The study it regales us with is Taking Part(.pdf) from the DCMS. It found that…
The greatest fall in adult library usage was seen among 16 to 24-year-olds, according to the DCMS report. In 2005, figures showed that 51% of this age group used the library. In 2015, the figure fell to 25.2%.
Statista, the Statistics Portal, offers detailed annual library visits data, from 2002 to 2014. Here the analysis shows that from a peak in 2005/, with a total of £42 million visits, by 2013/14 this figure had declined to just over 282 million visits.
It is never too late to fight back and get into good library habits. We like the 10 Reasons to use Your Library article, on the web journal Ten Penny Dreams. Elegantly laid out, the author, a North of England writer, gently chides us to remember why using a library is such a joy and a revelation. See more here…
If you need it, visitcambridge.org in the East of England are offering public tours of the Parker Library, including parts of Corpus Christi College. Where you can ‘…sample its amazing collection which includes the Anglo-Saxon Chronicle, principal source book for early English history, the sixth-century Gospels of Saint Augustine, the Bury Bible and the best manuscript of Chaucer’s Troilus…
Proof, if proof were needed, that librarians are keepers of our collective culture, and that libraries, as buildings, are the engines of our future dreams. Don’t lose it, use it!
It has been a busy last quarter and we have not featured JDRF, our favourite charity here at conversationsEAST.
With a sparkling fund-raising event, a Gala Dinner, pending at Madingley Hall, University of Cambridge Institute of Continuing Education this article rectifies our omission.
This gourmet event will, in the surroundings of 16th Century Madingley Hall, afford you an opportunity to eat well in convivial company, but also to catch up on JDRF’s latest research and to hear how your funds are spent seeking a cure for Type 1 diabetes.
Event details: Tuesday 12th June 2018 – 7pm to 11pm – CB23 8AQ
(For further details you can contact Celia Joseph at cjoseph (at) jdrf.org.uk – there are opportunities for Partnership tables, where your company or organisation can benefit from a collaborative approach to the event.)
‘There are currently 400,000 people in the UK with type 1 diabetes, over 29,000 of them are children. We are committed to eradicating type 1 diabetes and its effects for everyone in the UK with type 1, and at risk of developing it. To work towards a day when there is no more type 1…’ read more here. Source: https://jdrf.org.uk/about-us/
European Week of Regions & Cities
Brussels 9-12th October 2017
A wide ranging sequence of workshops and event in Brussels, that will attract academics, poiticians and business organisations. We think there are elemental workshops that those of us, working in the social economy, will find useful.
Particularly useful is the opportunity to build new networks of contacts ahead of the social, political and economic schism that awaits us in the UK.
The European Week of Regions and Cities and its workshops, debates and networking activities are addressed to:
members of the European Committee of the Regions, members of the European Parliament and national, regional and local politicians;
European, national, regional and local government officials and experts in the field of managing and evaluating cohesion policy programmes;
representatives of private companies, financial institutions and European and national associations;
journalists from European, national, regional and local media outlets;
researchers, PhD or masters students and practitioners in the field of European regional and urban policy.
The typical participant is from the regional or local administration and new to the event, and is travelling to Brussels specifically for the event.
Discover now the 130 workshops, networking events and project visits organised in Brussels as part the 15th European Week of Regions and Cities!
Under the headline ‘Regions and cities working for a better future’, the programme tackles three main themes:
Building resilient regions and cities – #LocalResilience
Regions and cities as change agents – #TakeAction
Sharing knowledge to deliver results – #SharingKnowledge.
28 partnerships of regions and cities, 14 Directorates-General of the European Commission, several networks, associations and other institutions have partnered up for it. The Opening session takes place on 9th October in the European Parliament.
“We hopped on the bus near the Ospedale Maggiore di Bologna, having purchased our biglietti for Euro 1.50, and found we could ride the autobus, through the medieval cobbled streets of the city, in any direction for ninety minutes”.
Our Partnership team were in Bologna, Italy last week. We were attending the Children’s Book Fair to meet with publishers, authors and artists, and to soak up the atmosphere of world class creativity and dynamism that is the book trade for children in Italy.
Being regular attenders at the London Book Fair, it was noticeable that, although the giant Amazon had a media stand at the week in Bologna, there was nothing like the all pervading presence they seemed to have in London earlier in the year.
