developed continuation of the work of one of the London design rescued ten pieces of furniture from ten two websites beyond the project website. teams (Bownanza) and the enaction of scenarios by London boroughs, and through ingenuity the Vienna team. reinvented them. The project is a good example of how new forms of creativity Lasting academic impact emerge under conditions of scarcity. © Paulo Goldstein The research had significant impact in the respective local communities where it was conducted, and also, through its knowledge exchange activities, on the professional communities in the countries concerned. Wider impact in academic circles was evidenced by a large number of invitations for project team members to give talks, as well as the interest in some of the proj- ect’s early papers (i.e. Till’s Scarcity contra Austerity Website: was one of the most read papers on Places in 2012/13, www.scibe.eu the ARCH+ lecture for Germany’s most important Contact: architectural magazine, and SCIBE working papers Jeremy Till (Project Leader) were used in the formation of ACSA 2013 Annual [email protected] Conference session on scarcity). 85
Technology, Exchange and Flow: Artistic Media Practices and Commercial Application (TEF)
The TEF project explored the relationship between sectors collaborate more effectively and productively Project Leader creativity and innovation within the contemporary in future. In order to do this the project examined European media sector. It questioned how interac- the reciprocal connections between the arts and tion between cultural categories in Europe, such as their application from a pan European perspective industrial/advertising film and new media arts on the by combining philosophical, historical, and practice- one hand, and commercial exploitation of audio-visual based approaches. media on the other, have been radically transformed at key times. As such it was intended to prepare the way From materials to synthesis Professor Michael Punt for thinking about new media environments when the School of Computing, Communications distinctions between the consumer and the producer The project decided at the outset that in order to and Electronics, Faculty of Science and are no longer valid or viable. The project was based understand these exchanges and interactions, it was Technology, University of Plymouth, around three distinct European examples of artistic necessary to start from the materials themselves, and United Kingdom practices and their commercial applications: 1. early this was done through extensive archival research. advertising and experimental film at the times when The project then proceeded to put materials into Principal Investigators: the technologies of production became more widely context, followed by analysis and then synthesis of the Professor Bert Hogenkamp available, 2. post-war industrial films and early televi- findings. The research was broken down into various Netherlands Institute for Sound and sion commercials, and finally3. the emerging category individual projects organised in chronological order Vision, Vrije University Amsterdam, of prosumers in contemporary media distribution of technological innovation (first early cinema, then Netherlands around games. early television, video, and most recently alternate Professor Margarete Jahrmann reality gaming) with a sharp focus on the overriding University of Applied Arts, Vienna, Seeking collaboration between questions. Austria industrial and artistic ‘creatives’ Research into the analysis of audio-visual mate- rials and related matter began with work in archives, The number of PhD students linked to The two related key objectives of this project were private collections and examination of various (and trained in the framework of) the project: firstly to improve understanding of the relationship related publications, papers and contextual material. 1 PhD linked and trained as part of the between commercial applications and implemen- It initially focused on historic advertising and Framework tation of artistic media practices in Europe and commercial films in national, commercial and private secondly to uncover leading factors determining as well as online archives. This included the establish- this relationship. Such factors include in particular ment of a new audio-visual archive of persuasive play the mutual exchange between artists, producers at the University of Applied Arts Vienna. Interviews and consumers and the interweaving of cultural with artists, producers, archivists and industry and media formats (film, video, internet) that have personnel, along with direct interaction between potential for reproduction and distribution. The proj- different sectors (artists and advertisers) revealed ect’s larger objective was then to ask how the findings synergies with contemporary hybrid forms of adver- might help ‘creatives’ in industrial and artistic tising in alternate reality games. 86 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
