- Creative City Network of Canada

Transcription

2013
Creative City Summit
Recalculating: Culture in
a Digital World
Ottawa
May 29 – 31, 2013
2013
Sommet des villes créatives
L’adaptation culturelle
dans un monde numérique
Ottawa
Le 29 au 31 mai 2013
TABLE OF CONTENTS
Welcome Messages
2
Welcome Reception
6
Keynote Speaker, Dr. Sara Diamond
7
Artist Panel
10
Wednesday P2P Presentation Breakouts, Part 1
13
Wednesday P2P Presentation Breakouts, Part 2
15
Funding Panel
18
Pecha Kucha Ottawa
19
Keynote Speaker, Denis Bertrand
20
Thursday P2P Presentation Breakouts, Part 1
22
Thursday P2P Presentation Breakouts, Part 2
25
Local Arts and Culture Study Tours
27
Digi60 Ottawa Filmmakers Festival
28
CCNC Annual General Meeting
29
Research Panel
29
Keynote Speaker, Janine Marchessault
32
Thank you
35
Join the Network
36
Shenkman Arts Centre Maps
41
Arts Court Maps
42
Schedule at a Glance
44
Cover photo: Timothy I. Smith
WELCOME MESSAGES
Office of the Mayor
City of Ottawa
On behalf of Members of Ottawa City Council, it is my distinct pleasure to extend a
very warm welcome to all those participating in the 11th Creative City Network
Summit, convening under the theme “Recalculating: Culture in a Digital World”,
taking place at prominent municipal arts venues in the heart of our nation’s capital
from May 29 to 31, 2013.
The Summit provides a valuable forum for artists, the academia and culture stakeholders to come together
to share knowledge and creative ideas, as well as to learn more about the latest developments in digital
technology and its application in the arts and culture. Ottawa’s thriving digital media sector boasts more
than 250 companies, including firms specializing in video gaming and animation. The Ottawa Film Office
plays a collaborative role in the promotion of the creative aspect of digital media production and the
development of this very innovative industry.
Capitalizing on innovation and creativity, the City of Ottawa is moving forward with a proposed
redevelopment project at the municipal Bayview Yards to build an innovation complex, with the potential for
a multi-purpose studio of benefit to digital media artists.
Our City has also embarked on exciting plans to expand its Arts Court cultural facility, with designs for a
120-seat screening room, in addition to enhanced production and exhibition spaces for media artists of
SAW Video and Gallery, Artengine, along with the Independent Filmmakers Cooperative, creating a vibrant
media arts hub.
As Mayor of the host city, I want to congratulate the Creative City Network of Canada, along with the
Summit facilitators, keynote speakers, artists and volunteers, who have dedicated efforts, expertise, talents
and resources to the successful organization of this innovative meeting of national scope.
Allow me to convey my best wishes to all the participants for a very productive and rewarding assembly, as
well as for a most enjoyable stay in Ottawa.
Sincerely,
Jim Watson, Mayor
2
Bureau du maire
Ville d’Ottawa
Au nom des membres du Conseil municipal d’Ottawa, je souhaite la plus cordiale
bienvenue à tous les participants au 11e Sommet des villes créatives, ayant pour
thème « L’adaptation culturelle dans un monde numérique », qui se déroule dans
d’importantes installations municipales à vocation artistique situées au coeur de
notre capitale nationale, du 29 au 31 mai 2013.
Le Sommet offre aux artistes, au monde universitaire et aux intervenants du milieu culturel une précieuse
occasion de se réunir et d’échanger des connaissances et des idées créatrices ainsi que de se renseigner
sur l’évolution récente de la technologie numérique et de ses applications dans les arts et la culture.
Le dynamique secteur des médias numériques d’Ottawa regroupe plus de 250 entreprises, dont un
certain nombre sont spécialisées dans les jeux vidéo et l’animation. L’Office du film d’Ottawa collabore à
la promotion de l’aspect créatif de la production numérique et au développement de cette industrie très
innovatrice.
Misant sur l’innovation et la créativité, la Ville d’Ottawa fait des progrès quant au projet de réaménagement
des dépôts municipaux Bayview, visant la construction d’un complexe d’innovation qui pourrait accueillir un
studio polyvalent dont profiteraient les artistes spécialisés en médias numériques.
La Ville a aussi amorcé un passionnant projet d’agrandissement de son installation culturelle appelée la
Cour des arts. Le plan prévoit une salle de visionnement de 120 places ainsi qu’améliorées des salles
de production et d’exposition pour les artistes en arts médiatiques de SAW Video, de la Galerie SAW,
d’Artengine et de l’Independent Filmmakers Cooperative, ce qui créera un carrefour dynamique pour les
arts médiatiques.
En ma qualité de maire de la ville hôte, je tiens à féliciter le Réseau des villes créatives du Canada, ainsi que
les animateurs du Sommet et les conférenciers, artistes et bénévoles qui ont consacré leurs efforts, leurs
compétences, leur talent et leurs ressources au succès de cette réunion innovatrice d’envergure nationale.
Je souhaite à tous les participants une rencontre des plus productives et enrichissantes ainsi qu’un très
agréable séjour à Ottawa.
Cordialement,
Jim Watson, Maire
3
On behalf of the Board of the Creative City Network of Canada, I would like to
welcome you to our Nation’s capital for our 11th annual Summit.
We are living in a new and changing world, and the choice is ours as to whether to
accept, embrace and adapt to the changing technologies, or just ignore them and
hope they go away. Well…I hate to be the bearer of challenging news, but the times,
they are a’ changin’, and it will happen with or without us. Recalculating: Culture in
a Digital World is this year’s theme. Methods of communication and engagement
that no one ever imagined less than ten years ago, are now common place and have changed the way we
do business, interact with each other, and interpret and deliver cultural services to our communities.
The Creative City Network doesn’t run itself of course, and I would encourage all of you to consider
getting more involved. We strive to have a coast to coast to coast board that represents the interests of
municipalities big and small. Please feel free to ask myself or anyone on the Board about our role with the
Network, how you might become a greater part of it, and how we might be able to serve you better. As a
community of interest, it’s in our best interests to share stories and to find common ground.
I would like to extend a big thank you to the City of Ottawa for their warm welcome and wonderful support.
I would also like to thank the 2013 Summit organizing committee and would particularly like to mention
the chair, Sheila McKinnon and our hard working Ottawa board member Caroline Obeid. With their
dedicated committee, many volunteer hours have been spent programming and polishing everything
you will be enjoying!
Enjoy the Summit!
Ian Forsyth, President, CCNC
Dear Summit Delegates,
Welcome to the 2013 Creative City Summit in our nation’s capital, Ottawa!
In a Municipal Knowledge Series publication entitled “10 Trends for Smarter
Communities” writer Gord Hume shared a listing for Canada’s smartest cities
from the Canadian Learning Council. It’s probably no coincidence that the CCNC
Summits have been taking place in many of these cities. Hume states that whatever
tools are used for determining a “smart” community much of the positioning comes
from a commitment to certain key elements including: lifelong learning; a community that embraces
exciting and different urban design and policies; a community that embraces art, culture, heritage, and a
strong sense of place; vibrant public spaces; and a commitment to the latest technology and a climate for
technology innovation.
Many of these key elements will be explored during this years’ Summit. Our theme “Recalculating: Culture
in a Digital World” specifically addresses how new technologies are impacting the planning and delivery of
the arts in our communities. The keynote speakers this year include: Sara Diamond, Denis Bertrand, Janine
Marchessault, and we have three panel discussions and over a dozen peer to peer presentations. So be
prepared to become smarter!
The Summit will also impress you with the variety of facilities we are utilizing and inspire you through
engaging study tours and evening events that include a Pecha Kucha night and Digi60 Filmakers Festival.
It’s going to be a cultural marathon and you won’t want to miss a thing.
Thanks to our wonderful hosts, the City of Ottawa. Wishing everyone an excellent Summit.
Sheila McKinnon, Secretary, CCNC
Chair, 2013 Summit Planning Committee
4
2013 Summit Theme:
Recalculating: Culture in a Digital World
As digital technology diversifies and accelerates, its effects on cultural planning and the
cultural community are empowering yet challenging. The 11th Creative City Network Summit
will remap the field with new research, insights by leading creative individuals and experiences
of innovative arts organizations. Join us to explore digital hubs, digital participation and
communication, and to debate digital impacts on the cultural realm. From public art, to facilities,
to cultural policy, to promotion and participation, to art creation – it’s a new digital world to
navigate.
Thème du Sommet 2013 :
L’adaptation culturelle dans un monde numérique
Alors que la technologie numérique se diversifie et qu’elle évolue à pas accélérés, son incidence
sur la planification et la communauté culturelles non seulement offre de nouvelles possibilités,
mais aussi lance de nouveaux défis. Le 11e Sommet des villes créatives tentera de cartographier
l’évolution actuelle de cette technologie grâce à de nouvelles recherches, de nouveaux points
de vue exprimés par des grands créateurs connus et de nouvelles expériences vécues par des
organismes d’arts novateurs. Venez vous joindre à nous pour examiner les centres numériques
ainsi que la participation et la communication à l’âge numérique, et débattre des répercussions
de la technologique numérique sur le royaume culturel. De l’art public aux installations, en
passant par les politiques culturelles, la promotion et la participation, sans oublier la création
artistique, le monde numérique est un nouvel espace qu’il nous faut apprendre à naviguer.
5
T U E S D AY, M AY 2 8 , 2 0 1 3
7–9pm WELCOME RECEPTION AND REGISTRATION/
SOIRÉE D’ACCUEIL ET INSCRIPTION
Ottawa Art Gallery, Arts Court, 2 Daly Avenue
Galerie d’art d’Ottawa, La Cour des arts, 2 avenue Daly
Sponsored by / Commandité par
