Australian Rules Music Credits

Total Page:16

File Type:pdf, Size:1020Kb

Australian Rules Music Credits Original Music Mick Harvey Original Music Composed, Performed and Produced by Mick Harvey Original Music Published by Birthday Party Pty Limited Recorded and Mixed at The Vault, Sydney Engineered by James Cadsky “Darcy’s Theme” Written by Matt Walker Courtesy of Sony/ATV Music Publishing Recorded at Cloud Nine by Phil Downing “Pickles’ Theme” Written by Matt Walker and Ashley Davies Courtesy of Sony/ATV Music Publishing Additional Musicians Lap Steel Guitar Matt Walker Violin Naomi Radom Violin Airena Nakamura Cello Chloe Miller Drums Ashley Davies “What I Done to Her” (Perkins/Owen), Performed by Tex, Don and Charlie Licensed by PolyGram Music Publishing Pty Limited Administered by Universal Music Australia Pty Limited Courtesy of Polydor Records, Licensed from Universal Music Australia Pty Limited “My Mind’s Sedate” (Kippenberger/Knight/Toogood/Larkin), Performed by Shihad Licensed by PolyGram Music Publishing Pty Limited Administered by Universal Music Australia Pty Limited Licensed courtesy of Warner Music Australia Pty Limited “Wishbone” (Rivers/Rohde/Moffatt), Performed by Red Rivers Licensed by Rondor Music Australia Pty Limited Administered by Universal Music Australia Pty Limited Courtesy Compass Brothers/ Festival Mushroom Records Australia Pty Limited “Skippy Theme” Performed by Tom Budge, Courtesy of Eric Stanley Jupp CD: A CD of the soundtrack was released: CD Mute IONIC17CD 2003 Guest Musicians: Matt Waiker - Lap Steel Guitar Ashley Davies - Drums (3 & 10) Naomi Radom – Violin Airena Nakamura – Violin Chloe Miller – Cello All arrangements and other instruments by Mick Harvey. Composed by Mick Harvey except tracks 3 & 10 by Matt Walker & Ashley Davies. Tracks 6 & 17 by Matt Walker, and track 14 by Tex Perkins & Charlie Owen “What I Done To Her” taken from the album "Sad But True” by Tex, Don & Charlie Recorded at Haig St, Wombarra and at The Vault, Balmain, Sydney with James Cadsky except Matt Walker's Lap Steel recorded at Cloud Nine, Sydney by Phil Downing Mixed at The Vault with James Cadsky except tracks 4, 12,13 & 15 at SingSing with Ross Cockle Mastered by Ross Cockle at SingSing, Melbourne Produced by Mick Harvey Executive Producers Mark Lazarus & Paul Goldman Published by The Birthday Party P/L/ Mute Song except tracks 3, 6, 10 & 17 by Sony and track 14 by Polygram Music/Control 01: Opening Credits 02: Training 03: Pickle Rides Out 04: Clarence And Blacky 05: On The Boat 06: Darcy's Gents 07: Fantasy Line-Up 08: Ruck Training 09: In Pickle's Bedroom 10: Grand Final First Half 11: Mum’s Tactics 12: Dumby At Half Time 13: Grand Final Second Half 14: What I Done To Her (Tex, Don & Charlie) 15: Under The Pier 16: Best On Ground Announcement 17: Pickle's Torches Darcy's Gents 18: The Shooting 19: Mourning Outside The Pub 20: Stones At House 21: Walking To Dumby 22: The Funeral Composer Mick Harvey: Mick Harvey is a veteran of the Australian music scene, and is too well known to detail at length here. He started with Nick Cave back in the days of The Birthday Party, and even managed to sneak a Birthday Party track on to the soundtrack, along with a few related songs from the time, such as The Saints and Chain. Harvey has a relatively detailed wiki listing here. While there are many references and interviews available by googling, Nathan Bush does a good overview of Harvey’s career at Allmusic here, with this excerpt noting Harvey’s work in film: ...Using any idle time between his two day jobs, Harvey composed soundtrack music for the documentary Identity - Kid and Gisa Schleelein's Totes Geld (both 1987). This would become the pattern for Harvey as he would bide time between Bad Seeds and Crime albums with film work (Alta Marea & Vaterland collects projects from 1987-1992), production duties, and guest appearances, all the while remaining one of the few constants in the Bad Seeds' fluctuating lineup. Harvey's most significant solo work came in 1995 with Intoxicated Man, a tribute to Serge Gainsbourg. A culmination of his craft, Harvey shifted easily through a number of settings, from the rollicking tribute to American outlaws "Bonnie and Clyde" to the dripping sentimentality of "Overseas Telegram." 1997 brought greater change for the Bad Seeds as Cave wrote a group of piano-led ballads for The Boatman's Call. Harvey contributed to most songs, but the sparse and reserved material called into question the necessity of the group. Harvey released Intoxicated Man's companion, Pink Elephants, the same year, and in 1999 curated the Bad Seeds' Best Of collection. He composed his tenth collection of film music for Andrew Dominik's Chopper, in 2000. A few years later, Harvey created the original score for Australian Rules, a 2002 film by director Paul Goldman. In 2005, Harvey resumed his solo career with One Man's Treasure. A selection of his film scores appeared as Motion Picture Music 1945-2005 from EMI in 2007, followed later in the year by a new studio album, Two of Diamonds. Harvey left the Bad Seeds in the late 2000s. No tracks from Australian Rules made it into the CD collection of Harvey’s film music, but the collection gives a good impression of Harvey’s range: (Below: Mick Harvey, first in a suitably Chopper-related pose, and then later in life) .