The HERA project ‘Technology, Exchange and An examination of the holdings of industrial and Secondary research into “Flow: Artistic Media Practices and Commercial advertising film at the EYE Film Institute Netherlands literature and trade press Application’ was a unique opportunity to and the Netherlands Institute for Sound and Vision, collaborate with researchers and professionals (most of which had not been previously catalogued) Extensive secondary research was undertaken into from several different disciplines (film and revealed that in some cases the same companies literature and trade press across a range of disciplines cinema history and theory, media anthropology commissioned advertising, scientific educational (philosophy, art history, film history, gaming, game and philosophy, games arts), different documentaries and industrial promotional mate- arts etc.) in order to set the analysis of the audio-visual academic styles and countries. Designed as a rials from similar sources and creative exchanges. materials into context. There was also a close exami- multidisciplinary and interdisciplinary project, it Research at Plymouth University into avant-garde nation of methodology through primary research with encouraged everyone involved to look beyond audio-visual practices revealed the interconnected- an international network of experts and a systematic their accustomed horizons and to collaborate in ness between creative practices utilised throughout literature review. novel ways. This was particularly challenging and materials spanning the 1940s to the 1970s/80s rewarding during the preparation and execution in the Netherlands and UK in a direct relationship Blurring distinction between of the knowledge exchange events that took to formal elements, especially techniques of commercial and artisan sectors place throughout the duration of the project ‘de-familiarisation’. and the two final public events. For my own New light was shed on the growing overlap between research trajectory these unique collaborations Early trade cards also provided rich material producers, users and distributors in the dynamic and the development of innovative pathways for exchanges between commercial and artistic media knowledge exchange opened up new trajectories The team also found a rich seam of research mate- practices. This became evident in the way that for future research. These have already led into rial in exploration of early trade cards, which has so-called avant-garde practices such as minimalism further partnerships on new research projects been studied in the context of the history of science can be traced throughout different periods from the dealing with film/media and cognition. Perhaps and technology of early cinema and early television 60s (e.g. Hamlet cigar, Famous Grouse advertise- the most salient value was to experience the in particular. This was driven in turn by discussion ments) up to contemporary advertising strategies impact and resonance when experimental spaces of the avant-garde and audience/user-perspectives. (e.g. Aldi advertisements) quite independent of enable out-of-the-box thinking and speculative It chimed with research at the University of Applied direct producers or artistic directorship. The blur- research to be led by the inquiry and findings Arts Vienna on the re-use of playing cards as hybrid ring and ‘naturalisation’ of the relationship between throughout a dynamic research process. games formats and in particular the study of games the commercial sector involved in industrial film ” (and pastimes) that have been used for propaganda, and the artesanal/ experimental sector has also been as found in the private collection Van Diggele. Related revealed in ‘persuasive prosumer plays’, a term applied to this was the insight from the VU University according to theoretical findings on pervasive gaming Amsterdam team that the close examination of indus- and alternate reality as advertisement and propa- trial commissioners and creative filmmakers has ganda strategies. revealed a proportional link between the constraints New evidence was brought to light in the unfore- Dr Martha Blassnigg imposed and the creativity of the responses in the seen convergence of data, and the extent to which the Co-Investigator on IP01, University of production of advertising material (1970s-1980s). hypothesis of the project was reinforced. The research Plymouth, UK 87 Technology, Exchange and Flow: Artistic Media Practices and Commercial Application (TEF)
process also exposed significant aspects of reception that are evident in other serial media, in particular chromolithographs, newspaper advertising and advertising in the period prior to the introduction of cinematographic technologies. These findings in turn led to a critical consid- eration of theories on the avant-garde as proposed by reflections on modernism and brought popular culture into closer alignment with traditional concep- tions of ‘high culture’. The audience turned out to be a key factor in shaping technological and media forms in the way that both advertising and experimental film are geared toward user interaction and exert impact beyond the duration of the viewing experience. In this way the individual projects addressed research topics that yielded incremental extensions of existing scholarship in experimental film, industrial film and new gaming environments. As such their individual outcomes enhance existing literature in the areas of television and documentary theory, expanded cinema and game theory.