Enjoy a cocktail and hors d’oeuvre in the spectacular surroundings of the Ottawa Art Gallery
nestled within the historic landmark, Arts Court, housing for the past 25 years Ottawa’s
professional producers and presenters in the performing, visual, literary and media arts.
In the next few years, Ottawa’s downtown core will be revitalized through various key citybuilding projects like the Light Rail Transit Project and the Refresh of Rideau Street as well
as the Expansion of the Ottawa Art Gallery and Redevelopment of Arts Court. Clearly, culture
will play a central role in shaping the vision of Ottawa’s future. The Directors of the Ottawa Art
Gallery, the Council for the Arts in Ottawa and the Downtown Rideau BIA welcome delegates and
share their excitement for the future of Ottawa’s downtown core.
Catch up with friends and make new ones while Kitchen Party DJs Hobo & Sweet Cheeks will be
spinning some beats and Hard Science absorbs you into his interactive video projections.
Venez déguster un cocktail et des hors-d’œuvre dans le cadre magnifique de la Galerie
d’art d’Ottawa, situé sur le site historique de la Cour des arts, qui héberge depuis 25 ans
des professionnels d’Ottawa de la production et la présentation dans les domaines des arts
d’interprétation, visuels, littéraires et médiatiques.
Au cours des années qui viennent, le centre-ville d’Ottawa sera redynamisé grâce à divers
projets clés, comme le transport en commun par train léger ou la réfection de la rue Rideau, à
l’agrandissement de la Galerie d’art d’Ottawa et au réaménagement de la Cour des arts. Il ne
fait aucun doute que la culture jouera un rôle capital dans l’élaboration d’une vision d’avenir
pour Ottawa. Les directeurs de la Galerie d’art d’Ottawa, du Conseil des arts d’Ottawa et de la
ZAC du centre-ville Rideau accueillent des délégués et partagent leur fascination à l’égard de
l’avenir du centre-ville d’Ottawa.
Venez retrouver vos amis et tisser de nouveaux liens, au son de la musique proposée par
les DJs Hobo & Sweet Cheeks de Kitchen Party, et laissez-vous fasciner par les projéctions de
vidéos interactives de Hard Science.
6
W ednesday, M ay 2 9 , 2 0 1 3
Shenkman Arts Centre, 245 Centrum Boulevard
Day sponsored by
7:30am REGISTRATION
Lobby, Novotel Ottawa Hotel, 33 Nicholas Street
8:30am SHUTTLE BUS TO SHENKMAN ARTS CENTRE
From Novotel Ottawa Hotel Lobby
9:00am CONTINENTAL BREAKFAST
AND FACILITY TOUR
Lower Lobby, Shenkman Arts Centre,
245 Centrum Boulevard
Sponsored by
10:00am WELCOME Harold Shenkman Hall
10:30am
KEYNOTE SPEAKER Harold Shenkman Hall
CONFÉRENCIER PRINCIPAL
Salle Harold-Shenkman
DR. SARA DIAMOND, Toronto, ON
Canada’s Creative Community and the City of the Imagination
Toronto-based Ontario College of Art and Design University (OCADU)
is Canada’s “University of the Imagination.” OCAD University has
set “city building” as one of its strategic priorities. We see the
city - imaginary and actual - as many overlapping entities such as
its governance structure, the built space, its diverse communities,
its energy use and carbon outputs or the virtual pathways and
7
Wednesday, May 29, 2013
processes that are often unseen. All of these elements are layered in the experience of
the city. We will share our philosophy and strategies for imagining and building a Creative
City derived in part from our work with international partners and many sectors such
as the City of Toronto, cultural institutions, creative industries, the technology sector,
healthcare institutions, and developers. As a specialized art, design and media university
OCAD University has developed a series of tools that facilitate an understanding of the
forces that drive change. Strategic foresight practiced by OCAD University’s sLab helps
us to imagine trends and paint scenarios. Data analytics and visualizations from the
Centre for Information Visualization and Data Driven Design can provide metaphors and
insights that reveal the virtual and material city in novel ways. Action research engages
communities in collaborations to understand and change their communities. Visual art
and environmental design provide other dimensions that allow us to re-imagine the city
of the present and propose a City of and for the imagination. From these layered entities,
partnerships and processes what kind of city will emerge?
La ville de l’imagination et les communautés créatives
au Canada
Située à Toronto, l’Université de l’École d’art et de design de l’Ontario (UEADO) est
« l’Université de l‘imagination » du Canada. L’UEADO s’est fixé comme une de ses
priorités stratégiques de « bâtir la ville ». Nous considérons la ville, qu’il s’agisse de la
ville imaginaire ou de la ville réelle, comme un canevas d’entités qui se chevauchent,
par exemple la structure de gouvernance, l’espace construit, les diverses communautés
qui compose la ville, l’utilisation d’énergie et les émissions de carbone, les voies
d’accès virtuelles et les processus qui souvent sont invisibles. Ces différents éléments
représentent les différentes strates constitutives de la ville. Nous avons pour mission
de partager notre philosophie et nos stratégies visant à imaginer et construire une cité
créative qui découlent, en partie, de notre collaboration avec des partenaires œuvrant
à l’échelle internationale et dans de nombreux secteurs, comme la Ville de Toronto,
les institutions culturelles, les industries créatives, le secteur de la technologie, les
institutions des soins de santé et les promoteurs. En tant qu’institution spécialisée
en art, en design et en médias, l’UEADO a mis au point un ensemble d’outils qui
permettent de mieux comprendre les forces à l’œuvre qui animent le changement.
L’anticipation stratégique, qui est au cœur des activités du laboratoire de l’UEADO, nous
aide à nous représenter les tendances qui se dessinent et à concevoir des scénarios
d’approche. À l’appui des analyses de données et les visualisations fournies par le
Centre for Information Visualization and Data Driven Design (Centre de la visualisation
de l’information et la conception axée sur les données), nous pouvons concevoir des
métaphores et des perspectives qui révèlent la ville tant réelle que virtuelle par de
nouvelles approches. La recherche-action mobilise les communautés et les incite à
collaborer pour arriver à une compréhension du contexte et à stimuler le changement au
8
sein des collectivités. Les arts visuels et l’aménagement de l’environnement procurent
d’autres dimensions qui nous aident à imaginer la ville au présent sous un nouvel angle
et à esquisser les plans d’une ville redéfinie ou élaborer la ville de l’imagination. Quel
type de ville émergera de ces diverses fondations sous-jacentes, que ce soient des
entités, des partenariats ou des processus?
BIO
Dr. Sara Diamond is the President of OCAD University, Canada’s “university of the
imagination”. She holds a PhD in Computer Science and degrees in new media theory
and practice, social history and communications. She is an appointee of the Order of Ontario
and the Royal Canadian Society of Artists. While retaining OCAD University’s traditional strengths
in art and design, Diamond has guided the university in becoming a leader in digital media,
design research and curriculum through the Digital Futures Initiative, new research in inclusive
design, health and design, as well as in sustainable technologies and design. She also played a
leading role in OCAD University’s establishment of the unique Aboriginal Visual Culture Program.
These initiatives have built strong partnerships for OCAD University with science, business and
communities, in Ontario and abroad.
Diamond was the Artistic Director of Media and Visual Art and Director of Research at the Banff
Centre, where she created the Banff New Media Institute (BNMI) in 1995 and led it until 2005.
Her book (with Sarah Cook) Euphoria & Dystopia: The Banff New Media Dialogues, a history of
the boom, bust and reset years of the first wave of digital media is currently available; published
by Banff Centre Press and Riverdale Architectural Press, University of Waterloo.
BIO
Dr Sara Diamond est présidente de l‘Université de l‘École d‘art et de design de
l‘Ontario (UEADO), « l’Université de l’imagination au Canada ». Titulaire d’un Ph. D. en
informatique ainsi que de diplômes en théorie et pratique des nouveaux médias, histoire sociale
et communication. Elle est aussi membre de l’Ordre de l’Ontario et de l’Académie royale des
arts du Canada. Tout en cultivant les forces traditionnelles de l‘établissement en art et design,
Mme Diamond en a fait un leader des médias ainsi que de la recherche et de la formation en
design grâce à la Digital Futures Initiative (initiative des perspectives numériques) et au nouveau
champ de recherche du design pour tous, de la santé et du design ainsi que du design et des
technologies respectueuses de l’environnement. Elle a également joué un rôle prépondérant
dans la création du programme révolutionnaire de culture des arts visuels chez les Autochtones.
Ces initiatives ont permis la formation de solides partenariats entre UEADO, le monde
scientifique, le monde des affaires et les communautés de l’Ontario et d’ailleurs.
Mme Diamond a été directrice artistique du département des médias et des arts visuels et
directrice de la recherche au Banff Centre, où elle a créé le Banff New Media Institute (BNMI)
en 1995, qu’elle a dirigé jusqu’en 2005. Elle a écrit, avec Mme Sarah Cook, un livre intitulé
Euphoria & Dystopia: The Banff New Media Dialogues et publié par les Banff Centre Press et
les Riverdale Architectural Press, de l’Université de Waterloo, qui raconte l’essor, le recul et le
9
rétablissement de la première vague des médias numériques. Canada. Tout en cultivant les
forces traditionnelles de l’établissement en art et design, Mme Diamond en a fait un leader
des médias.
11:30am ARTIST PANEL / PANNEAU D’ARTISTES
Harold Shenkman Hall / Salle Harold-Shenkman
LUC COURCHESNE, Director of Research, Société des Arts Technologiques (SAT),
Montréal, QC & RYAN STEC, Artistic Director, Artengine, Ottawa, ON
Moderated by / Modéré par ALEXANDRE CASTONGUAY, Artist / Director,
Undergraduate Programs, École des arts visuels et médiatiques,
Université du Québec à Montréal
Media Hubs as Urban Catalysts
Both Artengine and SAT are vibrant centres of media arts research and artistic practice
in their respective cities. Though different in size of their budgets and physical facilities,
each offers residents a place where media arts are explored, demonstrated, explained
and celebrated. Both also present spectacles and media festivals that animate their
