PROGRAM 2018 


Transversal Competences for Innovative and Participatory Cultural and Heritage Management and Policy
+
* MBody *
Embodiment of (Self)Management. The Future Worker Leading own Body
through Spaces of Art, Science and Technology

 

WEEK 1 – Rijeka, Venice - July 2nd - July 9th 2018
WEEK 1+2 - Rijeka, Venice, Osor  - July 2nd - July 16th 201, 4ECTS

Online Mentoring: 
WEEK 1- June 25th - June 29th 2018
WEEK 2 - July 09th - July 16th or July 17th to July 21st 2018  

ONLINE WEEK 2 - July 17th – July 21st 2018
Follow up, reflection, continuation of individual consulting.



LECTURES

Mon - Fri: 9 am - 13 pm

 

MAST - 
MA MODULE IN ART, SCIENCE AND TECHNOLOGY

 

MILENA DRAGICEVIC SESIC

UCS1801 | Models and Layers of cultural policies: power, governance or participation?

Advocating for cultuural policies today: Why and how? How cultural public role and public interest for culture could best be defended? What is a public interest in culture today? Rationale for public supports – arts or cultural spillovers? How and why freedom of artistic expression is limited? Political correctness, blasphemy laws, populist policies, mob pressures...? In time of cultures of fear and humiliation (Moisi), what is a place for cultural policy? Cultural and heritage policies on the crossroad: how to institute democratic participation? Participatory or meritocratic governance? Collective intelligence:- flows of ideas and civic engagement – counterpublics? Or?


MILENA DRAGICEVIC SESIC

UCS1802 | From enlightement to participation - Workshop task (three groups) – 1 hour discussion + 30 minutes presentations in the plenary

Creation of a model of a policy dialog established on local level:
a) Heritage policy: memory site, place of memory:  dialogue of community, professionals responsible for memory site, research professional and academics from the relevant fields (historians, sociologists, but also tourism and educational scholars with political decision-makers on relevant level);  i.e. counter monument as participative re-telling of the negative past (Gerz).

b) Cross-border dialogue: why and how? (i.e. Andras Urban, Passport project – bottom-up cultural policy; is there a real participatory public-civil policy example: Borderland foundation, Sejni, Poland; Ljubljana process regarding heritage, etc.)

c) European policy level. Open Method of Coordination OMC Method – what are the most urgent questions? European Heritage Label – how to develop “European Heritage”. 


MICHELA MAGAS

UCS1802 | 7 ingredients to build a successful innovation ecosystem
1.    Place creativity at the heart of innovation.
2.    Enable an extremely fast knowledge transfer.
3.    Set up open innovation IP parameters. 
4.    Bring the best brains into the room.
5.    Get your hands dirty. 
6.    Give ample support to valuable ideas. 
7.    Plug ideas into a network. 


MICHELA MAGAS

UCS1803 | Why do we place women in the lead of entire tech areas? Because we can.


LIDIA VARBANOVA  

UCS1805 | The status of artists in culture and creative industries
1.    Creative industries-international comparison of diverse models
2.    Creative economy: essence and drivers
3.    People in culture: “creatives”, creative labour and artists
4.    The status of creatives and artists
5.    Cultural leadership


 LIDIA VARBANOVA

UCS1806 | Lecture 2 | Crossover innovations: A catalyst for sustainable creative enterprises

Learning points:

1.           Cultural & creative entrepreneurship and innovation
2.           The essence of innovations in the arts
3.            Crossover innovations and collaboration
4.           Opportunities and trends in crossover innovations
5.            Support system for creative entrepreneurs at national   and  local level.


AIRAN BERG

UCS1807 | Orfeo & Majnun - A European Journey

From idea to creation, from finding partners to raising money and a Creative Europe application, from large scale participation to artistic quality, from interdisciplinary to intercultural and intergenerational. For the past two years Airan Berg has been developing the idea of O&M. Fresh from the premieres at La Monnaie Opera in Brussels and Festival Aix, Airan will speak about how to put such a large project together, artistically, logistically, organizationally and financially. A case study for the brave hearted.


HEDVIG MORVAI     

UCS1808 | How to develop a culture of regional co-operation?

