In 2015, the Arts and Humanities Research Council (AHRC) commissioned John Holden, visiting professor at City University, London, and associate at the think-tank Demos, to write a report on culture as part of its Cultural Value Project. The claim within the report was to redirect culture away from economic prescriptions and to focus on ecological approaches to ‘value’. Holden considers the application and use of ecological tropes to re-situate culture as ‘non-hierarchical’ and as part of symbiotic social processes. By embracing metaphors of ‘emergence,’ ‘interdependence,’ ‘networks,’ and ‘convergence,’ he suggests we can “gain new understandings about how culture works, and these understandings in turn help with policy information and implementation”. This article addresses the role of ‘cultural critique’ in the live environments and ecologies of place-making. It will consider, with examples, how cultural production, cultural practices, and cultural forms generate mixed ecologies of relations between aesthetic, psychic, economic, political, and ethical materialisms. With reference to a body of situated knowledges, derived from place studies to eco-regionalisms, urban to art criticisms, we will consider ecological thinking as a new mode of cultural critique for initiating arts and cultural policy change. Primarily, the operant concept of ‘environing’ will be considered as the condition of possibility for the space of critique. This includes necessary and strategic actions, where mixed ecologies of cultural activity work against the disciplinary policing of space with new assemblages of distributed power
Situating Practices was a research-led exhibition (17.05.19- 01.06.19) as part of the Temporary Contemporary programme in Huddersfield, West Yorkshire. The exhibition was a showcase of the practice-based research work of nine postgraduate researchers from the University of Huddersfield and other higher education institutions. It explored what it means to do research in, with and through practice and the potential new configurations of knowledge that is produced through their display, this included artist practitioners, architects and researchers working at the boundaries of social science and creative practice. This exposition questions the concept of “curating research” (O'Neill & Wilson, 2015) from an ecological perspective, considering the interdependent, emergent and developing relations and tensions when curating research for public display in the context of the Situating Practices exhibition.
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