communities. This panel is an opportunity to hear their story so far, to understand the
web of networks, collaborations and partnerships that sustains them, and to consider
how cities and media arts hubs can benefit by working together.
Les carrefours médias en tant que catalyseurs urbains
Artengine et SAT sont des centres dynamiques de recherche sur les arts médiatiques
et de pratique artistique dans leurs villes respectives. Bien que leur budget et leurs
installations soient de tailles différentes, chacun offre aux résidents un lieu permettant
d’explorer, de montrer, d’expliquer et de célébrer les arts médiatiques. Les deux
présentent aussi des spectacles et des festivals qui animent leur communauté. Ce
panneau offre la possibilité de connaître leur histoire, de comprendre les réseaux, les
collaborations et les partenariats qui les soutiennent, et les avantages que les villes et les
carrefours d’arts médiatiques peuvent obtenir en unissant leurs efforts.
BIO
Luc Courchesne is a pioneer in digital art. From interactive
portraiture to immersive experience systems, he has created
innovative and engaging works of art which have earned him prestigious
awards such as the Grand Prix of the ICC Biennale 1997 in Tokyo and the
Award of Distinction from Ars Electronica in Linz, Austria. His works are
held in important art collections, such as the ZKM|Karlsruhe, and have
been featured at about a hundred exhibitions throughout the world, notably at the Museum of
Modern Art in New York. Luc Courchesne is a professor at the Université de Montréal, a member
of the Board of the Société des arts technologiques and of the Conseil des arts et des lettres du
10
Québec and a member of the Royal Canadian Academy of Arts. He is represented by PierreFrançois Ouellette (Montreal/Toronto) and by Bryce Wolkowitz (New York).
BIO
Luc Courchesne est un pionnier des arts numériques. Des portraits interactifs aux
systèmes d’expérience immersive, il créé des oeuvres innovantes et engageantes qui
lui ont mérité des récompenses prestigieuses comme le Grand Prix de la Biennale de l’ICC à
Tokyo en 1997, l’Award of Distinction d’Ars Electronica à Linz en Autriche en 1999. Ses oeuvres
font partie des grandes collections dont celles du ZKM|Karlsruhe et ont fait l’objet d’une centaine
d’exposition à travers le monde, notamment au Museum of Modern Art à New York. Il est
professeur à l’Université de Montréal, membre des conseil d’administration de la Société des
arts technologiques et du Conseil des arts et des lettres du Québec, et membre de l’Académie
royale des arts du Canada. Il est représenté par Pierre-François Ouellette (Montréal/Toronto) et
par Bryce Wolkowitz (New York).
BIO
Ryan Stec is a media artist working in documentary, experimental
and live forms. His projects have been presented in art
galleries, cinematheques, underground clubs and major music festivals
across Canada and internationally. Highlights from his projects include
a commission by the New Forms Festival to remix work from Norman
McLaren; a commission from Library and Archives Canada to engage with
historical media works in the public domain; and the incredible experience of being the first
artist to access the CN Tower LED lighting system for a 2009 Nuit Blanche project. Stec is also
the Artistic Director of Artengine, a creative technology centre in Ottawa. Since 2005, Stec has
developed innovative programming which compliments its unique place at the nexus of art and
innovation. Since 2008, Stec and the Artengine team have been responsible for Electric Fields,
a festival of electronic art and sound. Now in its sixth edition, the festival continues to push the
playful side of technology.
BIO
Ryan Stec est un artiste en arts médiatiques qui travaille la forme documentaire,
expérimentale et vivante. Ces oeuvres ont été présentées dans des galeries d’art, des
cinémathèques, des clubs « underground » et d’importants festivals de musique au Canada
et à l’étranger. Quelques réalisations marquantes: un mandat du New Forms Festival pour
remixer des créations de Norman McLaren; un mandat de Bibliothèque et Archives Canada
pour créer de nouvelles oeuvres à partir de documents audiovisuels du domaine public-; et
l’expérience incroyable d’avoir été le premier artiste à avoir accès au système d’éclairage
LED de la Tour du CN pour un projet de Nuit Blanche en 2009. Stec est également le directeur
artistique d’Artengine, un centre de technologie créative à Ottawa. Depuis 2005, Stec a créé
des programmes novateurs pour soutenir la place unique qu’occupe Artengine entre l’art et
l’innovation. Depuis 2008, Stec et l’équipe d’Artengine ont la responsabilité d’Electric Fields, un
festival d’art et de son électronique. À sa sixième édition, le festival continue de pousser plus
loin le volet ludique de la technologie.
11
12:30pm
LUNCH AND FACILITY TOUR
Lower Lobby
Sponsored by
Public Art / Facilities
1:30pm
P2P PRESENTATION BREAKOUTS
Orléans Star-L’Express Music Studio
M
SARAH DOUGLAS-MURRAY & NINA DE VAAL, Town of Oakville, ON
Oakville: Transforming a surplus school into a Community
and Cultural Centre
In March 2012, the Town of Oakville opened Queen Elizabeth Park Community and Cultural
Centre one of Canada’s largest community and cultural centres. Created from a surplus 1970’s
high school, the 144,000 square foot facility includes over 70,000 square feet of cultural space
including, a black box theatre, rehearsal hall, gallery, ceramics studio, woodworking studio, fine
arts studios, fibre arts studio, dance studio, recording studios and music rooms. The facility also
contains a full recreation centre including multipurpose rooms, active living studios, a pool and
two gymnasia. A youth centre, seniors’ centre, and café, are also housed in the facility and the
building is home to the Oakville Arts Council and is a satellite location for the Oakville Historical
Society.
This presentation will provide an overview of the Town of Oakville’s process from acquiring
a surplus school though the delivery of an operating plan to Council, the facilities opening,
and lessons learned through the first year of operations. Covered will also be the process of
determining needs, working with community groups and the process of building engagement
and community.
Repurposing surplus school buildings is a trend that we anticipate will continue to grow in
Canadian communities and with the current dearth of arts infrastructure, the Town of Oakville
believes there will be significant interest in Queen Elizabeth Park Community Centre.
12
Cultural Planning / Mapping
1:30pm
Ottawa Citizen Dance Studio
M
J im Mountain, City of Ottawa, Natali Zuniga, City of Ottawa, Mr. Ron Bernard,
Algonquins of Pikwàkanagàn First Nation & Mr. Rene Tenasco, Kitigan Zibi
Anishinabeg and Aboriginal Affairs, National Capital Commission.
A Renewed Action Plan for Arts, Heritage and Culture in Ottawa
(2013 – 2018): First Nations, Inuit and Métis Arts, Heritage and
Culture
The Ottawa 20/20 Arts and Heritage Plan was approved by Ottawa City Council in 2003, and
included 20-year strategic directions, strategies and a first five-year action plan. Following a
two-year renewal process, City Council approved a Renewed Action Plan for Arts, Heritage and
Culture (2013-2018) in February 2012.
The renewed plan focuses on actions attached to Ottawa’s unique identity. Renewal brought
together the strongest diversity of representation and participation ever for municipal
cultural planning purposes in the area. Voices of First Nations, Inuit and Métis individuals and
communities; representatives of the Anglophone and Francophone cultural mosaic; diverse
citizenry from rural, suburban and urban neighbourhoods; new Canadians and arts, heritage,
festival and fair representatives were heard.
Built on traditional Algonquin Anishinabeg land, the Ottawa area has served as a meeting place for
Indigenous and Aboriginal peoples for up to 10,000 years. Ottawa has the third fastest growing
urban Aboriginal population in Canada and the largest Inuit community outside of the North.
A gap was uncovered during the renewal process related to recognition, commemoration,
reclamation, development, awareness, investment and access to First Nations, Inuit and Métis
arts, heritage and culture in Ottawa. The renewed plan includes actions related to the honouring
and recognition of the Algonquin Anishinabeg First Nation as the Indigenous community in
Ottawa; in addition to the development of various First Nations, Inuit and Métis cultural initiatives.
13
Engagement / Programming / Communication
1:30pm
Richcraft Theatre
INGA PETRI, Strategic Moves, Ottawa, ON & FRÉDÉRIC JULIEN, Canadian Arts
Presenting Association / l’Association canadienne des organismes artistiques
(CAPACOA), Ottawa, ON
New research on Canadians’ use of digital media in
performing arts
CAPACOA in partnership with CCNC has just published the results of a two year-long study on
the value and benefits of performing arts presentation.
Canadians’ and presenters’ use of digital, online and broadcast media were explored through
original primary research conducted during the Value of Presenting Study as well as trends
identified through other recent research. In this presentation, the project leaders will share
highlights of findings and discuss implications for the arts and cultural sector.
We have learned that digital technologies have been widely accepted as part of performances
of all kinds. Presenters are also learning how to effectively use online and social media to
build relationships with audiences and the community. Artists and production companies are
experimenting with new technologies as a way to deliver live performance experiences. Through
examples we will bring the research data to life.
As part of this presentation, we will also showcase the digital media results of a unique
partnership between CAPACOA, the Value of Presenting Study team and Canadian Geographic’s
Canadian Atlas Online.
This presentation will inform a discussion about ways to navigate a fluid environment where the
demands of supporting the arts community, meeting the changing tastes of diverse audiences
and the public at large and purposefully realizing the profound civic benefits that flow from the
arts and culture converge.
2:00pm NETWORKING BREAK
Lower Lobby
Sponsored by
14
2:15pm
Orléans Star-L’Express Music Studio
M
L IANE DAVISON, City of Surrey, BC and BEN DE SANTIS & YVONNE KOSCIELAK,
City of Mississauga, ON
Urban Screens Technology, Programming and Management in
Surrey and Mississauga