It seems that the culture of cooperation in the Balkans follows a different logic than the development of cooperation in the EU. Cooperation in the EU moved from policy areas of “low” politics (i.e. economy, coal and steel) to policy areas of “high” politics (i.e. security and defense). In the WB, one finds that there is more cooperation in “high” politics (e.g. security, justice and home affairs), while regional cooperation in “low” politics areas (e.g. energy, infrastructure, social development) is lagging behind. This is a consequence of the early structuring of regional cooperation.
A growing culture of regional cooperation means that there is a broad societal sense that regional cooperation is the way to advancement and developments. Regional cooperation must take a life on its own giving rise to countless bottom-up initiatives, linking a plethora of actors such as businesses, municipalities, civic associations, citizens, etc.


GAELLA GOTTWALD     

UCS1809 | Art as a tool for social impact, activism and greater awareness

Creative approach pressing problems in original and inventive ways and provide opportunity for a breakthrough of stagnant thought.
Art activism is a way artists try and change living conditions in economically underdeveloped areas, raise ecological awareness, offer access to culture and education as a public service, attract attention to the plight of refugees, improve the conditions and understanding of community by creating participatory and inclusive actions.
Overview of various projects using creative processes and artists as catalysts of change and social impact.


DEJAN LUKIC

UCS1809  | Geo-Ontological Pedagogies

This lecture will introduce alternative art and ecology pedagogies practiced by the Step Not Beyond Summer School. Abstract thinking and daily activities are here immanently tied to a given microclimate. Hence all thought is climatological, all gestures atmospheric. There is an ecosystem within the individual, just as there is a planetary ecology. This geo-ontological model can be applied to any microclimate in the world, with a goal to revitalize seemingly abandoned regions of the earth through willful migrations to the unexpected terrains. 


DARKO LUKIC

UCS1813 | Writings of memory - drama of reminiscence

The theoretical lecture is conceived as a theoretical presentation with emphasis on the practical part of writing dramatic text and/or theoretical analysis and/or analytical reading of other dramatic texts.

The memory theater and drama of reminiscence is a part of contemporary studies of the memory culture and represents a dramatic literature that deals with memory policies and memory strategies on an individual, singular and collective social level. The theme of this type of dramatic literature is places of memory, or spaces of reminiscence, whether it is about memories of individuals or the collective memories of social groups and communities. This type of drama playwright on an individual level deals with personal histories, family histories, essential points of important individual memories and oblivion, while at the collective level it deals with collective memories of different communities and important places of memory such as, for example, the themes of the Holocaust, colonial history, world and civil wars, AIDS epidemic, terrorist attacks etc. When developing a strategy for this type of drama writing, it is important to bring clearly motivated and sustainable decisions about the topic's choice, its importance to the individual and/or community, the way it is presented, the potential public speech, the strategy of confronting myths and lies, as well as the importance of concrete text in the context of the memory policy. When analyzing such texts, understanding the context, knowledge of theoretical assumptions, and the ability to read from positions of changeable perspectives are important, while respecting the principles of media ecology and author's ethics.


DAVOR MISKOVIC

UCS1812 | Networks and decisions

Lecture will deal with the decision-making process in a networked society. The basis for our decisions are informations that we are have. In a contemporary society we are operatining with vast proportions of informations that enables us to make better decisions. But it is not only a number of informations that it counts, it is even more important how we make connections among the informations that we have. Today we have a tendency to connect informations without taking in account history of data that makes our ground for decisions. That is a consequence of network structure that has its own biases. Through the lecture we will present some of the biases of network structure that could disrupt our decision making process. 


ANDREW DUBBER

UCS1814 | New Music Strategies

New Music Strategies is about innovation in music, music as a tool for social change, participation, equality and inclusion, and the ways in which music technologies can build better worlds.
There are key phenomena that mark out the era in which we live. These are times in which government bodies of foreign nations can intercept and examine every piece of communication we exchange. In which we can go grocery shopping in the middle of the night without leaving the house in the name of convenience. In which we can quantify every aspect of our day to day activities through the use of a wearable device. In which we can speak face to face with relatives on the other side of the world as a matter of course. In which we can navigate to places we have never been with the aid of a speaking device that always knows the way. In which 10 million private homes around the world have their floors cleaned by a robot. In which national revolution is plotted and organized within a context provided free of charge by a global commercial corporation, supported by advertising. In which the vast majority of what we read, watch, hear, write, say and do takes place in a computer-mediated environment. 


pETER PURG & NAYARI CASTILLO


UCS1814 | * MBody * Embodiment of (Self)Management.The Future Worker Leading own Body through Spaces of Art, Science and Technology

In a world of systemic crisis, with an apparent need for coexistence, conviviality and new ways of acting, the MAST project sets sails to explore alternative routes for a better living. Fostering ideas around the future worker’s identity the participants will reflect and build on own change-stimulating personal and social skills, both as leaders and creators within cultural industries.

