Presentation on Collective Futures project delivered by Professor David McGillivray, Dr Catherine Docherty and Sue Fairburn

1. Collective Futures
Cultivating Creative Collectives
THINKING
THROUGH
MAKING

2. WHAT & WHY? COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
Aim:
Explore
and
define
the
nature
and
form
of
coopera>ve
business
models
used
by
designer-­‐makers
to
sustain
and
grow
their
crea>ve
businesses.
Objec+ves:
•
Develop
talent:
prac>>oner
and
academic
collabora>on
to
co-­‐create
guidance
on
establishing
and
sustaining
an
effec>ve
collec>ve.
•
Contribute
to
the
cultural
economy:
collec>ve
as
a
route
to
market
for
designer-­‐makers;
iden>fying
the
financial,
crea>ve
and
personal
benefits.
•
Place:
as
a
factor
in
the
establishment
and
success
of
crea>ve
collec>ves.

3. FRAMEWORK COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
RESIDENTS

4. RESIDENTS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

5. PROJECT TEAM COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
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RESIDENTS
Sue
Fairburn
Becky
Chan
Catherine
Docherty
Kirsty
Ross
David
McGillivray
Bronwen
Livingstone
&
PROJECT
TEAM
North
East
Central
Belt
South
West

6. COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
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9. FINDINGS

10. OUTPUTS - VALUES COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
OPEN.
SUPPORT.
PROMOTION.

11. OUTPUTS - BENEFITS
COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES COLLABORATION.
MUTUAL BENEFIT.
MAGIC IN THE MIX.

12. CONSTITUTIONAL COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
DECISION MAKING.
FORMAL CONSTITUTION.
TERMS & CONDITIONS.

13. OPERATIONAL COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
PHYSICAL & DIGITAL SPACE.
MEETINGS.
OPEN PROCESSES.
FLEXIBLE & ADAPTABLE
DEFINED ROLES/RESPONSIBILITIES

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15. THE JOURNEY: CRITICAL MOMENTS
PEOPLE:
“The
Right
Mix”
SPACE:
"Need
for
a
local
working
space”
FUNDING:
“Permits
key
hire
for
skills
gap”,
“Expansion”,
“Building
regenera>on”
EXTERNAL
VALIDATION/
RECOGNITION:
“AUrac>ng
external
talent”,
“Invita>ons
to
share
prac>ce”
TIME
&
PROCESS:
“Time
to
reflect”,
“Seek
guidance/support
on
process”

16. EJMOUERRNGEYISN
G MODELS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
WAYS
OF
ORGANISING:
Defining
roles/Group
Skill
Sets,
Manifesto/Formal
Cons>tu>on,
the
Working
Space.
WAYS
OF
COMMUNICATING:
Openness/Transparency,
Face-to-Face, Skill Share,
Brand.
WAYS
OF
SUPPORTING:
Funding, External Consultants
(CEO), Creative Mentors, Experts.

17. BRAND IDENTITY COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
WHAT
IS
A
COLLECTIVE
BRAND?
“a
strong
message”,
“a
coherent
voice”,
‘customer
trust’
allied
to
“a
strong
visual
iden>ty”.
For
INDIVIDUAL
MAKERS
WITHIN
A
COLLECTIVE,
cul>va>ng
strong
individual
iden>ty
in
the
marketplace
serves
to
strengthen
the
Collec>ve
brand.

18. ROUTES TO MARKET COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
DIRECT:
Physical
space
(independent
shops/galleries/open
studios/
exhibi>ons
(most
popular),
closely
followed
by
trade
fairs/events.
INDIRECT:
Websites
as
a
key
route
by
a
significant
propor>on
of
par>cipants,
accompanied
by
more
extensive
use
of
social
media.
SUPPORT
REQUIRED:
Staff/freelancers
to
support
+
More
space
+
BeUer
website
&
social
media
support
+
BeUer
marke>ng
and
promo>onal
skills
to
enhance
profile.