Indeed, for the retail giant Italy is still a market in development. We noted that “…Amazon’s Prime service offers one-day delivery of a million products in 6,000 Italian towns and 2-3 days for the rest of the country“. Read more here… Source: Italy24 web pages.
With a significant Amazon building and development programme in Italy under way, the diversity and complexity of the other international publishing presences in Bologna, from traditional publishers to independent writers, artists and agents, was a sign that the trade in Italy is perhaps conditioned and delivered still in a very traditional way. Affording much opportunity for disruptive innovation in retail distribution we suspect.
As a micro-publisher, establishing our own tentative foothold in the Italian market, what was stunningly noticeable was the available space and ease with which new graphic artists, illustrators and designers could display their work.
Whatever language children are reading in, the quality of the illustrative art applied to the story enhances and opens that bridge to the imagination. It is as important as the ‘book’ itself, or the page layout or font choice, we would argue. The simplest narrative story can become an exciting page turner with the addition of wonderful artistic creativity. There was much of it evident in Italy last week.
Entering the exhibition halls at the event in Bologna Fiere was like stepping into a giant gallery. With a fantastic display of artwork in the principal foyer, annexed to a series of giant display boards for the young and independent artist to display samples of their work. Although the book trade is about business, the Italian approach led with free form creativity and individual design expertise in a way that we felt was unusual in the English book trade.
Some simple highlights for us during the week…
We enjoyed the informal display of Marco’s work. He produces character with a gentle style, with which to enhance any children’s story, we felt. Engaging, friendly but equally up to the illustration of a more challenging narrative.
Based in Desenzano del Gardo, Italy – you can find Marco Bonatti’s work on the web here.
Katie both studies and lectures in the Arts at Bournemouth University. She also runs Seablue Designs, a wonderfully evocative title for her business, which encompasses oceanic themes and a subtle and diverse range of blue in her work.
Katie’s palette, even informally displayed, is striking when seen from a distance, which is what caught our eye, but is equally as powerful on the page when feeding a child’s imagination.
Another graduate of Bournemouth University Arts faculty, Natasha produces images of plants and animals that are bold in structure and colour, but which are always seemingly ‘anatomically’ sound and proportionally framed.
We liked her structured pattern work particularly, standing out as it did from many of her contemporaries on display in Bologna.
(All artist featured images captured from the Bologna Children's Fair ad-hoc display boards in 2017. Copyright remains entirely with the individual artist).
It was the artistry and illustrative energy that was the touchstone experience for us in Bologna this year. Although we were able to build a number of new partnerships and projects for 2017/2018, it is the imprint of ‘the image’ that will stay with us, particularly the energy of the work typical of the artists we have championed above.
Historical linearity in illustration:
We were looking, on behalf of another project before our departure for mainland Europe last week, at the history of children’s book illustration. The Digital Bodleian in Oxford have a wonderful new web resource featuring a number of historic children’s books and games.
You can trace a linear development between the Bodleian web holdings, many dating from the beginning of the Nineteenth Century, through to the modern day.
Not only in their stories about children, but also how the imaginative landscape is pictured, focused on illustration as we are in this article. Innovation was the driving force even then.
We particularly liked the game Choriama, dating from 1824, which serves as a ‘youth’s instructor’ in the drawing and colouring of landscape. The work being made up of a number of individual landscape sections, which can be folded and re-folded to create new topographies of play. See more at the Digital Bodleian here.
We also warmed to depictions of A Round of Fun. Pleasant illustrations of classroom activity where imagination and fun, with guidance , are the focus of the day’s activity. Is this not how school should be?
This work, in the Digital Bodleian, was created in England but was printed in Germany. See more of the Round of Fun at the Digital Bodleianon the web here.
Our whole Digital Bodleian experience, looking back, has been resonant with echoes of our contemporary take on the Book Fair in Bologna.
Creative and imaginative illustrations, some classical and others traditional in feel, the many with a modernist take on old themes – the whole utilising the practised hand of the artist, European production skills and education marketing. A creative journey from the Nineteenth Century to now, following enduring first principles.
We are already booking them for the 2018 event! Perhaps we may see another blue crocodile?