Creating new contexts for audience participation stakeholders. This became especially evident during Installation shot of TEF exhibition the knowledge exchange events that were ongoing Play & Prosume at the Kunsthalle Vienna. The project was innovative in its scope, breadth, throughout the project. © Lendl 2013 and research focus. Its originality was not just in the The findings have uncovered interconnections topics addressed or in the unique combination of and acknowledged key factors for future policy and research into practitioners and producers who have research. The project highlighted in particular the hitherto been regarded as distinct, but also in its impact and potential of the participatory qualities forms of public engagement and dissemination. The of advertising in their interconnections with experi- research structure and methods blurred the bound- mental film form and games cultures as they build aries between cultural and disciplinary practices on user participation, perceptual properties and and returned the findings to the public domain in aesthetics that stimulate new viewing practices in collaboration between academic and non-academic these related disciplines. In this way it countered 88 HERA JRP: Outcomes and Achievements – Humanities as a Source of Creativity and Innovation
the common view that technological innovation Vision) that prioritises public access and industry drives creative qualities and subsequently the creative participation. industries. Two subsequent seminars both attracted The project was divided into three discrete work substantial audiences from across all sectors and had packages that contributed to the research outputs significant resonance. The second TEF expert seminar and dissemination in the form of a final exhibition, reflected “produsage” (user led content creation) and conferences and symposia, publications and knowl- persuasive strategies in early film and advertisement edge exchange events. A unique exhibition at the movies, as well as in games and arts. The third expert Kunsthalle Vienna in March 2013 highlighted user-led seminar made these interconnections even more interpretation and shared knowledge production with explicit with contributions from eminent experi- the engagement of audience participation through mental and advertising filmmakers who discussed interactive gaming platforms. Substantial knowledge their creative exchanges and dynamics across the arts, exchange activities drawing on related insights from industry and academic sectors. aspects of the HERA TEF and CIM projects were deliv- Other dissemination activities included an inter- ered at the Netherlands Institute for Sound and Vision national workshop on advertising at the EYE Film in Hilversum and EYE Film Institute Netherlands in Institute Netherlands, an exhibition in Amsterdam on Amsterdam in April 2013. In these events audiences Advertising Classics in the Beurs van Berlage (curated were invited to engage with advertising materials by Wilbert Schreurs, VU University) and a consider- in various contexts and forms of presentation and able number of international workshops, conference to inform experts how they evaluated these experi- presentations and events drawing on research find- ences. In a follow-up evaluation event stakeholders ings. The research also had a significant impact on were invited to consider how this modification of the other academic activities by team members and has interactive dynamic might impact on their theory, contributed to the visibility of HERA and the TEF practice and policy in relation to decision making project in the European research communities of the about archiving, heritage and research priorities. respective fields. Prior to these final events, a large number of dissemination activities took place. The first expert seminar (‘From Celluloid to Magnetic Tape to Bits and Bytes’, December 2010), in which academics, media and industry stakeholders, commercial filmmakers Website: and the general public shared the initial research find- www.trans-techresearch.net/tef ings, took place in the Netherlands Institute for Sound Contact: and Vision in Hilversum. It provided an opportunity Michael Punt (Project Leader) for collaboration and extension in an archival research [email protected] institution (Netherlands Institute for Sound and Annexes 90
HERA Joint Research Programme: Selection Process and Management