SURREY: Large outdoor screens are increasing in number, scale and prevalence throughout
the urban landscape. Attractive as television and using similar quick changing imagery, they
are effective tools for pushing marketing messages into the public realm. But they can also
be effective tools at community building and enhancing the urban realm with critical and
artistic content. There is an international community of operators who use them for cultural
development purposes, and many new publications taking a critical look at their impact.
The City of Surrey is home to one of the largest non-commercial urban screens in North
America. Surrey Urban Screen measures over 30 metres wide, and has the capacity to support
interactive digital media including audio. Initiated by digital artists, and created as the public art
feature for a new recreation facility, despite not having an ideal black wall surface, Surrey Urban
Screen has become an important venue for presenting a range of digital artwork that responds
to urban life including local and online communities.
This short presentation will describe in practical, easy to understand terms, the technology
required to support this venue, as well as its creation costs and ongoing operating model.
Established in 2010, Surrey Urban Screen has now completed three years of programming,
including some very challenging art projects. This presentation will also include some of the
lessons learned in the process of supporting Surrey Urban Screen artworks.
MISSISSAUGA: Mississauga Celebration Square is the modern interpretation of the traditional
town plaza. Designed to support a variety of activities, the space is built with a wide array of
technologies. At the forefront of the technologies are the large set of digital media screens that
overlook the Square.
These large screens are programmed in a strictly non-commercial manner. All content is divided
into three categories; 1) public service announcements, 2) on-site event based content and, 3)
public art and/or film.
Internally, we create and manage content for the first two categories but seek the help of
community partners to deliver content for the third category. We have successfully partnered
with our local art gallery to engage the community to participate in our annual film calls. The jury
selected artwork ranged from short 30 second clips to 30 minute experimental films. Through
15
this successful collaboration, the gallery and the City were both able to successfully provide
opportunities for emerging artists to showcase their artwork on the digital screens in downtown
Mississauga.
The eclectic mix of content has contributed and raised the profile of the square within the city
and surrounding communities. And as whole, Mississauga Celebration Square has dramatically
increased the civic pride of our residents and has become a central hub of activity in the core of
our downtown sector.
2:15pm
Ottawa Citizen Dance Studio
M
OLIN WIGINTON, City of Kingston, ON & JEFF EVENSON, Canadian Urban Institute,
C
Kingston, ON
Indicators and performance measures for municipal cultural
planning
This presentation introduces a framework for municipal staff and other interested parties that
they can use to measure and evaluate the inputs, processes and outcomes of Municipal Cultural
Planning (MCP). This presentation discusses indicators and how to choose them; identifies data
sources that are available to municipal staff; and discusses data collection methodologies. It will
explain how you can choose what to measure in your community and how to pick the indicators
to measure it. It also provides a menu of more than 70 indicators. The presentation will discuss
ways of measuring the impacts of MCP as:
• Inputs primarily in terms of money;
• Processes that identify, strengthen and leverage cultural resources; integrate MCP into
municipal planning and decision making;
• Outcomes of MCP in terms of creativity, wealth, quality places, social cohesion and the
organizational change that result from engaging in MCP.
Where municipalities already do cultural planning it is hoped that this presentation will enable
them to establish program objectives and be better able to measure impacts and outcomes. For
municipalities that have not yet adopted MCP, we hope that the presentation will demonstrate to
elected officials and other decision makers that the impacts of MCP can be measured and the
benefits evaluated and that this will in turn encourage them to support MCP. Colin Wiginton will
demonstrate how he has used the framework for cultural program planning in Kingston.
Creating the digital cultural community in Kingston
This presentation describes how the City of Kingston Cultural Services Department is working
with the City’s Information Technology Department and the Canadian Urban Institute to develop
16
the technical infrastructure and enhance the City’s current GIS capabilities to provide improved
data and applications for all cultural resources in the community. It shows how cultural
information held by City departments, arts, heritage and tourism organizations is being digitized
into a cultural resource database (CRD) that can be regularly and reliably updated.
It will describe how this CRD is used as the digital information source for a wide variety of
applications (many not yet invented) that will enhance the visitor experience; improve customer
service; and make cultural information easily accessible on a wide range of screen technology
(laptops, tablets, handhelds etc.). We will also discuss how Kingston’s online map interface
would allow each category of the database to be viewed in isolation or in specific combinations
and eventually to enable users to create new entries, or to add content to existing datasets. We
will also introduce the steps that are being taken to develop the ‘Holy Grail’ of cultural resource
mapping – an online cultural events calendar.
2:15pm P2P PRESENTATION BREAKOUTS
Richcraft Theatre
MICHAEL WHEELER, Praxis Theatre, Toronto, ON
Four lessons from theatre on connecting with communities through
social media
Theatres and performing arts companies have set designers and lighting designers. What about
having a social designer? Alongside his role promoting interactivity as Artistic Director at Praxis
Theatre, Michael has designed social media tools for Volcano Theatre as part of The Luminato
Festival, a national series of political cabarets called The Wrecking Ball, and his own work as a
Neil Munro Intern Director at The Shaw Festival. Michael will reflect on the demands placed on an
arts organization when it uses social media to engage with its community and the shift away from
marketing departments and towards artists and audiences as social media content creators.
Lower Lobby
Sponsored by
17
3:20pm FUNDING PANEL Harold Shenkman Hall
Karen Ball, Former Executive Director, Calgary2012, Calgary, AB & Dr. Jeffrey
Anderson, Executive Director, Alberta Foundation for the Arts, Edmonton, AB
Moderator KELLY WILHELM, Head, Policy, Planning and Partnership Section,
Canada Council for the Arts, Ottawa, ON
Invest YYC: Using Technology to Put the “Public” in
Public Arts Funding
Propelled by rapid change in all sectors of society, governments at all levels are examining
current approaches to investing in the arts and the impact this investment has on the
communities they serve. The digital age provides opportunities for exploring innovative models
of arts support that directly engage the public. Among these is the rise of crowdfunding, or
micro-financing, a powerful way to connect artists to a community of supporters.
In this presentation, Karen Ball, Former Executive Director of Calgary2012, and
Jeffrey Anderson, Executive Director, Alberta Foundation for the Arts, will discuss the
development and early results of InvestYYC.
InvestYYC.com is an online, micro-finance and micro-volunteer tool designed to assist
Calgary and area artists and non-profit arts organizations by creating a space where their
strongest, most inspiring work can be supported by citizens. At the same time, by making
a direct connection to creative projects that resonate with them, citizens are given a
sense of ownership and a stake in the cultural future of their city. Partners in the project
included Calgary2012, Alberta Foundation for the Arts, Calgary Arts Development and
ATB Financial. The project is a legacy from Calgary’s Cultural Capital year.
The panel will explore the partnerships that made InvestYYC possible, talk about the way
in which existing practices such as peer assessment are integrated into the approach,
and demonstrate the online tool.
BIO
Jeffrey Anderson is the Executive Director of the Arts Branch for
Alberta Culture and also serves as the Executive Director the
Alberta Foundation for the Arts. From 2008-10 he was seconded to Alberta’s
Cultural Policy Initiative to establish the Premier’s Council on Culture and
to begin implementation of The Spirit of Alberta, Alberta’s cultural policy.
Jeffrey is also in his third year as the Steering Committee Chair of the
Canadian Public Arts Funders (CPAF).
Before moving to Edmonton in 2004, Jeffrey spent twenty-two years as an arts administrator,
performer and post-secondary instructor, working at Keyano College, Medicine Hat College
and the University of Lethbridge. He holds a bachelor’s degree in music from the University of
Victoria, a master’s degree in music from Yale University, and a doctoral degree in musical arts
from the University of Colorado.
18
BIO
Karen is the Former Executive Director for Calgary2012 and a
past member of Alberta’s Premier’s Council for the Arts. Previously
she was Calgary Arts Development’s Director of Resource Development
and Director of Community Investment where she built the arts and
capital investment programs and cultural policy on behalf of the City of
Calgary. Karen has been actively involved in arts and culture throughout the
province including serving as Director of Advancement at the Alberta College
of Art + Design and as Major/Special Gifts Officer for the Banff Centre. As Executive Director of
Arts Habitat in Edmonton, Karen developed the first and only designated artist live/work housing
in the city. She has also served as the Producer of The Works Art & Design festival in Edmonton
and as a curator for the Ontario Craft Council.
4:30pm SHUTTLE BUS BACK TO NOVOTEL ottawa
HOTEL
From Shenkman Lower Lobby, Back Door
8–10pm Optional Evening Activity
Free to Registered Summit Delegates
PECHA KUCHA OTTAWA St. Brigids Centre for the Arts, 310 St. Patrick Street
Pecha Kucha: The word for sneeze in Japanese?