Editorial note on Italy:
Italians, in a recent report, the Bloomberg Global Health Index of 163 countries, lay claim to being some of the healthiest citizens in the world. Despite the prolonged downturn in the country’s economy and with up to 40% of the young unemployed.
It is the proximity to high art and culture, as well as a high vegetable and fruit diet, that must be responsible for the continual flowering of Italian artistic endeavour surely?
Building blocks of code for young leaners – code creation in new ways from Microsoft
Microsoft researchers, at their Cambridge UK facilities, are in the midst of developing a new set of coding tools which will support children with additional sight needs in exploring the creation of code, commands and programs.
Torino is a physical programming language, which will, it is hoped, enable children with visual impairments, to take part and contribute in coding classes. Sharing the world of code and developing an understanding of the structure of programmed technology with their peers.
It is hoped that the project, when fully realised can be useful to other cohorts of learners, from adults to those who can be constrained by dyslexia and autism, to be able to access careers as computer scientists or software engineers.
The World Health Organization estimates that 285 million people worldwide are blind or visually impaired, and the vast majority of those people live in low-income settings. In the United Kingdom alone, the Royal National Institute of Blind People says only one in four working age adults who are blind or partially sighted are doing paid work.
Source: blogs.microsoft.com Accessed – 28.03.2017
Recruiting young people and educators for the project:
The process is available to educators and parents in the UK. See more here.
Inclusion at the heart of technology:
Reading the project detail, it is clear that inclusion for all learners lies at the heart of the project. The research and design work, initially geared towards children in the seven to eleven age group, has already created a curriculum for teachers to be able to use Project Torino. (No prior coding skills are needed…Ed.)
An ‘app’ has also been created to enable children, once having mastered their physical language coding skills, to move on into text based code, wherever appropriate.
Following on from our recent article on book binding in Barcelona, we seem unable to escape our thematic journey on-line towards the bound artefact.
As booksellers and literacy project specialists we are especially interested in the concept of the book as a seasonal highlight, as to be expected at this time of year. The conversationsEast team were very pleased to see book-binding as part of the programme of the recent Chelmsford Ideas Festival for instance.
The opening lecture for the Centre, post-renovation, was Artistic Bookbinding in the Twenty-First Century, delivered by the American book historian and conservator James Reid-Cunningham. See more below…
The lecture, The Poet of Them All, concentrates on a remarkable collection of Shakespeare editions in miniature from the holdings of the Yale Centre and in concert with collectors Neale and Margaret Albert.
The richness, skill and indeed, even fun, of such collections is beautifully captured in the Reid-Cunningham lecture. The expressive art and craft skill of the binder in the twenty first century is also visually well expressed in the discourse. In an age of electronics it is sometimes easy to forget the power, even magic, generated by the carefully crafted, masterfully bound book. Whatever its size.
There is much to enjoy across the whole of the Yale Center for British Art. Research at the Yale Center benefits from concurrent funding from the Andrew W. Mellon Foundation, encouraging a wide programme of lectures, study and talks to disseminate the findings of the Center. As you would expect from such a world centre of excellence.
We particularly liked the Center’s new education programme Visual Literacy: Rethinking the Role of the Arts in Education. Using the great visual resources the Center holds to create interest in and higher utility in reading. Art becomes the book, becomes the writer!
Giving books is a great idea over the festive holidays, getting the family into an art gallery or museum is even better. We visited Seven Stories in Newcastle earlier in 2016, so we know you can achieve the same ‘Yale’ effect without a visit to Connecticut.
Part of our work, with sister projects, is as booksellers and publishers. It has been interesting to reflect that we are in a continuing tradition, dating back to the 18th Century.
When we are talking to our partner publishers, or delivering projects overseas, it all feels rather contemporary. But good writing and creative, imaginative work for children is what led us to the work in the first place. It is a timeless pursuit for every cohort we supply and engage with over the years.
Matthew Grenby writes…
”The rise of children’s literature throughout the 18th century.
By the end of the 18th century, children’s literature was a flourishing, separate and secure part of the publishing industry in Britain. Perhaps as many as 50 children’s books were being printed each year, mostly in London, but also in regional centres such as Edinburgh, York and Newcastle.