Recommended publications
  • Festa Do Cinema Animado Embalos Para Adormecer Anjos Criar
    Criar Construir Imaginar INSCRIÇÕES [email protected] exposição | até 31 de julho de 2015 exposição | até 31 de outubro de 2015 INFORMAÇÕES www.centrocultural.cm-ilhavo.pt Serviço Educativo do Centro Cultural de Ílhavo raízes#2 Os Ílhavos na Grande Guerra » Centro Cultural de Ílhavo pintura/desenho de Maria Afonso cinema concerto encenado para bebés Av. 25 de Abril | 3830-044 ÍLHAVO Tel.: 234 397 260 | Tel.: bilheteira: 234 397 262 Festa do Cinema Animado Programa Premiados Embalos para adormecer anjos GPS: 40º 36’02.01” N | 8º 40’01.68” W Raízes são, entre outras coisas: origem; parte oculta de qualquer coisa; órgão das plantas vasculares de fixação e absorção, normalmente extensões CINANIMA 2014 CINANIMA 2013 bilheteira e atendimento TERÇA-FEIRA a SEXTA-FEIRA - 11h00-18h00 subterrâneo; a parte da palavra primitiva em que reside o significado SEX 11 SET 21h30 Um concerto encenado sobre a “sinfonia da vida”. Tudo começa com a primeira SÁBADO - 14h00-19h00 da ideia original. (in Novo Dicionário da Língua Portuguesa, Texto QUI 10 SET a Do Cinanima, reconhecido festival internacional de cinema respiração aquando do nascimento. Quando enchemos de ar os pulmões que são asas SÁB 12 SET » Centro Cultural da Gafanha da Nazaré Editores, Cacém, 2007, pp. 1321) € 1,00 (cada programa) de animação, apresentamos a exibição dos filmes que mais que batem pela vida fora. Um encontro musical e poético onde três vozes e alguns Rua Prior Guerra | 3830-711 GAFANHA DA NAZARÉ A raiz de uma ideia será então a origem dessa ideia. Mas, também o auditório se destacaram na 38.ª edição do evento, em 2014.
    [Show full text]
  • Moby,Gotye, Boy&Bear and Australia's Music Elite Join
    December 5, 2011 MOBY,GOTYE, BOY&BEAR AND AUSTRALIA’S MUSIC ELITE JOIN FORCES WITH GPY&R SYDNEY IN MASSIVE BUSINESS DRIVE FOR VINNIES George Patterson Y&R Sydney has developed a multi-platform campaign for Vinnies designed to drive foot traffic through the charity’s 253 stores across NSW. It’s called Signed Finds and works on a very basic principle. Leading local and international music artists* have autographed and donated pre-loved, personal items that will be hidden in Vinnies outlets throughout the state. The fans of these bands (numbering in the millions) will receive hints about the shirts’ whereabouts through a dedicated Facebook page and then hit the stores to find them. They might not find the shirt first time, but they’ll likely walk out with some other Vinnies classic. Says ECD Julian Watt, “It’s a highly creative business initiative, and exactly the sort of thinking we’re pushing in the agency. Everyone wins. One of those self perpetuating ideas.” Luke Simkins, senior creative at GPY&R and long-time Vinnies shopper said, “Signed Finds is one of those creative perfect storms. “Recording artists get to do something cool for their fans and fans can get their hands on an amazing piece of memorabilia - all while helping people in need.” Julie McDonald, Community and Corporate Relations Manager for Vinnies said, “We’re delighted and honoured to be working with George Patterson Y&R on such an exciting project. “It’s a win-win situation for everyone involved because by shopping or donating to Vinnies, you are directly supporting the most marginalised and disadvantaged people in our community,” Julie added.