The programme seeks to deploy tools for innovation and a (re)organisation of society, fostering transversal management as reflected within particular aspects of architecture, heritage, public space, participation, audience, public policy etc. By identifying tools and combining them around multidisciplinary solutions, the participants will come together to design possible solutions to timely questions or problems they encounter.

The first week of the workshop will be dedicated to define an Inquiry within the urban scape, develop a Solution, and then transfer it into the rural setting by developing, during the second week, a Project (Solution Statement and/or Pilot Action, Artwork etc.) at the crossing of Art, Science and/or Technology.


JURIJ KRPAN

UCS1811 | * MBody * Embodiment of (Self)Management. The Future Worker Leading own Body through Spaces of Art, Science and Technology – extension  3


CHRIS CSIKSZENTMIHALYI

UCS1815 | * MBody * Embodiment of (Self)Management. The Future Worker Leading own Body through Spaces of Art, Science and Technology – extension 2


ROBERT MANCHIN

UCS1813 | * MBody * Embodiment of (Self)Management. The Future Worker Leading own Body through Spaces of Art, Science and Technology – extension 1
 


Unicult's Microlearning on the SPOT (UMS) – introduction and testing

The project will develop a methodology that brings the academic paradigm closer towards the entrepreneurial, and vice versa:
The module would be structured around the central "backbone" course in the format of a "challenge". This would become AN INNOVATIVE course format, entitled "The MAST Challenge", which can be phase-distributed (according to all partner's preferences and capacities) also into smaller, shorter local courses (e.g. "The HCI MAST Challenge" in Madeira, or the "The Public Space Design Challenge" in Graz). The essential idea is that the semester cohort of MAST module students experience the entire process from responding to a challenge with an idea, and eventually presenting an innovation solution, and pitching it to a relevant audience, possibly the investors and/or employers, civic society groups and leaders, etc. Equal attention would be paid to the organizational approach of the innovation, and joining its potential social impacts with European social values.

UMS ―Unicult's Microlearning on the SPOT CHALLENGE is a complementary process to the above, focusing on online learning, receiving of fast, particular answers in 3 to 5 min. sessions. The faculty will provide, during the MAST workshops, seminars and/or the academy, ad-hoc questions to students with options of short answers to any particular question related to the syllabus; in online version this may be by Skype or Messenger, Viber or Whatsapp. UMS will work similar to Uber. P7 will develop guidelines and provide an App environment for that. Through the UMS App. promotion and visibility for MAST program will be additionally achieved. This time&space-distributed (partly blended) course would be running along entire of the winter semester with the main concluding joint event in January/February, but the best innovations solutions would be disseminated (as showcases, 

 

LECTURES

CURATORIAL PART

 

 

 

 

16. International Architecture Exhibition BIENNALE ARCHITETTURA 2018 - FREESPACE
MEETINGS ON ARCHITECTURE - GENEROSITY

"Generosity" in architecture is the theme featured in the third meeting in a row of ten about the FREESPACE exhibition

This panel will provoke a debate on what ’generosity’ means in architecture, in different cultures, in communities, in political processes and show discuss how it can be obtained and proclaimed.

 

LET'S TALK ABOUT 

 

Mon – Fri: 12pm - 13 pm

 

Let’s Talk About Series
LTA series invite you to come, listen and contribute to an open discussion with Unicult2020 Faculty and notable guest speakers who share their diverse experience, perspectives, struggles, personal and career accomplishments with each other and the students in an informal framework. The format of LTA series encourages participants to contribute to the discussion sharing their knowledge and ideas. Therefore, by the end of the meeting everyone could have learned something new from each other. 