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'&"().!+
TOOLS
OUT
PUTS
OUTPUTS
INCLUDE:
•WEBSITE
•SOCIAL
MEDIA
•DIGITAL
CAPTURE(AUDIO
&
VISUAL)
•COLLECTIVES
DATABASE
•TOOLS
•NETWORK
•PUBLICATION

20. * ADAPT/DEVELOP NEW
HIGHLIGHT EXISTING
OUTPUTS / TOOLS

21. CASE STUDIES - Collective
Case
Study
:
BLACKSAND:
Event-­‐based,
Rota+ng
management
Lessons
Learned
from
a
7-­‐year
Collec+ve
that
spurred
a
Fife-­‐based
network,
built
a
following,
ran
its
course,
and
was
mutually
dissolved.
Blacksand
were
a
Kirkcaldy
based
collec2ve
that
existed
from
2006
to
2013.
The
collec2ve
were
a
cons2tuted
group
of
approximately
eight
members
and
a
management
commiCee
comprising
of
chair,
secretary
and
treasurer.
These
roles
were
voted
on
each
year
at
the
AGM,
although
for
many
years
(2006
to
2010)
the
roles
stayed
with
the
same
people.
During
the
7
years
in
existence
the
collec2ve’s
aims
and
objec2ves
were
to
create
a
mutual
support
network,
to
establish
a
programme
of
exhibi2ons
and
events
and
to
rent,
lease
and
manage
to
provide
studio/workshop
space
or
exhibi2on/event
space.
Their
main
inten2on
was
to
foster
a
sense
of
community
in
the
Kirkcaldy
area
and
to
create
links
with
other
art
groups
and
ar2sts.
Over
2me
the
original
office
bearers
began
to
2re
of
their
roles
and
responsibili2es,
which
led
to
a
change
in
leadership
and
in
turn
a
change
in
the
management
of
the
organisa2on.
It
took
a
while
for
new
people
to
fill
the
posts
and
as
a
result
the
cons4tu4on
was
changed
to
make
a
rota4on
of
roles
occur
so
that
the
team
could
evolve.
The
inten2on
was
that
this
new
structure
would
alleviate
their
problems,
conversely
members
began
to
leave
and
without
new
members
coming
in
the
rota2on
of
roles
was
challenging.
Reasons
for
leaving
included
members
finding
other
ways
to
further
their
prac2ce,
joining
other
group
and
2me
restric2ons
due
to
day
jobs/studies/family.
There
are
now
several
ar2sts
groups
in
and
around
Kirkcaldy
and
the
exhibi2on
of
contemporary
art
is
a
visible,
frequent
occurrence.
The
rota2on
of
the
management
roles
from
the
beginning
is
key
for
a
collec2ve.
Overcoming
administra4ve
barriers
such
as
comple2ng
grant
applica2ons
can
help
to
build
skills.
Seeing
challenges
as
opportuni2es
for
personal
and
professional
growth
is
important
-­‐
and
have
fun
-­‐
it
should
not
all
be
hard
work.
One
of
the
last
exhibi2ons
Blacksand
undertook
involved
a
road
trip
that
was
fun
and
working
together
showed
their
strength
in
being
in
a
collec4ve.

22. CASE STUDIES - Agency
Case
Study
:
Brian
Skinner:
Landlord
with
Philanthropic
tendencies,
Sharing
perspec+ves
on
what
a
landlord
looks
for
in
collec+ve
tenants,
what
tenants
should
look
for
in
a
landlord,
and
managing
communica+on
between.
Brian
Skinner
is
the
Managing
Director
of
Be
Capital
Group
a
privately
owned
property
development
company
based
in
Glasgow
for
5
years.
Ac2ng
as
a
landlord
on
a
na2onal
level
the
company
promotes
and
ac4vely
undertakes
philanthropic
projects
within
the
crea4ve
business
sector.
Brian
has
an
ac2ve
interest
in
suppor2ng
crea2ve
businesses
to
establish
themselves
within
network
of
places
and
spaces
that
are
conducive
to
helping
crea2ve
prac2ce
to
flourish.
In
terms
what
a
landlord
looks
for
in
prospec2ve
tenants
Brian
suggests
that
harnessing
one
collec4ve
voice
is
an
excellent
way
to
approach
a
landlord
to
ini2ate
discussion.
Establishing
the
right
legal
framework
as
a
collec2ve
is
also
vital
for
the
ini2al
mee2ng;
to
be
able
to
outline
a
clear
intent
and
avoid
being
dictated
to.
An
effec2ve
understanding
of
the
landlord’s
mo4va4ons,
company
background
and
strategy
is
also
important
in
building
mutual
understanding,
trust
and
credibility
from
the
outset.
Tenants
should
expect
their
landlord
to
be
in
a
posi2on
to
showcase
tangible
working
examples
of
exis2ng
physical
spaces
or
proper2es
that
are
fully
opera2onal.
Experiencing
the
energy,
vitality
and
commercial
viability
of
different
crea2ve
prac2ces
working
together
under
one
roof
is
a
major
incen2ve
for
all
par2es
involved.
The
landlord
should
iden2fy
the
poten2al
to
commercialise
the
crea2ve
energy
of
a
collec2ve
and
the
value
of
transforming
it
within
an
appropriate
physical
context.
Brian
recommends
looking
into
the
incen4ves
available
to
the
crea4ve
sector
as
local
authori2es
seek
to
build
vibrant
communi2es
in
ci2es
where
economic
regenera2on
represents
a
real
opportunity.
Striking
a
balance
between
the
crea4ve
and
commercial
mo4va4ons
on
both
sides
is
also
important,
especially
when
it
comes
to
the
func2on
of
space.
Crea2ng
spaces
that
are
flexible,
adaptable
and
easily
transformed
is
key
to
successful
occupa2on
helping
to
build
a
physical
legacy
of
use
that
brings
heart,
character
and
crea2vity
into
a
building.