Background Transfer Strategy and its implementation, and moni- • Research excellence toring of the HERA JRP funded projects. • Relevance to the call for proposals In order to strengthen the European Research Area, • Novelty and originality of the proposal 13 national research councils decided in 2008 to pool A centrally managed programme • European Added Value a substantial amount of their resources and set up a • Qualifications of the applicants joint research programmes. On 9 January 2009, the To ensure the quality and transparency of the selec- Out of the 234 outline proposals submitted, 57 were HERA Joint Research Programme (HERA JRP) part- tion process and an efficient management of the HERA invited to the second round. All applicants received ners launched a joint call for transnational projects in JRP Programme, the HERA JRP Board contracted the written feedback with the outcome of the Review two humanities research areas: “Cultural Dynamics: European Science Foundation (ESF) as the Handling Panel’s evaluation of their proposal. Inheritance and Identity” and “Humanities as a Agency to centrally manage the selection of proposals. 2. Selection of Full Proposals Source of Creativity and Innovation”. In the post-award phase, ESF monitored the Successful applicants were invited to submit their Full The Call was open to scholars located in Austria, funded projects, implemented the HERA Knowledge Proposals on 4 June by the deadline of 1 September Croatia, Denmark, Estonia, Finland, Iceland, Ireland, Transfer Strategy organising networking and knowl- 2009. All eligible Full Proposals were peer reviewed by Luxembourg, Netherlands, Norway, Slovenia, Sweden edge exchange events, and was in charge of the HERA at least three external expert referees. Applicants were and United Kingdom, irrespective of their nation- JRP website and communication activities. then given an opportunity to provide a response to the ality. Successful proposals required the building of anonymous referee reports. The Review Panels met consortia of three or more partners based in three or A two-step selection process and evaluated the Full Proposals based on their exper- more different HERA JRP countries. The total amount tise as well as the referees’ reports and the applicants’ of funding made available for both the transnational Following the publication of the call for proposals, two responses to these. The Full Proposals were evaluated research programmes funded under the HERA JRP international theme-specific Review Panels covering a according to the following selection criteria: themes was 16,5 M€, 4 M€ of which was the ERANET broad range of humanities disciplines were set up. The • Research excellence - Quality of the trans-national PLUS top-up budget of the European Commission. selection of proposals was organised in two stages. project The Programme funded 19 transnational research 1. Selection of Outline Proposals • Quality and efficiency of the implementation and projects involving 79 Principle Investigators across The Call for Outline Proposals was published on the management the 13 participating countries. HERA website on 9 January 2009 with a deadline • Potential Impact The HERA JRP has been set up by the HERA JRP of submission on 7 April 2009. Outline Proposals Out of the submitted proposals, 19 were recommended consortium as a true cooperative effort. Thirteen provided a brief overview of the project idea as well as for funding. All applicants received written feedback national funding agencies have jointly defined and the proposed consortium which had to include at least with the outcome of the Review Panel’s evaluation developed common research priorities, created a three applicants from three different countries. Prior of their proposal, in addition to reviews by external new transnational funding mechanism and pooled a to the evaluation of the proposals by the Review Panels, referees. substantial amount of their funding in one common the ESF and the HERA JRP funding agencies checked pot. The HERA JRP funding partners were repre- their eligibility with respect to the proposal format and sented in the HERA JRP Board which was the main requested budget. The Review Panels met in Stras- decision-making body regarding matters such as bourg to evaluate eligible Outline Proposals according the financing of the HERA JRP projects, Knowledge to the following criteria, as outlined in the Call: 91 HERA JRP: Selection Process and Management
High transparency and integrity standards Monitoring
The HERA JRP Board and the ESF wished to ensure The monitoring of projects involved the evaluation and that the highest standards of transparency and integ- approval of annual progress and financial project reports. rity were observed in the selection process All research progress reports were evaluated by the two • Transparency… HERA JRP Review Panels and by the HERA JRP Board. …to the science community All projects received feedback and – if needed – were moni- As a measure of transparency, the membership of the tored more closely by the Handling Agency at the ESF. Review Panel and the list of the expert referees were published on the HERA website at www.heranet.info. Impact, knowledge exchange The website also provides information about all and communications funded projects. …to the funders In addition to supporting excellent humanities research, The HERA JRP members were provided with all HERA aims to increase awareness of the impact of Outline and Full Proposals received (via a protected funded humanities research beyond academia and