    [Show full text]
  • Gainsbourg 2008
    Gainsbourg 2008 Exposition du 21 octobre 2008 au 1er mars 2009 Dossier de presse « Les images, je les ai écrites, plaquées sur des symboles musicaux, c’est là mon drame. Peintre, j’aurais fait une œuvre. » Extrait de « Gainsbourg, voyeur de première » de Franck Maubert « Ma vie n’est qu’œuvre hélas ! » Émission « Discorama », le 16 mars 1963 « Dans la vie moderne, il y a tout un langage à inventer. Un langage autant musical que de mots. Tout un monde à créer, tout est à faire. » Émission « Entrez dans la conidence », le 13 avril 1968 Commissaire de l’exposition : Frédéric Sanchez Présentation Le Musée de la musique consacre une exposition à Serge inluencé l’évolution des mœurs et celle des mouvements Gainsbourg (1928-1991) à l’heure où sa popularité prend artistiques et culturels. une envergure internationale. Tandis qu’à Londres et à New York, la pop contemporaine découvre les talents de poète Il jouait avec les mots et les références, empruntait tant à et de mélodiste du « French artist », Tokyo connaît une la culture classique que populaire, décalait, transformait, véritable « gainsbourgmania », mixant et samplant ses arrangeait, inventant ainsi une nouvelle forme de compositions. composition faite de montages et de collages. Cette exposition est organisée grâce à des prêts L’exposition met en avant la modernité de son travail sur exceptionnels consentis par la famille, et particulièrement la musique, les mots et les images. Sampling, mixage, Charlotte Gainsbourg, ainsi que par les proches de Serge remixage, emprunt, citation, autocitation et détournement Gainsbourg. prédominent et préigurent les images et les sons de la culture d’aujourd’hui.
    [Show full text]
  • Revolution Rock
    REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 1.The Concept Abstract Based on research, there are about 209,000 live performers of music in Australia. Queensland accounts for 16% of this total, which is the third highest in Australia. The music industry contributed $266m to Australia’s gross product in 1995–96. REVOLUTION ROCK Attending live music concerts accounts for the majority of time spent by consumers on A celebration of Brisbane’s entertainment, closely followed by attending museums and galleries. music history 1942–2002 In one year in Australia there are: ★ 12 million attendances at public art galleries ★ 6.7 million admissions to live theatre Concept ★ 5 million admissions to musical theatre (including opera) Through collaboration with individual artists and the community, the Revolution Rock ★ 3.4 million attendances at dance performances project will examine key events in Brisbane’s social history which have galvanised residents ★ 4 million attendances at classical music concerts, and and artists to creative action in order to protect, preserve and enhance their cultural identity. ★ 19 million attendances at popular music concerts. Format Source: Australia Council Website Music Industry development and Brisbane’s future as a creative city. Revolution Rock is a multimedia project, which will include recording of oral history, film, (Flew et al. Nov 2001, QUT Creative Industries Research and Application Centre.) video and print media, live concert, exhibit, book and memorabilia, focussing on the Background Brisbane music phenomena from the 1940s to the present day. 5.1 Music has been identified as a major growth industry worldwide. The development of the Music industry provides significant wealth generating and export opportunities for Revolution Rock contents Brisbane, Queensland and Australian economies.