23. *ANATOMY OF A COLLECTIVE COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

24. *JOURNEYS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

25. * MODEL: IDEAL COLLECTIVE COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

26. *ROUTES TO MARKET COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

27. * FAIRY GODMOTHER COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

28. HIGHLIGHT EXISTING TOOLS
www.nesta.org.uk/publica+ons/crea+ve-­‐enterprise-­‐toolkit

29. KEY INSIGHTS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
Business
Models
Different
models
–
no
one
size
fits
all
Collec>ve-­‐specific
support
is
important
–
Peer,
Agency,
etc.
Learn
from
each
other
and
share
/
build
on
each
others
skills
Residents
on
the
Process:
The
process
has
been
therapeu>c
with
>me
to
reflect
on
their
collec>ve
Share
tools
with
their
board/commiUee
Mee>ng
up
and
sharing
face-­‐to-­‐face
is
best
Confidence
in
the
range
and
different
types
of
collec>ves
On
place:
Collec>ves
in
rural
areas
give
outlets
for
young
prac>>oners.
Crea>ve
Collec>ves
as
an
economic
lever
for
regenera>on/improvement
(rural
&
urban).

30. KEY INSIGHTS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
Next
Steps:
Collec>ve
of
Collec>ves
is
already
happening
though
fragile
Sofa
surfing
for
collec>ves
Share
prac>ce
(Catherine:
Portugal
–
Crea>ve
Hubs
April
2014)
Educa>onal
links
to
be
explored
(Gray’s
School
of
Art/RGU
HE
Project
2014/2015)
“Collabora4on
:
Collec4vism
:
Par4cipatory”
This
is
what
we’re
thinking
are
ways
to
take
it
forward:
Formalise
an
on-­‐line
network/presence
(Collec>ve
of
Collec>ves)
Design
of
tools
&
Guidance
(aggregate
resources
from
elsewhere)
Visual
mapping
of
Collec>ves
(database
of
>60
crea>ve
collec>ves
in
Scotland)

31. COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
A Collective of Collectives:
where the
knowledge
and
capabili>es
of
members
are
brought
together
to
support
new
collabora>ons
and
to
strengthen
exis>ng
ones.

32. WATCH OUT FOR… COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES

33. WATCH OUT FOR… COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
www.collec>vefutures.net
#CoFutures

34. COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
A
few
words
from
the
Residents:
“the
concept
of
collec2ves
now
feels
familiar.”
“I
no
longer
feel
threatened
by
other
collec2ves
–
I
see
a
rich
network
of
crea4ves.”
“…realisa2on
of
the
poten2al
to
share
resources.”
“Learning
can
come
from
Agencies,
but
learning
comes
through/embeds
itself
through
peers
and
ac4vi4es.“
“I
now
understand
the
prac2cal
issues
and
solu2ons
-­‐
focusing
on
the
prac2cal
issues
was
good.”
“The
tools
sussed
out
structure
&
resources.
The
ac2vi2es
gave
structure
to
our
thoughts.”
The
progression
from
WS1
>
WS2
>
WS3
has
helped
me
to
clarify
the
stage
we’re
at
and
what
we
now
need
to
do.

35. COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
Thank you.
We’d like to hear from you. If you have any comments or questions about
the project, please get in touch:
Catherine Docherty C.Docherty@gsa.ac.uk
David McGillivray David.McGillivray@uws.ac.uk
Sue Fairburn s.fairburn@rgu.ac.uk