website), together with all written reviews received promotes knowledge exchange. AHRC led the work from external referees, and replies by applicants. on the Knowledge Exchange Strategy formulation and Detailed records of the Review Panel discussion and chaired the HERA JRP Knowledge Exchange Advisory decision (including budget recommendations) on the Committee, and the Handling Agency at the ESF was Outline and Full Proposals were also provided. responsible for the organisation of the knowledge …to the applicants exchange and communications activities. A HERA Applicants were provided with feedback from the JRP launch and final conferences as well as a series of Review Panels, explaining the outcome of their evalu- knowledge exchange and networking activities bringing ation. They were also provided with the three referees’ together academic and non-academic partners from the assessments and had an opportunity to respond to HERA JRP projects were organised. these. As regards the HERA JRP communications, in • Integrity addition to the publication of the HERA JRP overview In order to ensure high standards of integrity in all brochure at the beginning of the programme and processes, conflict of interest guidelines were elabo- media announcements, the HERA website was devel- rated, validated and adhered to by the Review Panel oped allowing all the HERA JRP transnational projects members and referees. to have their own web pages on the HERA website A member of the HERA JRP Board and the Chair of and to publish information about their results, the HERA JRP Quality Assurance Committee (QAC), upcoming news and events. Finally this programme Martin Stokhof, attended all Review Panel meetings brochure was prepared to provide the overview of the as observer. main achievements of the HERA JRP projects. 92 HERA JRP: Outcomes and Achievements – Annexes
HERA Joint Research Programme selection process
I nTERNATIONAL Review Panel ESF Office HERA JRP Board and (RP) Management Team
Call for Outline Proposals
Proposals eligibility National eligibility check
International Review Panel set up Suggestion of Review Panel members
Meeting of the RP Selection of Outline Proposals and invitation of Full Proposals
Proposals eligibility National eligibility check
Identification and assignment of referees Suggestion of referees to proposals (min. 3 per proposal)
Anonymous referees’ reports provided to applicants for comments
Meeting of the RP Ranking of Full Proposals
Funding decisions Meeting of the HERA JRP Board 93
HERA Joint Research Programme: Governing and Implementing Bodies
The quality of the HERA JRP programme was ensured for the Humanities Luxembourg by the following bodies: • HERA JRP Board member: FNR - National Research Fund, Luxembourg Professor Frederik Tygstrup • HERA JRP Board member and Management The HERA JRP Board and Management Team • HERA JRP Management Team member: Team member: Mr Jonas Lind Ms Susanne Rick The programme was overseen by the HERA JRP Board, formed by one representative of each of the following Estonia Netherlands 13 Funding Agencies. The HERA JRP Board was the EstSF - Estonian Science Foundation NWO - Netherlands Organisation for Scientific main decision-making body regarding matters such • HERA JRP Board member: Research as the financing of the HERA JRP projects, Knowl- Dr Daniele Monticelli • HERA JRP Board member: edge Exchange Strategy and its implementation, and • HERA JRP Management Team member: Professor Gillis Dorleijn monitoring of the HERA JRP funded projects. The Ms Kati Kio • HERA JRP Management Team members: Management Team (MT) was responsible for matters Ms Annemarie Bos and Ms Alice Dijkstra such as setting up and monitoring national eligibility Finland requirements for the Programme and acting as national AKA - Academy of Finland-Research Council for Norway contact points for the applicants regarding these issues. Culture and Society RCN - The Research Council of Norway • HERA JRP Board member: • HERA JRP Board member: Austria Professor Pauline Von Bonsdorff Dr Jon Holm FWF – Austrian Science Fund • HERA JRP Management Team member: • HERA JRP Management Team member: • HERA JRP Board member: Dr Kustaa Multamaki Ms Solbjørg Rauset Professor Josef Ehmer • HERA JRP Management Team member: Iceland Slovenia Dr Monika Maruska RANNIS - Icelandic Centre for Research MHEST - Ministry of Higher Education, Science and • HERA JRP Board member: Technology Croatia Professor Guðrún Nordal • HERA JRP Board member: HAZU - The Croatian Academy of Arts and Sciences • HERA JRP Management Team member: Professor Jerca Vodušek Starič • HERA JRP Board member: Ms Hulda Proppé • HERA JRP Management Team member: Professor Milena Žic Fuchs Dr Davor Kozmus • HERA JRP Management Team member: Ireland Ms Jelena Dukic IRC - Irish Research Council Sweden • HERA JRP Board member: VR - The Swedish Research Council-Humanities and Denmark Professor Sean Ryder (Chair) Social Sciences DASTI - The Danish Agency for Science, • HERA JRP Management Team members: • HERA JRP Board member: Technology and Innovation-Research Council Dr Eucharia Meehan and Ms Sorcha Carthy Professor Kerstin Sahlin 94 HERA JRP: Outcomes and Achievements – Annexes