The 2013 Creative City Summit includes a Pecha Kucha evening, so what is it and why would
you want to be there? PK (for short) actually did start in Tokyo, in the design and architecture
community. It means chit-chat, to describe the talk and slide show evenings held by designers
and architects. As you can imagine, these presentations stretched to become hyper-detailed,
with endless slide shows. So, in self-defense, a new presentation format was devised: 20 slides
for 20 seconds each, for a presentation limited to 6 minutes and twenty seconds total. The
evenings feature up to ten speakers, and are followed by a mix and mingle afterwards. PK has
now spread to 534 cities around the world. The audience gets a super-concise and frequently
surprising feast of ideas and creative people.
What’s the connection to arts and cities? Some presenters are artists; others are scientists,
digital hackers, or social entrepreneurs. All of them are denizens of a creative city. This mix of
art, science and cross-disciplinary experimentation generates innovative projects. Pecha Kucha
is a great space for seeing what’s going on and imagining how it can apply to your
own community.
19
T H U R S D AY, M ay 3 0 , 2 0 1 3
Arts Court, 2 Daly Avenue
Day sponsored by
8:30am CONTINENTAL BREAKFAST AND
GALLERY TOUR
Studio, Arts Court, 2 Daly Avenue
Sponsored by
9:45am WELCOME
Theatre
10:00am
KEYNOTE SPEAKER / CONFÉRENCIER
PRINCIPAL Theatre / Théâtre
DENIS BERTRAND, Sudbury, ON
Engagement in the Arts: Strengthening the relationship
between the arts and communities
The concept of cultural participation or public involvement in the
arts is one of the current trends concerning the development of
audiences. Three main objectives underlying it: to show that citizens
are not only consumers, but also practitioners of the arts; to enhance
and strengthen the relationship between artists, cultural institutions
and populations they serve, to witness the daily presence of the
arts in the lives of the Canadians. Thence, the keynote will focus on the interest that
municipalities should be given to this concept, as well as a new version of it, thereof the
community engagement for and by the arts.
Engagement du public envers les arts : comment resserrer les
liens entre les arts et les communautés
Le concept de la participation culturelle ou de l’engagement du public envers les arts est
20
THURSDAY, May 30, 2013
une des tendances courantes en matière de développement de publics. Trois objectifs
principaux sous-tendent celui-ci: démontrer que les citoyennes et les citoyens ne sont
pas seulement des consommatrices et des consommateurs, mais aussi des praticiennes
et des praticiens des arts; valoriser et renforcer les rapports entre les artistes, les
institutions culturelles et les populations qu’ils desservent; témoigner de la présence
quotidienne des arts dans la vie des Canadiennes et des Canadiens. L’atelier portera donc
sur l’intérêt que les municipalités devraient accorder à ce concept, de même qu’à une
nouvelle version de ce dernier, soit l’engagement communautaire pour et par les arts.
BIO
Over his more than 30-year career, Denis has held senior management and
communication positions with arts organizations, government departments and public
agencies, such as Théâtre Action (provincial arts service organization for French-language
theatre in Ontario), Ontario’s Office of Francophone Affairs and Ottawa’s La Cité collégiale
(Eastern Ontario community college). He was the first Project Coordinator of Arts and Learning:
A Call to Action, launched by the Canada Council for the Arts, the Canadian Commission for
UNESCO and the Canadian Conference of the Arts. He has been a Board member of arts
organizations such as Ottawa’s Théâtre la Catapulte, La Nouvelle Scène (Ottawa’s Francophone
theatre centre) and Sudbury’s Éditions Prise de parole. He has developed communications
strategies for clients such as Ontario’s French Language Services Commissioner and Ontario’s
Alliance culturelle (provincial arts umbrella organization). He is a graduate of Ottawa’s Algonquin
College Journalism Program.
Denis has been interested in audience development for the arts for more than ten years. By
making use of his marketing and communication expertise, his work-related experience,
personal interest for the arts and on-going research in the field, he has developed a practical
approach to audience engagement. He shares his knowledge through conferences, workshops
and his blog (www.developpezvotreauditoire.com). He also used to write a column for The
Magazine, the Canadian Conference of the Arts’ monthly e-newsletter. He makes use of this
approach while working on strategies tailored to the needs of each of his clients. They include
professional theatre companies, performing arts networks, festivals, government agencies and
arts service organizations. He is an Associate of 50 Carleton, a Sudbury-based marketing firm,
a partner in Très-Arts, a consulting agency he set up along with Audience Loyalty Expert Diane
Chevrette, as well as a member of Arts Consultants Canada.
BIO
Au cours d’une carrière de plus de 30 ans, Denis a occupé des postes supérieurs
en gestion et en communications pour des organismes artistiques, des ministères
gouvernementaux et des organismes publics, tels que Théâtre Action (organisme provincial de
services du domaine des arts consacré au théâtre de langue française en Ontario), l’Office des
affaires francophones de l’Ontario et La Cité collégiale d’Ottawa (collège communautaire de l’est
de l’Ontario). Il fut le premier coordonnateur du projet Les arts et l’apprentissage : un appel à
l’action, lancé par le Conseil des arts du Canada, la Commission canadienne pour l’UNESCO et
21
la Conférence canadienne des arts. Il a été membre du conseil d’administration d’organismes
artistiques tels que le Théâtre la Catapulte d’Ottawa, La Nouvelle Scène (le centre de théâtre
francophone d’Ottawa) et les Éditions Prise de parole de Sudbury. Il a élaboré des stratégies de
communication pour des clients tels que le Commissariat aux services en français de l’Ontario et
l’Alliance culturelle de l’Ontario (organisme provincial consacré aux arts qui chapeaute plusieurs
organisations). Il est diplômé du programme de journalisme du Collège Algonquin, à Ottawa.
Depuis plus de dix ans, Denis s’intéresse au développement de l’auditoire pour les arts. À l’aide
de son expertise en marketing et en communications, de son expérience de travail, de son
intérêt personnel pour les arts et de ses recherches constantes dans ce domaine, il a élaboré une
approche pratique concernant l’engagement de l’auditoire. Il partage ses connaissances grâce
à des conférences, à des ateliers et à son blogue (www.developpezvotreauditoire.com); dans
le passé, il écrivait aussi une chronique pour Le Magazine, l’infolettre électronique mensuelle
de la Conférence canadienne des arts. Il se sert de cette approche lorsqu’il travaille à créer des
stratégies adaptées aux besoins de chacun de ses clients. Parmi ceux-ci, on compte des troupes
de théâtre professionnelles, des réseaux d’arts de la scène, des festivals, des organismes
gouvernementaux et des organismes de services du domaine des arts. Il est l’un des associés
chez 50 Carleton, une firme de marketing basée à Sudbury; il est aussi partenaire chez Très-Arts,
un cabinet de consultants qu’il a mis sur pied avec Diane Chevrette, une experte en fidélisation
de l’auditoire. Il est également membre de l’association Consultants canadiens en arts.
11:00am
SNEAK PEEK: 2014 CREATIVE CITY SUMMIT
IN HAMILTON, ON
Theatre
11:20am
Ottawa Dance Directive Studio B
M
ERIC FISS, City of Richmond, BC
Public Art: Digital tools in creation, management and promotion.
The City of Richmond experience.
The City of Richmond has embraced the digital world as both a new medium for public art and
as the core of the management and promotion of our public art program. Recent projects include
digitally printed works from originals in many mediums for short term display on backlit Art
Columns at transit stations; and Lulu Suite at the Richmond Olympic Oval, which uses archival
film transferred to various digital formats to tell the Richmond story. Lulu Suite is experienced
through interactive iPod outdoor tours, a 3-channel video installation, and a projection onto the
glass of the entrance lobby.
22
Database management software is the backbone of our program management. Customized to
the program’s needs, it contains details on the selection process, artwork, artist, finances, and
maintenance of our collection. Mass e-mails to artists, weekly status updates and annual reports
are easily produced through automated scripts. The database provides a “live” feed to our City
web site with a searchable archive and interactive location maps.
Working with our Richmond Youth Media Lab, a space equipped for experimental study in
media, youth have documented artworks, recorded artist interviews and taped Pecha Kucha
presentations for display through the web. Through the Media Lab, the Public Art Program has
also supported the Richmond International Film & Media Arts Festival and other community
based media art activities, to engage youth, promote art in the community and ensure our
continued development as a vibrant cultural city.
11:20am
Library
HELENA GRDADOLNIK, Workshop Architecture Inc., Toronto, ON
Creative community engagement methods: Working with artists to
engage people in city-building
Helena Grdadolnik, Associate Director of Workshop Architecture, will discuss how the work of
artists and other creative individuals can be harnessed to help engage people in city-building
and how the arts and culture sector can become a key driver in city-formation. She will discuss
this topic using four case studies of projects she developed and delivered with artists:
• FrontierSpace, an urban installation by Tokyo designers and three-days of community events
and performances in an alley in Gastown, Vancouver that led to a new City by-law;
• Discover the Greenway, a festival to engage local people with the development for the
London 2012 Olympic site and involve them in the site’s legacy masterplanning;
• Parking Day in Port Credit, a ten-day event where four artists were commissioned to turn
parking spaces into public spaces to test the Mississauga neighbourhood’s reaction to
removing on-street parking; and
• The Green Line, a design competition currently underway that asks for ideas for the public
use of a 5km long hydro corridor through midtown Toronto, the best ideas will be exhibited