    [Show full text]
  • Mick Geyer in 1996: NC: Mr Mick Geyer, My Chief Researcher and Guru, He Is the Man Behind the Scenes
    www.pbsfm.org.au FULL TRANSCRIPT OF DOCUMENTARY #3 First broadcast on PBS-FM Wednesday 12 April 2006, 7-8pm Nick Cave interviewing Mick Geyer in 1996: NC: Mr Mick Geyer, my chief researcher and guru, he is the man behind the scenes. How important is music to you? MG: It seems to be a fundamental spirit of existence in some kind of way. The messages of musicians seem to be as relevant as those of any other form of artistic expression. MUSIC: John Coltrane - Welcome (Kulu Se Mama) LISA PALERMO (presenter): Welcome to 'Mick Geyer: Music Guru'. I'm Lisa Palermo and this is the third of four documentaries paying tribute to Mick, a broadcaster and journalist in the Melbourne music scene in the 1980's and '90's. Mick died in April 2004 of cancer of the spine. He had just turned 51. His interests and activities were centred on his love of music, and as you'll hear from recent interviews and archival material, his influence was widespread, but remained largely outside the public view. In previous programs we heard about the beginnings of his passion for music, and his role at PBS FM, behind the scenes and on the radio. Now we'll explore Mick as a catalyst and friend to many musicians, through conversation and the legendary Geyer tapes, those finely crafted compilations of musical enlightenment and education. In this program we'll hear for the first time from: musicians Dave Graney & Clare Moore, Jex Saarelaht, Hugo Race, Tex Perkins, Warren Ellis, Kim Salmon, Brian Hooper, Charlie Owen, and Penny Ikinger; and from friends Beau Cummin, Mariella del Conte, Stephen Walker and Warwick Brown.
    [Show full text]
  • Tex Perkins of the Day, I’D Prefer to Be Laughing
    IN MY OWN WORDS Edited by Claire Bradley I grew up in Brisbane’s northern suburbs. The area was a swampland until they dumped a whole lot of dirt on it and ironed out the suburbs. It was a cool place to live because the bushland and creeks were an adventure – I had a Huckleberry Finn thing. I didn’t fi t in with the other kids. I made my own fun, which wasn’t entirely tragic or anything. I just never found anybody I connected with until I moved to Sydney when I was 17. Although I was in the school choir, I had no musical leanings back then. I was in it for the privileges – such as getting out of class. My siblings had a huge infl uence on my musical appreciation. My two older sisters and two older brothers had varying tastes, so I had quite an eclectic education. As the youngest of the family, I was spoilt and tortured. My sisters treated me as the baby, and my brothers made sure I paid my way in humiliation. I blame my bad bits on my Catholic boys’ school education. Back then, you could do what you liked to kids, especially in Catholic schools. A teacher could slap you or grab your hair; violence was rampant. Now they’d be charged with assault. I was a real stirrer. I felt, if that was authority, it needed to be undermined and questioned. I can’t think of anything I brought with me from school, apart from thinking I’d never let anybody treat me that way again.
    [Show full text]
  • Mick Harvey Intoxicated Man / Pink Elephants Mp3, Flac, Wma
    Mick Harvey Intoxicated Man / Pink Elephants mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Intoxicated Man / Pink Elephants Country: Australia & New Zealand Released: 2014 Style: Chanson, Lounge, Experimental MP3 version RAR size: 1914 mb FLAC version RAR size: 1226 mb WMA version RAR size: 1641 mb Rating: 4.9 Votes: 983 Other Formats: ASF TTA VOC APE FLAC MP4 MMF Tracklist Intoxicated Man 1-1 69 Erotic Year 1-2 Harley Davidson 1-3 Intoxicated Man 1-4 The Sun Directly Overhead 1-5 Sex Shop 1-6 The Barrel Of My 45 1-7 Ford Mustang 1-8 Overseas Telegram 1-9 New York USA 1-10 Bonnie & Clyde 1-11 Chatterton 1-12 The Song Of Slurs 1-13 Jazz In The Ravine 1-14 I Have Come To Tell You I'm Going 1-15 Lemon Incest 1-16 Initials B. B. Pink Elephants 2-1 Pink Elephants 2-2 Requiem... 2-3 The Javanaise 2-4 Black Seaweed 2-5 Comic Strip 2-6 The Ticket Puncher 2-7 Non Affair 2-8 Scenic Railway 2-9 To All The Lucky Kids 2-10 Anthracite 2-11 Manon 2-12 I Love You ... Nor Do I 2-13 The Ballad Of Melody Nelson 2-14 Torrey Canyon 2-15 Who Is "In" Who Is "Out" 2-16 Hotel Specific 2-17 Dr. Jeckyll 2-18 Run From Happiness Companies, etc. Phonographic Copyright (p) – Mute Records Ltd. Copyright (c) – Mute Records Ltd. Marketed By – Create/Control Distributed By – Create/Control Credits Written-By – Serge Gainsbourg Barcode and Other Identifiers Barcode: 9346062002899 Other versions Category Artist Title (Format) Label Category Country Year Intoxicated Man / Pink Mick UK & CDSTUMM331 Elephants (Comp + CD, Mute CDSTUMM331 2014 Harvey Europe
    [Show full text]
  • “You Went There for the People and Went There for the Bands”
