About this publication: What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime ‘flexible’ and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness and flexibility conceal the hegemonic nature of modern hierarchies of exploitation?This publication brings together six essays that offer a critique of the relationship between the creative industries and capital. It treats ‘the networked world’ — its democracies, cognitivities, its attention and its paradigmatic cultural discourses — as one of the domains wherein and by which capitalism and its colonial relations of dominance are being reproduced, reorganized, perpetuated and ‘modernized’.The Gray Zones of Creativity and Capital (eds. Gordana Nikolić and Šefik Tatlić) consists of works from a diverse range of authors from around the globe: Jonathan Beller, Josephine Berry Slater, Marc James Léger, Ana Vilenica, Sandi Abram & Irmgard Emmelheinz. The book first appeared in Serbian in 2015.
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This article focuses on engagements with elephants in diverse contexts, inquiring why some scholars are indifferent or even actively opposed to discourses that emphasise elephant suffering. In order to address this question, this article will explore three interrelated streams within social science: one that criticises conservation as an elitist, neo-colonial enterprise; one that is preoccupied with the social construction and cultural interpretation of natural phenomenon; and a third sometimes referred to as the new conservation science that focuses on economic valuations of the benefits nature, viewing “nature is a warehouse for human use.” https://doi.org/10.1080/13880292.2016.1204882 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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Carnival Futures: Notting Hill Carnival 2020 is a King’s Cultural Institute project led by Nicole Ferdinand (Culture, Media and Creative Industries at King’s College London) which sought to engage cultural organisations and other stakeholders in planning for the future of the Notting Hill Carnival. The content of this report is intended as a contribution to current research and to identifying future directions for the development of the Notting Hill Carnival. The material and views expressed are produced by various stakeholders in a series of workshops.