outdoors along with photos of the site commissioned from artist Mark Kasumovic which will
be part of Toronto’s Contact Photography Festival (greenlinetoronto.ca).
Creative projects such as these are often temporary, and only sometimes physical, but they
can catalyse permanent changes to a place. These projects are part of a wider movement often
referred to as tactical urbanism or pop-up planning, where small scale urban interventions and
actions are strategically implemented in the public realm to serve a larger purpose.
23
The session will touch on how the creative projects made use of interactive websites, social
media and online surveys, but it will also show how the virtual and digital are a means to getting
people out for a visceral, in-person experience of a place.
11:20am
Courtroom
MATT THOMAS, LondonFuse, London, ON
Digital Density: Online tools for creative communities
One of the best ways Canadian cities can encourage the growth of the creative economy is
by increasing urban density. Creating a dense urban environment creates more opportunities
for social interaction, public discourse, and clusters of creative groups and people. However,
building these sought-after dense urban environments is becoming increasingly unrealistic for
many Canadian cities due the costly infrastructure changes required. Or is it?
LondonFuse is a non-profit organization in London, Ontario which supports the city’s creative
and cultural communities. We have been exploring the use of new and cost effective
web-based tools to design the type of environments needed for the creative economy
to flourish on a local scale. Through the use of www.londonfuse.ca, we have been
successful in creating an open community that encourages social interactions and discussions
specifically for London’s creative individuals and cultural organizations. We call this digital
density. The innovative web platform serves as a tool for creative people to connect with one
another locally, and share their accomplishments to the rest of the world. Through the use of
www.neighbourgoodguide.ca, we have used digital tools to help create a sense of place in
London, by allowing individuals to share their favorite public places and neighbourhoods with
one another. In my presentation at the Creative City Summit, I would like to share the details of
these web applications, their success in our community, and show how they may be used to
empower creative communities in other Canadian cities.
11:50am LUNCH AND FACILITY TOUR
SAW, Courtyard
Sponsored by
24
1:00pm
Ottawa Dance Directive Studio B
CHRIStopher MORENO, 365 Installations Ltd., Vancouver, BC
5 things you need to know about digital media when planning for a
new or retrofitted performing arts facility
365 Installations has a proven track record working with City staff, artists, facility managers and
sub-contractors. Our projects run the gamut from something as simple as flat screen televisions
with looping DVD players right up to 10m by 30m edge blended projector scenes with interactive
video elements. If there is one thing we’ve learned over the years it’s that “Content is King” and
it can also be the one element that costs you the most in additional expenses. If you have failed
to consider how the content will drive the needs for Audio/Visual Equipment then you probably
have not accurately anticipated your future costs and program requirements.
Our presentation focuses on the 5 digital media elements that can cost you the most (in
cash, time and reputation). Whether you are working with flat screen TVs or giant projector
installations, or LED lighting, you’ll want to review our check list to avoid ordering last minute
equipment, paying for additional technical support, and future proofing your investment. By
integrating these 5 elements with facility planning we will work toward creating a list of key
elements to include in your plan. These will include but are not limited to ensuring secure power
for AV needs, separating Internet requirements from your confidential networks, locating control
systems within the building, understanding special event needs as distinct from recurring
facility needs, and of course, how to work with an integration consultant to ensure all future
programming needs are anticipated or at least considered.
1:00pm
Library
M. SHARON JEANNOTTE, University of Ottawa, Ottawa, ON
Putting Cultural Assets on the Map: A case study of Ontario
Many communities in Canada are undertaking cultural mapping as a tool to aid planning and
promote development. This proposal will examine the “whys” and “hows” of cultural mapping in
Ontario, using a sample of 64 communities that received support from the Creative Communities
and Prosperity Fund between 2009 and 2012.
The communities studied had populations ranging from a low of 275 to a high of 2.6 million
people and were distributed throughout the province. The types of assets mapped, the stated
25
purposes of the mapping, and the degree to which public consultations were part of the
mapping process varied according to the size of the community, as did the degree to which
communities actually developed a map in either digital or hard copy format. The presentation
will provide an overview of the case study findings and, based on this comparative analysis,
attempt to draw conclusions about the factors that influenced communities’ approaches to
cultural planning and promoted a successful cultural mapping initiative.
1:00pm P2P PRESENTATION BREAKOUTS
Courtroom
ANDREW MILNE, bv02, Ottawa, ON
Location, Context and Timing: Is your audience ready?
The future of digital engagement will be built around three factors: location, context and timing.
This will require a variety of techniques, and in many cases, can raise the question of whether
the audience is ready for adopting new ways of engaging with cultural content. The answer?
Audiences have been ready for years. They’re listening, watching and waiting for institutions to
step up and engage in new ways.
To best connect with these audiences, cultural institutions must push towards a digital
environment that focuses on niche engagements. Exposing and granting access to curatorial
content is the mandate for cultural organizations, and even with locally-focused content, that
mandate goes beyond local boundaries. Digital engagements extend valuable local content,
making it available to the niche audiences who are looking for it. By creating a space for those
audiences to come together, cultural institutions will drive the next phase of engagement.
In this presentation, Andrew Milne, founder and CEO of bv02, will discuss the strategy needed
to move away from a static repository of content, towards a more engaging and effective use
of digital tools. He’s facilitated this strategic transition through his work with leading cultural
institutions, including the Canada Council for the Arts, the National Gallery of Canada and
the National Arts Centre. The shift towards digital tools that build and maintain relationships
with niche markets will be the defining trend of 2013 in digital culture, and it is the shift that
audiences have been waiting for.
26
Studio
Sponsored by
2–5pm LOCAL ARTS AND CULTURE STUDY TOURS
From Arts Court Front Entrance, Various Locations
Transportation: Walking
VOYAGES D’ÉTUDES D’ARTS RÉGIONAUX
ET LA CULTURE
À partir du foyer, divers emplacements
Mode de transport : Marche
Polytectures: self-guided audio tour
Polytectures is an hour long narrated soundwalk by Antoine Bédard (Montag) through Ottawa
that explores the relationship between music and architecture. 10 local composers and musical
groups translate key historical buildings on the walk into new pieces of music that together
create a sonic portrait of the core of the capital.
Polytectures : parcours sonore autoguidée
Polytectures est un parcours sonore d’une heure à travers la ville d’Ottawa, conçu et narré par
Antoine Bédard (Montag), qui explore les liens entre musique et architecture. 10 compositeurs
de la région traduisent en musique des bâtiments historiques regroupés dans un même
itinéraire, créant ainsi un portrait sonore du coeur de la ville d’Ottawa.
Tour of the National Gallery of Canada
Ottawa is the home of the National Gallery of Canada. On display is The Governor General’s
Awards in Visual and Media Arts 2013, Sakahan: First Quinquennial of New Indigenous Art along
with the Gallery’s indoor and outdoor permanent collection.
Visite du Musée des beaux-arts du Canada
Au centre-ville d’Ottawa ce trouve le Musée des beaux-arts du Canada. À l’affiche : Les Prix
du Gouverneur général en arts visuels et en arts médiatiques 2013, Sakahàn. Art indigène
international ainsi que la collection permanant intérieur et extérieur.
27
Downtown and ByWard Market Walking Tour
Join us for a walking tour that aims to highlight how the City and local communities animate
public space with art, performances, public markets and unique shops. The tour will provide a
unique perspective of the bustling downtown and historic ByWard Market with stops along the
way that might entice you to buy a local souvenir or delicious treat.
Visite à pied du centre-ville et du marché By
Participez en notre compagnie à une visite à pied guidée qui vous montrera comment la Ville et
les communautés locales animent les espaces publics grâce à des œuvres d’art, des spectacles,
des marchés et des boutiques exceptionnelles. La visite guidée vous donnera une perspective
originale sur le centre-ville trépidant et le marché By historique, où vous aurez peut-être envie
d’acheter un souvenir, une délicieuse gâterie ou un rafraîchissement.
9–11pm Optional Evening Activity
Free to Registered Summit Delegates
DIGI60 OTTAWA FILMMAKERS FESTIVAL – SPRING EDITION
ByTowne Cinema, 325 Rideau Street
Digi60 Short Films Screening - The Digi60 Filmmakers’ Festival asks filmmakers to create short
films based around a “Catch” - a common element that all filmmakers must include. The Digi60
Filmmakers’ Festival has held a special Spring Edition in cooperation with this year’s Summit the “Catch” was that the film had to show “Culture in a Digital World”. Filmmakers from across
Canada were given the Catch on April 15th, and had 30 days to create a 3 minute film. The films
are juried and the top films will be screened at the Bytowne Cinema (325 Rideau Street) at 9pm.
A Pre-Screening and Post-Screening Party will also be held at The Honest Lawyer (141 George
Street) so you can meet the filmmakers.
28
F R I D AY, M ay 3 1 , 2 0 1 3
Arts Court, 2 Daly Avenue
7:30am CONTINENTAL BREAKFAST
Studio, Arts Court, 2 Daly Avenue