• HERA JRP Management Team member: Erasmus University, Netherlands •• Distinguished Professor John Hartley Dr Lucas Pettersson •• Professor Ivor Karavani Centre of Excellence for Creative Industries and Department of Archaeology, University of Zagreb, Innovation, Queensland University of Technology, UK Croatia Australia AHRC - Arts and Humanities Research Council •• Professor Elizabeth Lanza •• Professor Janis Jefferies • HERA JRP Board member: Department of Linguistics and Scandinavian Department of Computing, University of London, Professor Mark Llewellyn Studies, University of Oslo, Norway UK • HERA JRP Management Team member: •• Professor Tom Moylan •• Associate Professor Ansa Lønstrup Dr Lucy Parnall Department of Languages and Cultural Studies, Institute of Aesthetic Disciplines, Aarhus University, University of Limerick, Ireland Denmark Review Panels •• Dr Triinu Ojamaa •• Dr Thomas Munck Department of Ethnomusicology, Department of History, University of Glasgow, UK The two thematic independent international Review Estonian Literary Museum, Estonia •• Professor Stephen Partridge Panels, formed of leading experts in the field, were •• Professor Bernd Roeck Duncan of Jordanstone College of Art & Design, responsible for the evaluation of submitted proposals Department of History, Zürich University, University of Dundee, UK and the funding recommendations. In the course of the Switzerland •• Dr Ilkka Pyysiäinen programme, they also oversaw the scientific aspects of •• Professor Hoskuldur Thrainsson Helsinki Collegium for Advanced Studies, the programme and were involved in the evaluation of Department of Linguistics, University of Iceland, University of Helsinki, Finland the project annual reports. Iceland •• Associate Professor Joost Raessens •• Professor John Tolan Faculty of Arts, Utrecht University, Netherlands Review Panel ‘Cultural Dynamics: Inheritance Department of History, Nantes University, •• Dr Susan Schreibman and Identity’ France Digital Humanities Observatory, Royal Irish Academy, •• Professor Przemyslaw Urbanczyk (Chair) Ireland Institute of Archaeology and Ethnology, Review Panel ‘Humanities as a Source of Creativity •• Assist. Professor Elsa Vivant Polish Academy of Sciences, Poland and Innovation’ French Institute of Urban Planning, University Paris 8, •• Professor Mitchell Ash •• Professor Naomi Segal (Chair) France Department of History, Vienna University, Austria Institute of Germanic & Romance Studies, •• Professor Susan Bassnett University of London, UK Centre for Translation and Comparative Cultural •• Professor Karl Acham Studies, Warwick University, UK Department of Sociology, University of Graz, •• Professor Gabriele Griffin Austria Centre for Women’s Studies, University of York, UK •• Professor Janine Dahinden •• Professor Marlite Halbertsma Center for the Understanding of Social Processes, Department of Cultural Studies, University of Neuchâtel, Switzerland 95 HERA JRP Governing and Implementing Bodies
HERA JRP Handling Agency - The European Science Foundation
The European Science Foundation acted as the Handling Agency for the selection process and the programme post-award phase. The head of the Humanities and Social Sciences unit at ESF, Dr Nina Kancewicz-Hoffman, overlooked the management of the programme. The HERA JRP team included: •H• ERA JRP Science Officer (programme manage- ment and coordination): Ms Julia Boman •• HERA JRP Administrator: Ms Eléonore Piémont •• HERA JRP Finance Administrators: Mr Arnaud Massin and Ms Philippa Rowe •• HERA JRP publications coordination: Ms Sabine Schott
HERA JRP Coordinator – NWO Humanities
The Netherlands Organisation for Scientific Research Humanities Department acted as coordinator for the HERA JRP ERANET Plus contract with the European Commission. Responsible persons for the EC contract were: •• NWO Humanities director: Ms Annemarie Bos •N• WO Humanities Senior Programme Officer: Ms Alice Dijkstra 96 HERA JRP: Outcomes and Achievements – Annexes
HERA Joint Research Programme: Funders
HERA Joint Research Programme is financially supported by
•• The Arts and Humanities Research Council (AHRC), UK •A• cademy of Finland (AKA) •T• he Danish Agency for Science, Technology and Innovation (DASTI) •• Estonian Science Foundation (ETF) •T• he National Research Fund (FNR), Luxembourg •• Austrian Science Fund (FWF) •T• he Croatian Academy of Sciences and Arts (HAZU) •• The Irish Research Council for the Humanities and Social Sciences (IRCHSS) •M• inistry of Higher Education, Science and Tech- nology (MHEST), Slovenia •N• etherlands Organisation for Scientific Research (NWO) •• The Icelandic Centre for Research (RANNIS) •T• he Research Council of Norway (RCN) •T• he Swedish Research Council (VR) and •• The European Community FP7 2007-2013, under the Socio-economic Sciences and Humani- ties programme