    “You went there for the people and went there for the bands” The Sandringham Hotel – 1980 to 1998 Brendan Paul Smyly Doctor of Philosophy University of Western Sydney August 2010 2 Acknowledgements I offer thanks to my supervisors, principally Dr Diana Blom whose knowledge, good advise and enthusiasm for a broad array of topics was invaluable for the length of this study. To Dr Greg Noble, a serendipitous choice who provided great counsel at the oddest hours and introduced me to whole vistas of academic view, thank you. Also to Professor Michael Atherton who offered unwavering support (along with some choice gigs) over the years of my engagement with UWS, many thanks. I offer very special thanks to all my colleagues from the Music Department at UWS. Ian Stevenson and Dr Sally Macarthur, thank you for your faith and support. To John Encarnacao, who was also an interviewee for the project, your advice and enthusiasm for the project has been invaluable and saw me through some difficult months, as has your friendship, thank you. To Mitchell Hart, your knowledge and willingness to help with myriad tasks whenever asked is greatly appreciated. My time as a student in this department will be fondly remembered due to you people being there. Many thanks to the administrative staff of the School of Communication Arts, particularly Robin Mercer for candidature funding and travel advice, and Tracy Mills at the Office of Research Service for your prompt and valuable help. Above all, I wish to thank Darinca Blajic. Thank you for your unfailing love, support and wonderful food.
    [Show full text]
  • Priest's Script Becomes Reality
    E O B S E R V E R Thursday, February 12, 1998 • Vol. XXXI No. 90 THE INDEPENDENT NEWSPAPER SERVING NOTRE DAME AND SAINT MARY'S Scholars examine Hussein’s weapons stance, aggression ByJANEL KILEY In addition, the “Cold War para­ progress in eliminating such News Writer digm” argues for the prevention weapons as “stunning.” of the possession and accumula­ Numerous nuclear weapons in Professors George Lopez and tion of weapons of mass destruc­ Baghdad have been identified and David Cortright examined Iraqi tion while considering humanitar­ destroyed. president Saddam Hussein’s ian concerns, Lopez said. “The nuclear folder can be determination to use weapons of In their lecture, “Dealing With closed,” Cortright stated. mass destruction last night, Saddam: Bombing, Bargaining or The process achieved similar detailing the options and effects Bailing-Out,” Cortright stated that progress in destroying ballistic of the international community in sanctions imposed against Iraq in missiles, as 817 of 819 scud mis­ SYRIA preventing the acquisition of such the past seven years effectively siles in Iraqi possession have weapons. isolated the nation “economically, been accounted for, he said. Their presentation investigated diplomatically and politically.” Cortright believes “the Iraqi scud the costs and benefits of certain They experienced an “erosion of force no longer exists.” economic restrictions and consid­ economic capability” as they lost In the area of chemical %hjSKandar(yah ered the humanitarian concerns over one billion dollars in oil rev­ weapons, he believes that “signifi­ related to these actions. enue, he said. cant progress” has been made, At stake in this crisis “is the Controversial evidence suggests but considerable uncertainties impasse between the Security that the economic sanctions remain.
    [Show full text]
  • BERTRAND BURGALAT (C a I E P) Bungalow 1999
    C : Composition A : Arrangements I : Instruments et/ou voix E : Enregistrement P : Production LAIBACH (A I P) Let it be (6 titres), Mute Records 1988 THE GRUESOME TWOSOME (C I E P) I'm the light 12", Crammed Discs 1992 JAD WIO (A I P) Fleur de Métal, Sony Music 1992 LAIBACH (C A I P) Kapital 2xLP (Steel Trust), Mute Records 1992 THE GRUESOME TWOSOME (C I E P) Candy from Strangers, Crammed Discs 1993 CRIME AND THE CITY SOLUTION (E) The Adversary - Live, Mute records 1993 L'ÉQUIPE À JOJO (A I P) (4 titres Clare Quilty Orchestra, Appolo XI, Daniel Darc), Le Village Vert 1993 DOMINIQUE DALCAN (A I P) Cannibale, Crammed Discs 1993 RESOLUTION (I) The Ghostwriter, 12" Swim records 1994 ARNOLD TURBOUST (I coP) Mes amis et moi, Barclay 1994 LOUIS PHILIPPE (A I P) Sunshine, Trattoria polystar 1994 CZERKINSKY (P exéc.) I am Czerkinsky, Esperanza 1994 PROFESSEUR CHORON & CHARLIE OLEG (P) Noel c'est formidable, Le Village de Nuit 1994 KAHIMI KARIE (A I E P) I am a kitten, Cru-el 1995 MICK HARVEY (A I) Intoxicated Man, Mute Records 1995 . KAHIMI KARIE (C A I P) My first Karie, Trattoria Polystar 1995 MICK HARVEY (A) Initials B.B., Mute records 1995 VALÉRIE LEMERCIER (C A I P) Chante, Tricatel 1996 KAHIMI KARIE (A I P) Le Roi Soleil (Ma Langue au chat), Trattoria Polystar 1996 HUGO (E) La formule, Crammed Discs 1996 ARIELLE (I) Toute une vie, BMG 1996 OLLANO (A I) Ollano, Barclay 1996 . EINSTURZENDE NEUBAUTEN (A) Ende Neue, Mute Records 1996 COUNT INDIGO (A I P) Her Other Man, Cowboy records 1996 LOUIS PHILIPPE (I) Jackie Girl, Polystar 1996 .