8:30am ANNUAL GENERAL MEETING
CREATIVE CITY NETWORK OF CANADA
Theatre
9:30am WELCOME
Theatre
9:40am
RESEARCH PANEL/ PANNEAU GROUPE
DE RECHERCHE
Theatre/Théâtre
DAVID POOLE, Maberly, ON & ALAIN DEPOCAS, Conseil des arts et des lettres du
Québec (CALQ), Montréal, QC
Moderator/ Modéré par claude schryer, Co-ordinator, Inter-Arts Office,
Canada Council for the Arts, Ottawa, ON
The Impact of new technologies on the arts
The Digital Transitions Report published in 2011 by the Canadian Public Arts Funders
network (www.cpaf-opsac.org) provides useful definitions of digital arts and reveals
the complex impact of technology and social media on arts disciplines across the
country. Useful overviews of the impacts on creation, production and distribution
for these disciplines are provided, along with a number of recommendations for
funders. CALQ noted these findings, while also undertaking an extensive process of
interdepartmental discussions, consultations with the arts community and a survey. The
resulting recommendations and options formed the report: Faire rayonnner la culture
Quebécoise dans l’universe numérique. Approved in 2011, the report is now the basis for
implementing new initiatives such as creation of a digital arts-specific sector.
Incidence des nouvelles technologies sur les arts
Le rapport sur la transition vers le numérique publié en 2011 par les Organismes publics
de soutien aux arts du Canada (www.cpaf-opsac.org) propose des définitions utiles des
arts numériques et révèle l’incidence complexe de la technologie et des médias sociaux
sur les disciplines artistiques un peu partout au pays. On y trouve des vues d’ensemble
pertinentes de leurs répercussions sur la création, la production et la distribution de
ces disciplines, ainsi que de nombreuses recommandations destinées aux bailleurs de
29
FRIDAY, May 31, 2013
fonds. Le CALQ a pris note de ces résultats, tout en entreprenant un vaste processus de
discussions et de consultations interministérielles avec la communauté artistique, ainsi
qu’un sondage. Les recommandations et les options qui en ont résulté ont donné lieu au
rapport intitulé Faire rayonner la culture Québécoise dans l’univers numérique. Approuvé
en 2011, ce rapport est aujourd’hui à la base de nouveaux projets, notamment la création
d’un secteur propre aux arts numériques.
BIO
Alain Depocas is responsible for the digital arts, cinema and
video program at the Conseil des arts et des lettres du Québec
(CALQ) [Quebec arts and letters council]. Previously, he directed the Daniel
Langlois Foundation’s Centre for Research and Documentation (CR+D) in
Montréal, where he set up and managed a documentary collection on the
history, works of art and practices associated with media, electronic and
digital arts. From 2005 to 2010, he was also the director of research for DOCAM, an international
alliance on the documentation and conservation of media arts. After studying the history of art
at the Université de Montréal, he worked as a researcher and documentalist at the Musée d’art
contemporain de Montréal (MACM) [Montréal museum of contemporary art]. Responsible for the
media library website at MACM, he was involved, among other things, in the development of the
thematic scan project in contemporary art.
BIO
Alain Depocas est chargé de programme en arts numériques et en cinéma et vidéo au
Conseil des arts et des lettres du Québec (CALQ). Auparavant il a dirigé le Centre de
recherche et de documentation (CR+D) de la fondation Daniel Langlois à Montréal où il a mis en
place et géré une collection documentaire portant sur l’histoire, les œuvres d’art et les pratiques
associées aux arts médiatiques, électroniques et numériques. De 2005 à 2010, il a également
été le directeur de la recherche de DOCAM, une alliance de recherche internationale portant sur
la documentation et la conservation des arts médiatiques. Après des études en histoire de l’art
à l’Université de Montréal, il a travaillé comme recherchiste puis documentaliste au Musée d’art
contemporain de Montréal (MACM). Responsable du site Web de la Médiathèque du MACM, il a
pris part, entre autres, à l’élaboration d’un projet de veille thématique en art contemporain.
30
BIO
David Poole has over thirty years’ experience in the arts and arts
administration. He is a retired former head of the Media Arts
Section at the Canada Council for the Arts, where he supported the creation
of programs which provided opportunities for artists to work collaboratively
with scientists and cultural industries. During his tenure in Media Arts
he experienced many of the changes brought about by the introduction
of new digital technologies. His earliest work at the Canada Council was as an Explorations
program officer for Ontario, supporting emerging artists, organizations and new arts practices.
He was a distributor of artists’ films in Toronto and taught film studies at Ryerson University. He
is a graduate in Cinema Studies from New York University and is currently working as an arts
administrator for a community-based arts organization in rural Ontario.
BIO
David Poole compte plus de trente ans d’expérience dans les arts et dans
l’administration des arts. Avant de prendre sa retraite, il a été chef du Service des arts
médiatiques du Conseil des arts du Canada où il a soutenu la création de programmes qui ont
permis d’offrir aux artistes la possibilité de travailler en collaboration avec les scientifiques et
les personnes œuvrant dans les industries culturelles. Au cours de sa carrière au Service des
arts médiatiques, M. Poole a assisté à bon nombre de changements apportés par l’arrivée des
nouvelles technologies numériques. Son premier poste au sein du Conseil des arts du Canada
fut celui d’agent du Programme Explorations pour l’Ontario où il a soutenu les artistes et les
organismes naissants de même que les nouvelles pratiques artistiques. Il a été distributeur de
films d’artistes à Toronto et il a enseigné les études cinématographiques à l’Université Ryerson.
Il est diplômé en études cinématographique à l’Univeristé de New York. Il travaille présentement
comme administrateur d’activités artistiques pour un organisme communautaire à vocation
artistique touchant les régions rurales de l’Ontario.
10:40am NETWORKING BREAK
Studio
Sponsored by
31
11:00am KEYNOTE SPEAKER / CONFÉRENCIER
PRINCIPAL
Theatre / Théâtre
JANINE MARCHESSAULT, Toronto, ON
Cartographies of Place in the 21st Century: Networked media,
sustainable environments, and urban citizenship
A new generation of artists are using media technologies to
explore the meanings of translocality, public spaces and mobile
networks that are distinct configurations grounded in place—indeed,
often several places and several times at once. How do such art
practices function as new forms of public art and in site- specific
settings while serving as a tool for enhancing communication and
renovating democratic citizenship?
The talk will focus around a landmark exhibition (which opens Sept 21, 2013) called
Land/Slide: possible futures (www.landslide-possiblefutures.com) that has invited thirty
artists working in a variety of media (from sculpture to data visualization) to transform
and reimagine a Heritage village (1820-1930) at the Markham Museum in the Greater
Toronto Area. Artists have been asked to reinterpret over thirty pioneer houses (18201930) and 8000 historical artifacts in the context of climate change and a planet in
transition. Working with everything from digitized diaries, 3D projections and augmented
reality, participants will propose new histories and new futures for the use of land on
this planet. This is an example of a new form of public space that uses Museums and
Archives, often seen as static and “dead” to create dynamic simultaneous temporalities.
The installations invite the public to participate in reinterpreting the past by reimagining
the future. The role of digital media is central as the entire site is augmented with
projections, audio walks, and an AR app that animates the archive, including previous
cartographies that have long since vanished in this new ‘leveled’ urban space. Markham
City, one of the fastest growing regions in North America is a future city. But in this future
city, the real and virtual are broken down as land itself, and new forms of urban framing
and food production become an integral and organic aspect of the exhibition.
Cartographie des lieux au XXIe siècle : Médias en réseau,
environnements durables et citoyenneté urbaine
Une nouvelle génération d’artistes utilise les technologies médiatiques pour explorer la
signification de la translocalité, de l’espace public et des réseaux mobiles, configurations
enracinées, bien souvent dans de nombreux endroits et temps à la fois. De quelle
façon ces pratiques artistiques fonctionnent-elles en tant que nouvelles formes d’art
public et dans des milieux particuliers, tout en servant d’outil pour l’amélioration des
communications et pour la restauration de la citoyenneté démocratique?
32
La conférence se fondera sur une exposition historique intitulée Land/Slide: Possible
Futures (www.landslide-possiblefutures.com), qui sera ouverte au public dès le
21 septembre 2013. Cette exposition réunit trente artistes travaillant toute une gamme
de médias, de la sculpture à la visualisation de données, et les invite à transformer et à
réinventer un village patrimonial (de 1820 à 1930) au Musée de Markham, dans
la région du Grand Toronto. Les artistes doivent donner leur interprétation de plus de
30 maisons de pionniers (de 1820 à 1930) et de 8 000 artefacts, dans le contexte des
changements climatiques et d’une planète en transition. Par tous les moyens possibles,
des journaux personnels numérisés aux projections en trois dimensions en passant par
la réalité augmentée, les artistes participants proposeront de nouveaux passés et de
nouveaux avenirs relatifs à l’utilisation des terres de notre planète. Il s’agit d’un exemple
d’une nouvelle forme d’espace public qui a recours aux musées et aux archives, souvent
considérés comme immuables et « morts », pour créer des temporalités simultanées
et vibrantes. Les installations feront en sorte que le public sera invité à participer en
réinterprétant le passé pour réimaginer l’avenir. Le rôle des médias numériques est
central dans cette exposition : l’ensemble du site a été amélioré grâce à des projections,
à des visites guidées audio et à une application de réalité augmentée permettant
d’animer les archives, y compris l’ancienne organisation du territoire, qui a laissé place