 

RESEARCH & MAPPING

 

 

HAKAN LIDBO

In the collaboration with the Museum of Modern and Contemporary Art Rijeka, program Spajalica

UCS1820 | Singing Tunnels – Installation in Rijeka
Urban pedestrian tunnels can be scary. Badly lit, scary acoustics, stinky and dirty. A place you want to pass through as fast as possible. The project Singing Tunnels tries to change this experience to something positive. Singing Tunnels is a project by Max Björverud and Hakan Lidbo.
A microphone picks up the sound from the tunnel, detecting the pitch of the sound with PureData, playing back a sampled female voice singing the same pitch. The result is a tunnel that sings with you. Or, if you bring a musical instrument, the tunnel with sing along with you. It works as long as you sing or play one note at the time. If you don’t produce a note, like everyday noise or talking, the tunnel won’t sing.
The purpose of the project is to transform tunnels into something inspiring and fun. Urban planners are welcome to contact us to discuss a possible musicalification of the tunnels in their city.

 

RESEARCH

UNICULT2020 Subprogram: THE EUROPEAN CAPITALS OF CULTURE IN FOCUS

 

 

THE INSTITUTE FOR DEVELOPMENT AND INTERNATIONAL RELATIONS (IRMO)

The fundamental mission of the Institute is developing and disseminating theoretical, methodological and technical knowledge and skills required for scientific and professional interpretation and evaluation of contemporary international relations which affect various human activities and related developmental trends important for the Republic of Croatia. Development tendencies are observed in the local, regional, European and global context. In its scientific and professional work the Institute focuses on various forms of interconnections between international relations and political, economic and socio-cultural development tendencies.

 

MENTORING

 

 

The Mentoring process is described as a developmental process - dynamic and unique to each student.  

Two weeks online and during the two-weeks summer school, you will be able to meet your Mentors and schedule the mentoring sessions which will take place during the Advisory hours. A week before the program starts in Rijeka, you will connect to your Mentor online to prepare and develop your project. After the program in Rijeka or Osor are over, you will follow up on your project with your mentor online for an additional week. 

The mentoring process focuses on: 

  1. Project Development (helps the mentee achieve specific skills sets in order to develop his/her project, add value to the organization and progress); 
  2. Goal Setting/Career Planning (helps the mentee identify his/her professional and personal goals, as well as to identifya long-term career path);
  3. Problem Solving (helps the mentee develop cognitive skills in order to strengthen the mental process of discovering, analyzing and solving problems to overcome obstacles)
  4. Networking (helps the mentee expand his/her professional connections and possible collaborations and partnerships at an international level).

THE MENTORING PLAN – FOR MENTEES

1    THE MATCHING PROCESS

The matching between mentees and mentors will be made after students send the filled Mentee Application Form containing details regarding the education, background, expectations and goals of each participant at the programme. 

The evaluation of the Mentee Application Form and the matching are made upon the following criteria:  background (knowledge, skills and relevance); shared interest (how the mentor can relate to the mentee work and vice versa); individual aim (to be achieved from Unicult2020 mentoring session). 

The matching will be made by the organizing team in order to create the best possible match and a balanced number of mentees for each mentor. 

Mentees will receive an individual e-mail containing the name and the contact of his/her mentor together with the Start-Up Package for participants (containing the Advisory hours), after which they can start approaching their mentors from 1st of June 2017 via e-mail. By the time the mentors will be contacted by mentees, they will already have received the Mentee Application Form from each person who will be advised by them during the two weeks summer school and possibly after the program. 

Suggestion: feel free to introduce yourself to the mentor, ask for resources (links, videos, bibliography), subjects to think about before you arrive in Rijeka or just get to know each other. 

2    THE MENTORING PROCESS.  

During the two weeks summer school, students will be able to meet their mentors and schedule the mentoring sessions which will take place during the Advisory hours (to be found in the Start-Up Package sent to the participants who received the Acceptance letter to Unicult2020).

3.     AFTER MATCHING AND THE END OF UNICULT2020.  

We cannot guarantee a long-term mentoring relationship. It is all about your attitude and initiative.  Go through this experience wisely and with enthusiasm. Engage, be curios and take notes. Speak out loud and respect each other’s opinion. Ask your mentor if he/she is willing to keep in touch with you after Unicult2020 ends. 

Mentee Name *
Mentee Name
Preferred Mentor Name 1
Preferred Mentor Name 1
Preferred Mentor Name 2
Preferred Mentor Name 2