By today’s standards, these books can seem pretty dry, and they were often very moralising and pious. But the books were clearly meant to please their readers, whether with entertaining stories and appealing characters, the pleasant tone of the writing, or attractive illustrations and eye-catching page layouts and bindings.
Early writing for children
This was new. At the beginning of the century very few such enjoyable books for children had existed. Children read, certainly, but the books that they probably enjoyed reading (or hearing) most, were not designed especially for them.
Fables were available, and fairy stories, lengthy chivalric romances, and short, affordable pamphlet tales and ballads called chapbooks, but these were published for children and adults alike. Take Nathaniel Crouch’s Winter-Evenings Entertainments (1687). It contains riddles, pictures, and ‘pleasant and delightful relations of many rare and notable accidents and occurrences’ which has suggested to some that it should be thought of as an early children’s book. However, its title-page insists that it is ‘excellently accommodated to the fancies of old or young’.
Meanwhile, the books that were published especially for children before the mid-18th century were almost always remorselessly instructional (spelling books, school books, conduct books) or deeply pious. Yet just because a book seems dull or disciplinary to us today, this doesn’t mean that children at the time didn’t enjoy it. Godly books of the sort produced from the 1670s by Puritans like John Bunyan are a case in point.
James Janeway’s A Token for Children (1671-72) gives what its subtitle describes as ‘an Exact Account of the Conversion, Holy and Exemplary Lives and Joyful Deaths of Several Young Children’. These children lie on their deathbeds, giving accounts of the sins too often committed by children – idleness, disobedience, inattention to lessons, boisterousness, neglecting the Sabbath – but tell those assembled round them that salvation awaits all who renounce such wickedness, and they explain how happy they are to be going to their eternal reward. Hardly fun, we might think, yet memoirs and letters, as well as continuing sales over more than a century, testify to young readers’ genuine enjoyment of these descriptions of heroic and confident, if doomed, children.
The 18th century
In the first half of the 18th century a few books that didn’t have an obviously instructional or religious agenda were published especially for children, such as A Little Book for Little Children (c.1712), which included riddles and rhymes ; and a copiously illustrated bestiary, A Description of Three Hundred Animals (1730), the second part of which was published ‘particularly for the entertainment of youth’.
But the turning point came in the 1740s, when a cluster of London publishers began to produce new books designed to instruct and delight young readers.
Thomas Boreman was one, who followed his Description of Three Hundred Animals with a series of illustrated histories of London landmarks jokily (because they were actually very tiny) called the Gigantick Histories (1740-43). Another was Mary Cooper, whose two-volume Tommy Thumb’s Pretty Song Book (1744) is the first known nursery rhyme collection, featuring early versions of well-known classics like ‘Bah, bah, a black sheep’, ‘Hickory dickory dock’, ‘London Bridge is falling down’ and ‘Sing a song of sixpence’.
The father of children’s literature
But the most celebrated of these pioneers is John Newbery, whose first book for the entertainment of children was A Little Pretty Pocket-Book Intended for the Instruction and Amusement of Little Master Tommy and Pretty Miss Polly (c.1744).
It was indeed a pretty book, small, neat and bound in brightly coloured paper, and Newbery advertised it as being sold with a ball (for a boy) and a pincushion (for a girl) – these toys were to be used to record the owner’s good and bad deeds (by means of pins stuck either to the black side of the ball or pincushion, or the red). Newbery’s books perfectly embodied the educational ideas of John Locke, who had advocated teaching through amusement.
But Newbery has become known as the ‘father of children’s literature’ chiefly because he was able to show that publishing children’s books could be a commercial success. This may have been because he made most of his money from selling patent medicines, and by publishing for adults
Nevertheless, his children’s book business flourished, and, following his death in 1767, it was taken over by his descendants, surviving into the 19th century. Newbery was a great innovator too. He produced the first children’s periodical for example, called The Lilliputian Magazine (1751-52), a miscellany of stories, verse, riddles and chatty editorials.
And his most famous work, The History of Little Goody Two-Shoes (1765) has a good claim to be called the first children’s novel. It tells the story of a poor orphan, Margery, who makes a career for herself as a teacher before, like a less glamorous Cinderella (with no fairy godmother, balls to attend, or glass slipper), she marries the local landowner who she has impressed by her honesty, hard work and good sense.
