Caradt

Filter

  • Cultural and Creative Industries
  • Situated Art and Design
  • Biobased Art and Design
  • All
Staff Alumni
Research Projects Archive

Search

What Can We Expect From the End of the World?

From mid-February to early March, CARADT professor Sebastian Olma is invited to visit the Hawke EU Jean Monnet Centre of Excellencearrow at the University of South Australia (UNISA). He has been invited by Professor Susan Luckman, Founding Director of the  Creative People, Products and Places Research Centre (CP3)arrow and Cultural and Creative Industries Research Platform Leader at UNISA.

During his time as a visiting professor, Sebastian will work with UNISA researchers and students on issues such as the future of art and design education. He will join Professor Justin O’Conner, Professor of Cultural Economy at the University of South Australia and CARADT long-term research partner (and previously visiting professor at CARADTarrow), for a number of public events posing the question: “What Can We Expect From the End of the World?”

CARADT is grateful for Professor Luckman’s invitation and looks forward to strengthening its collaborative ties with the Hawke EU Jean Monnet Centre of Excellencearrow and UNISA.

More information & event details, visit the following link: What Can We Expect From the End of the World?arrow

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.

Sebastian Olma arrow

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

Read more arrow

Thank you for your subscription! Please check your email inbox to confirm.

Okay