    [Show full text]
  • Adelaide FESTIVAL of ARTS 2016
    adelaide FESTIVAL OF ARTS 2016 26 feb - 14 mar WELCOME David Sefton Jay Weatherill Jack Snelling ARTISTIC DIRECTOR PREMIER OF SOUTH AUSTRALIA MINISTER FOR THE ARTS It is with a bundle of mixed emotions that I welcome you I'm also delighted in my final festival to be able to The 2016 Adelaide Festival of Arts promises to be 18 Our Adelaide Festival of Arts has a fantastic reputation for to the 2016 Adelaide Festival of Arts, my final selection showcase so much great work from South Australia. unforgettable days of boldness and exuberance. bringing new and exclusive art to our city, and this year’s as Artistic Director. One of the joys of my time here has been the discovery program is no exception. It will start with a breathtaking show on our biggest stage, of just how much world-class work is made locally and The last three years have been an amazing journey and with Groupe F’s opening-night pyrotechnic spectacular À A major coup for this year will be the presentation of it is a particular pleasure to include a powerful cross- 2016 promises to be just as fabulous. For this final festival Fleur de Peau illuminating the magnificent Adelaide Oval. The James Plays – a trilogy of plays about the three kings section of it this year. I am delighted that we'll see the epic and the intimate, of Scotland. An Australian premiere exclusive to Adelaide, Another feature of the festival is Adelaide Writers’ Week – six the traditional and the new and the range of excellence I'm enormously proud of all of the festivals I have Rona Munro’s new historical trilogy is the type of days of readings and discussions about books and ideas in people have come to expect from this festival.
    [Show full text]
  • DT-Fullthesis Amendedfinalversion 1102017
    Learning to innovate collaboratively with technology: Exploring strategic workplace skill webs in a telecom services firm in Tehran Náder Alyani A Thesis Submitted for the Degree of Doctor of Philosophy (Social Science) LLAKES Centre Institute of Education University College London October 2017 1 Abstract This thesis explores innovation and learning within the context of an entrepreneurial new technology based firm (NTBF), operating in the creative sector of telecommunications value- added services located in Tehran, Iran, along with a partner in London, UK. Whilst backgrounding the socioeconomic and geopolitical characteristics of the operating environment, and historical antecedents of independence and self-sufficiency, plus chronic sanctions within the economy, the argument focuses on the interplay between intermediated learning via strategic ‘skill webs’ leading to innovation. Drawing on innovation and workplace learning corpus, collaborative innovation with technologies is organised as a competitive action in an unstable and unpredictable market: learning and skill enhancement in firms provides the stabilisers to remain and compete in the market. It is the juxtaposition of learning and innovation in service-innovation/-delivery design, while utilising pervasive and emerging telecoms technologies that provides the empirical base for this research. Conceptually, an emergent type of distributed learning, entitled as ‘DEAL’ (Design, Execute, Adjust and Learn) model, by enabling knowledge brokerage facilitated by ‘skill webs’, is identified and explored. This then acts as an analytical tool to examine the empirical elements which are in the form of longitudinal organisational ethnography on site visit waves, spanning 2004 to 2013, focusing on project learning breakthroughs and cul-de-sacs as observed by learning episodes, often utilising informal networks and skill webs in technical and non-technical tasks.
    [Show full text]