A rapid expansion of children’s literature
The reasons for this sudden rise of children’s literature have never been fully explained. The entrepreneurial genius of figures like Newbery undoubtedly played a part, but equally significant were structural factors, including the growth of a sizeable middle class, technical developments in book production, the influence of new educational theories, and changing attitudes to childhood.
Whatever the causes, the result was a fairly rapid expansion of children’s literature through the second half of the 18th century, so that by the early 1800s, the children’s book business was booming. For the first time it was possible for authors to make a living out of writing solely for children, and to become famous for it. Children’s literature, as we know it today, had begun”.
Continuing our theme of ‘Northern Energy’, we were in Newcastle upon Tyne this week and, on Friday afternoon, took time to visit Seven Stories, the National Centre for Children’s Books. They have an important exhibition and research project into the donated archive of the writer Michael Morpurgo. Below is what we thought.
”Michael Morpurgo Exhibition 2 July 2016 – Sunday 2 July 2017, Newcastle UK. A Lifetime in Stories.
Through one of our our sister projects, Books go Walkabout, an international delivery system to get authors, illustrators and poets, and their books, to corners of the world previously unreached, we have an abiding interest in children’s literature as you would expect.
The Seven Stories Morpurgo exhibition is certainly about a fantastic canon of work dedicated to the young imagination. However, the research team have extracted illustrative and delightful insights into, and evidence of, the writing process, using the archive generously donated to the Centre by Michael Morpurgo in 2015.
What the display and featured narrative does offer, in the broadest terms, is an insight into the creative process, the research and writing of a book, much of which in this Seven Stories gallery has taken place before the arrival and dominance of the word processor.
Not only an exhibition in praise of the work of Michael Morpurgo, but an illustration in itself of what can be achieved with a simple notebook and a pen or pencil. The imagination does not need an elecrical socket and plug to thrive apparently!
Some key exhibition elements:
Michael Morpurgo was born in 1943, and his early life was beset by sadness and conflicting tensions. It was interesting to see the detail of Michael’s school, home life and reaction to his early experiences in the British Army. This thematic thread of war and militarism can be traced through the exhibition, as in Michael’s life. His mother’s grief at the loss of her brother in the Second World War was an equally powerful emotional driver for the writing.
In 1962 Michael met his future wife Clare, and it was the summons home by his mother, with the pretence of an imaginary illness, that offered the opportunity for them to get married, against the prevailing condition that cadets of the Royal Military College Sandhurst must be single. A signal turning point in a creative life which solidified his pacifism, well evidenced and illustrated by this exhibition.
His first short book, published in 1974, was It Never Rained, an interconnected narrative about five children. By 1999 Mopurgo was ready to publish Wombat Goes Walkabout, with wonderful illustrations by Christian Birmingham. A great story about digging holes and how a wombat can save the day.
1982 saw the release of War Horse, perhaps Mopurgo’s most famous creation. The exhibition offers the visitor a display of many of the notebooks, first drafts, corrections and re-typed double spaced manuscripts that drove the creation of this seminal work.
This series of displays offers, we thought, a powerful illustration of how writing is both a physical and an intellectually layered process, but which requires a gritty determination to see the story through to the final end – publication. It is this revisiting and deterministic approach to his craft of writing that makes a Mopurgo novel so dramatic and engaging we suspect.
In the exhibition narrative Michael Morpurgo states that his engagement with a story ‘…can be measured by the size of his handwriting in his notebooks‘. The smaller the hand written text the more intensely the creative muse has gripped him that day.
To an archivist this is vital in determining the writers emotional condition on any particular creative day. As his pen moves rapidly across the notebook page, Michael has left a marker, a measure of intensity, for later researchers seeking to determine his emotional or creative state. Something a plastic keyboard, no matter how powerful the micro-processor it is connected to, could ever offer the interested reader in years to come.
Looking at the Morpurgo ‘war’ material, we pondered on what must be a pivotal issue for the contemporary archivist or researcher. With ready access to technology, publishing processes and cloud storage – how will future archivists and seekers of process engage with material that is electronic and resting, potentially, in a thousand different formats, storage facilities and locations around the globe.