depuis longtemps à ce nouvel espace urbain « nivelé ». Markham, l’une des régions
dont la croissance est la plus rapide en Amérique du Nord, deviendra une ville. Mais la
réalité et le virtuel de cette future ville étant segmentés comme le territoire même, les
nouvelles formes de cadrage urbain et de production alimentaire prennent une dimension
essentielle et centrale de l’exposition.
BIO
Janine Marchessault is a Canada Research Chair in Art, Digital Media and Globalization
at York University Toronto. She is the Director of the Visible City Project at York
University, which is examining urban art cultures in the 21st Century City. She is the author of
McLuhan: Cosmic Media (Sage, 2005) and co-editor of Fluid Screens, Expanded Cinema (UTP,
2007). Forthcoming books include, Ecstatic World: Media, Humanism, Ecology (The MIT Press),
and the co-edited volumes Cartographies of Place: Navigating the Urban (McGill-Queen’s Press),
and Reinventing Cinema: Expo 67 Expanded Screens (McGill-Queen’s Press). In 2009, she cocurated THE LEONA DRIVE PROJECT—a site specific exhibition in six vacant 1940s bungalows
in Willowdale, Ontario. She was co-curator of the 2012 Nuit Blanche Monumental Project,
“Museum for the end of the World” at Nathan Phillips Square in Toronto. Her latest project is
Land/ Slide, possible futures, a multi-sectoral site-specific exhibition in that brings together over
thirty artists to look at future land uses in one of Canada’s fastest growing regions. She recently
received the prestigious Trudeau Award to support her research and curatorial practices in the
area of public art and civic cultures.
33
BIO
Janine Marchessault est titulaire du Siège de recherche du Canada en arts, médias
numériques et mondialisation à l’Université York (Toronto). Elle est aussi directrice
du Visible City Project, à l’Université York, projet d’étude des cultures artistiques urbaines du
XXIe siècle. Elle a écrit un ouvrage intitulé McLuhan: Cosmic Media (Sage, 2005) et codirigé
la publication de Fluild Screens, Expanded Cinema (UTP, 2007) ainsi que de Ecstatic World:
Media, Humanism, Ecology (The MIT Press), Cartographies of Place: Navigating the Urban
(McGill-Queen’s Press) et Reinventing Cinema: Expo 67 Expanded Screens (McGill-Queen’s
Press), tous à venir. En 2009, elle a été co-conservatrice du Leona Drive Project, une exposition
adaptée au lieu de sa présentation, soit six bungalows vacants des années 1940 à Willowdale
(Ontario). Elle a été également co-conservatrice du projet monumental Museum for the End of
the World (musée de la fin du monde) dans le cadre de Nuit Blanche, au square Nathan Phillips,
à Toronto. Son plus récent projet en date s’intitule Land/ Slide, possible futures. Il s’agit d’une
exposition multisectorielle adaptée au lieu d’exposition, qui réunit plus de trente artistes invités
à envisager l’avenir de l’affectation des terres dans les régions du Canada où la croissance est
la plus rapide. Elle a récemment reçu le prestigieux Prix Trudeau, qui financera ses travaux de
chercheuse et de conservatrice dans les domaines de l’art public et des cultures civiques.
12:00pm CLOSING REMARKS
Theatre
34
THANK YOU
Creative City Network of Canada would like to thank the 2013 Creative City Summit Planning
Committee. Please take a minute to personally thank these committee members for their
dedication to making this Summit an inspiring and rewarding event.
Sheila McKinnon, Chair, Summit Planning Committee
Caroline Obeid, Host Municipality Coordinator
Ian Forsyth, Member, Summit Planning Committee
Katherine Kerr, Member, Summit Planning Committee
Alice Sabourin, Member, Summit Planning Committee
Bridget MacIntosh, Member, Summit Planning Committee
Lorenz von Fersen, Member, Summit Planning Committee
Tammy Isaacson, General Manager (outgoing), CCNC Summit Coordinator
Jennifer Lord, General Manager, CCNC Summit Coordinator
Kelsey Hicks, Administrative Coordinator, CCNC Summit Assistant Coordinator
A Special THANK YOU
Debbie Hill • Tessie Boretos • Julie Dupont • Sandy Merriam • Sandra Mirabelli
Allison O’Connor • Caleb Abbott • Amy Kudrinko • Sarah Patterson • Melissa Black
Esther Perron
All the staff and volunteers at the Shenkman Arts Centre, Arts Court and the St. Brigid‘s Centre
for the Arts.
BOARD OF DIRECTORS
Forsyth, Ian - President, City/District of North Vancouver, BC
Bird, Elena - Vice-President, City of Toronto, ON
Watson, Angela - Past President, City of Fredericton, NB
Cann, Rebecca - Treasurer, City of St. Catharines, ON
McKinnon, Sheila - Secretary, City of Surrey, BC
Ariyo, John - Director, City of Mississauga, ON
Armistead, Robin - Director, City of London, ON
Beatty, Carol - Director, City of Medicine Hat, AB
Groves, Onalee - Director, City of Barrie, ON
MacGregor, Andrew - Director, Town of Amherst, NS
Obeid, Caroline - Director, City of Ottawa, ON
Reddington, Nichola - Director, City of Victoria, BC
Sabourin, Alice - Director, City of Hamilton, ON
Turner, Alison - Director, Edmonton Arts Council, AB
Westlund, Frances - Director, City of Saskatoon, SK
35
About CCNC
The Creative City Network of Canada is a national non-profit organization that operates as a
knowledge sharing, research, public eduction, and professional development resource in the
field of local cultural policy, planning and practice.
Through its work, the Creative City Network of Canada helps build the capacity of local cultural
planning professionals - and by extension local governments - to nurture and support cultural
development in their communities. By doing so, the Creative City Network of Canada aims to
improve the operating climate and conditions for artists, arts, heritage and cultural organizations
across the country, and the quality of life in Canadian communities of all sizes.
Join The Network
One municipal membership covers all municipal staff involved in developing or serving the
arts, culture and heritage sector of the community. For a limited time, our Research Hub is
unlocked and accessible to everyone. If you are a municipal cultural or heritage worker, become
a member of CCNC and have ongoing access to these valuable resources. Visit creativecity.ca to
find out how your municipality can become a member!
We Can Promote Your Community! Send us photos of your community for our website.
We Can Market! We have Sponsorship Opportunities for your organization, institution or
municipality. Become a sponsor of the 2014 Summit in Hamilton!
We Are Charitable! Creative City Network of Canada is a charitable organization and grateful for
the generous support of individual donors. Online donations accepted through CanadaHelps.org
Please consider CCNC as part of your annual or monthly charitable giving.
Call 604-688-2489 to process a payment on your card or mail a cheque, payable to Creative
City Network of Canada: #415 - 402 West Pender Street, Vancouver, BC V6B 1T6
Creative City Network of Canada would like to thank the following generous individual donors:
Elena Bird • Rebecca Cann • Ian Forsyth • Chris Hampel • Tammy Isaacson • Caroline Obeid
Burke Taylor
Creative City Network of Canada
Suite 415 - 402 West Pender Street, Vancouver, BC V6B 1T6
Tel: 604-688-2489 | Fax: 604-688-6701 | [email protected] | www.creativecity.ca
36
37
38
D E ST I N ATION
H A M I LTON
Check out
the scene
in 2014
Creative City Su m m it
Ha m ilton, Ontario
June 2014
39
Surrey Urban Screen presents: Flicker Art Media
(Aleksandra dulic & Kenneth Newby), transience (2010)
The CiTy of Surrey
p r o u d ly s u p p o r t s t h e
2013 Creative City Summit
www.surrey.ca
Downtown / CENTRE-VILLE
40
SHENKMAN ARTS CENTRE DES ARTS SHENKMAN
Lower Level/Niveau inférieur
Upper Level / Niveau supérieur
Shenkman Arts Centre des Arts Shenkman, 245 boul. Centrum Blvd.
41
Arts Court / LA COUR DES ARTS
Arts Court / La Cour des arts, 2 ave. Daly Avenue
42
notes
43
SCHEDULE AT A GLANCE
TUESDAY, MAY 28, 2013 / ARTS COURT, 2 Daly Avenue
7 – 9pm
Welcome Reception and Registration – Ottawa Art Gallery - 2 Daly Avenue
WEDNESDAY, MAY 29, 2013 / SHENKMAN ARTS CENTRE, 245 Centrum Boulevard
7:30am Registration – Novotel Ottawa Hotel Lobby
8:30am
Shuttle Bus to Shenkman Arts Centre from Novotel Lobby
9:00am
Continental Breakfast and Facility Tour – Shenkman Arts Centre, Lower Lobby
10:00am
Welcome – Harold Shenkman Hall
10:30am
Keynote – Harold Shenkman Hall
11:30am
Artist Panel – Harold Shenkman Hall
12:30pm
Lunch and Facility Tour – Lower Lobby
1:30pm
P2P Presentation Breakouts – Richcraft Theatre, Dance Studio, Music Studio
2:00pm
Networking Break – Lower Lobby
2:15pm
P2P Presentation Breakouts – Richcraft Theatre, Dance Studio, Music Studio
3:00pm
Networking Break – Lower Lobby
3:20pm Funding Panel – Harold Shenkman Hall
4:30pm
Shuttle Bus back to Hotel – From Lower Lobby - Back Door
8 – 10pm
Optional Pecha Kucha – St. Brigids Centre for the Arts - 310 St. Patrick Street
THURSDAY, MAY 30, 2013 / ARTS COURT, 2 Daly Avenue
8:30am
Continental Breakfast and Facility Tour – Studio
9:45am
Welcome – Theatre
10:00am
Keynote – Theatre
11:00am
2014 Summit Preview - Hamilton – Theatre
11:20am
P2P Presentation Breakouts – Dance Studio, Library, Courtroom
11:50am Lunch and Facility Tour – SAW, Courtyard
1:00pm
P2P Presentation Breakouts – Dance Studio, Library, Courtroom
1:30pm Networking Break – Studio
2 – 5pm
Local Arts & Culture Study Tours – From Front Entrance
9 – 11pm
Optional Digi60 – ByTowne Cinema - 325 Rideau Street
FRIDAY, MAY 31, 2013 / ARTS COURT, 2 Daly Avenue
7:30am
Continental Breakfast – Studio
8:30am CCNC AGM – Theatre
9:30am
Welcome – Theatre
9:40am
Research Panel – Theatre
10:40am
Networking Break – Studio
11:00am Keynote – Theatre
12:00pm
Conclusion – Theatre
1 – 5pm
Optional Public Art Round Table – Studio
44
Creative City Network of Canada would like to thank the following for their
generous support of the 2013 Creative City Summit in Ottawa /
Le Réseau des villes créatives du Canada tient à remercier les organismes suivants de
leur générosité à l’occasion du Sommet des villes créatives de 2013 à Ottawa
HOST MUNICIPALITY / LA MUNICIPALITÉ HÔTE
SPONSORS / LES COMMANDITAIRES
FUNDERS / LES BAILLEURS DE FONDS
VENUES / LES LIEUX QUI ONT ABRITÉ LE SOMMET

- Creative City Network of Canada

Transcription

Documents pareils

HISTORICAL HOCKEY ITEM DEPOSIT FORM

1310449 - brochure 12p Catimini - 216x167

Loblaws Ch. Ogilvie

©profilepress.ma Aujourd`hui le Maroc du 27/05/2016 "Smart City

L`assemblée générale annuelle de CanadaGAP se tiendra à Ottawa

Hospitals - Champlain LHIN

Fiche Marque

4e trimestre (janvier, février, mars 2016)

Cabaret clair de lune - Section de common law

Lunetterie New Look