Interestingly, MIT Technology Review has just published an article on the use of computing and data mining techniques to show that there are, it contests, only six basic ’emotional arcs’ in storytelling. These are…
…a steady, ongoing rise in emotional valence, as in a rags-to-riches story such as Alice’s Adventures Underground by Lewis Carroll. A steady ongoing fall in emotional valence, as in a tragedy such as Romeo and Juliet. A fall then a rise, such as the man-in-a-hole story, discussed by Vonnegut. A rise then a fall, such as the Greek myth of Icarus. Rise-fall-rise, such as Cinderella. Fall-rise-fall, such as Oedipus.
We are intense users of the notebook and pen ourselves, in our ordinary workaday lives, but have to recognise that research and analysis would now be immeasurably diminished without technology. We wondered, travelling through the Michael Morpurgo exhibition, an historical audit trail of the creative mind, what other contemporary children’s and young adult writers take on ‘techno’ is today?
Perhaps this is a Seven Stories seminar series in the making? Pen or Processor, the creative methodology in contemporary children’s literature. We would buy a ticket! (Ed.)
A visual treat:
Towards the end of the exhibition content is a section dedicated to Michael Morpurgo’s artistic collaborators, the artists who have contributed to the written work.
It offers the visitor a fascinating insight into how the imagination is populated by the story, how the psyche is suggested a character and landscape by Michael Morpurgo’s writing. It is also, within the context of this article, a soaring endorsement of the power and durability of putting a hand to paper. Surely no machine can replace the creative evocation of story by the artists below?
The work on display includes artwork from Quentin Blake, Gary Blythe, Peter Bailey, Christian Brimingham and Tony Kerins amongst others. We particularly warmed to the diversity of images in the exhibition that depicted the sea. Whether Kensuke’s Kingdom or When the Wales Came, the original cover art to be seen provokes an imaginative dream of action, wind, water and a tale to be told.
It was wonderful to see this collection of individual artistic work within the context of the Seven Stories Michael Morpurgo exhibition. But each artist has a separate body of work which is lively, imagination capturing and enchanting in equal measure. We hope you can use the links above to explore this on-line collection ‘gallery of galleries’ too.
Getting to Seven Stories NE! 2PQ :
If you leave the impressive Newcastle Central Station and turn right down towards Quayside, you can turn left along Quayside and walk, past the Pitcher and Piano until you come to St. Ann’s Steps on the left. Ascend them. At the top, look back down the river to the bridges receding into the distance. Turn and cross the road and right down to Cut Bank on the left, following the river left along for a couple of hundred yards and Seven Stories will apppear on your right.
The journey there, if the sun is shining, can be as uplifting as your visit to The National Centre for Children’s Books. This is a fascinating insight into the work of our national story teller. Seven Stories offers a whole rainbow of experience around ‘the children’s book’, whether a holidaying family looking to stimulate young imaginations, a visit to the cafe and bookshop, or a serious academic look at the sweep of children’s literature.
‘Seven Stories was able to support the acquisition from Michael Morpurgo through support from Heritage Lottery Fund’s ‘Collecting Cultures’ programme, which has been awarded to Seven Stories in recognition of the museum’s national role in telling a comprehensive story of modern British children’s literature’.
Source: Seven Stories web site. Accessed 09.07.2016 See http://www.sevenstories.org.uk/collection/collection-highlights/michael-morpurgo
The North as a digital, innovative powerhouse for change and growth…
The great Northern Powerhouse concept has it’s detractors, as well as those who warmly embrace vast spendiing on infrastructure projects betwixt North and South. The whole designed to energise a swathe of our country, and its economic and social infrastructure, at a stroke.
Larry Elliot, writing recently in The Guardian, declares that the Centre for Cities think tank has the right view and that George Osborne is wrong. Namely that investment is needed in cities and conurbations ‘North of Watford’ in order to achieve the right mix of enterprise, social energy and innovation.
In his article Elliot looks at the productivity and infrastructure links between several Randstadt and Rhine-Ruhr cities. Already much more productive than similar cities in the North of England, he argues, the real difference is that investment has been made in the cities, not between them.
Whether transport, high speed internet or enterprise culture are stimulated, the key difference on the Ruhr/Randstat axis is the level of skills available to feed growth in research, output and market identification, he argues.
A new RSA report argues ‘… for a departure from the usual way of ‘doing tech’, where digital businesses operate in siloes, often untethered from the places in which they operate. It is within the North’s gift to forge a different path…’
It is this focus on the sub-region, on the drivers of city based innovation, that when aggregated as evidence creates a new paradigm of achievement for the wider region. The sweeping gesture, the Osborneian grand statement, is proven only by examining the microeconomic context of the city regions as an ensemble, we would argue.
In this new report from the RSA (.pdf), Benedict Dellot et al approach the North of England with this city hinterland and regional sectoral analysis in mind.
The new work, Digital Powerhouse (.pdf), uses the digital economy of the north of England as both metaphor and research instance to examine and make suggestions for development. The findings are striking…
‘…the North’s digital economy is creating jobs at ten time the rate of the region’s non-digital sectors. In the last five years the productivity of the digital economy grew by 11.3%. The figure was 2.5% for the non-digital economy’. Source: Infographic, p.2 of Digital Powerhouse
The DIgital Powerhouse report makes fourteen profound recommendations to capitalise on the digital premium recognised in the North of England.
These range from the creation of a ‘Procurement Powerhouse’ social enterprise to link tech businesses with public sector procurement processes. An adjunct to this suggestion is a move to persuade public sector commissioners and buyers to declare a ‘problem based’ commissioning approach, affording opportunities for innovators and researchers in the tech sphere to be just that, innovative, in order to get a seat at the table of ‘government spend’.
Similarly Dellot et al call for a new ‘contract portal’, suggested to bring together opportunities to supply both the public and private sectors with tech innovation. Also on the supply side, the report suggests the championing of ‘tech co-operatives’ in the North. Striving to achieve critical mass and drive to market by tech innovators in the North, through closer co-operation and affiliation.
The regional recommendation aspect of the report make it easy to argue that this research could be the basis of a meta-development framework of policy and practice for any region with growing technology sectors. North or South.
As Eileen Burbidge, Chair of Tech City UK says in the report ‘…this report shines a brilliant light on all the assets and opportunities already underway which serve as a foundation for the growth of the new Digital Northern Powerhouse‘. Source: Burbidge, introduction: p.5 Digital Powerhouse
The Chair of Changing Chelmsford Malcolm Noble and Ideas Festival Director Leonie Ramondt , and their teams, have put together a well designed and informative Festival programme – with the creative input of the Anglia Ruskin University Design Collective. (Thanks go to Jeff Bray, Becky Lockwood and Daniel Tubl).
Robotics…. Be part of world level engineering breakthroughs, achievements, and products being designed and developed in Chelmsford and Essex. You will have the opportunity to take control and get involved in various activities such as engineering design, 3D printing, using advanced computer models, robotics, aerodynamics, medical engineering, Raspberry Pi and many more. Learn about the change and impact that engineering in Chelmsford and Essex makes nationally and internationally.
Extra Information: Booking required: www.anglia.ac.uk/ community or call 01245684723
Essex Police is 175 years old this year. Nick Alston CBE was elected as the first Police and Crime Commissioner for Essex in 2012. He is currently Chair of the Board of the Association of Police and Crime Commissioners and Chair of the Police ICT Company Board. He will give us an overview of his experience as Commissioner, reflect on policing in Essex and provide some pointers on the police service of the future.
A strong theme of the Festival this year is the notion of Creating the City of the Future. Ideas for city change, walks through the concept of change in Chelmsford and harnessing the power to create – a three part, multi-location event.
Matthew Taylor of the RSA will be exploring the Power to Create the City, harnessing the thematic concepts enagaged in the Society’sChange Aims.
Enlightened City Making
Host: The Royal Society of Arts Venue: Chelmsford Cathedral Date: 21st October, 2015 – 10.00am to 2.30pm
Session One – ENLIGHTENED CITY MAKING
Creativity is at the heart of innovation, enterprise and good places to live. But we are increasingly expected to be resourceful and self-reliant to shape our communities, with the help of amazing digital tools. The RSA says everyone has the power to create and to stival play a role in enlightened, active communities. Using the RSA ‘Change Aims’ we will look at the power to create the city with Matthew Taylor, head of the RSA.
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