Catch-Up: Carola Boehm at the ISUC Plaza Series 3 (International Women’s Day Edition)

Live Streamed from our APU partners in Malaysia, the International Women’s Day Edition of the ISUC Plaza Series presented three keynotes by women leaders, including C3 Centre’s Carola Boeh,.

Carola Boehm’s keynote, as part of the three keynotes presented, was titled:

Culture 3.0 saves the world: Sustainability & Diversity in an era of Co-creation

Even before the pandemic, along with many other countries, the UK was beginning to see a shift in how we valued our engagement in cultural activities, culminating in the 2021 Arts Council England’s 10-year strategy of “Let’s Create” (ACE, 2021). For communities and individuals, it firmly focussed resources to support active participation in arts and culture. This represented a move of investment towards civil society engaging actively in cultural production, rather than merely being passive cultural consumers. In Luigi Sacco’s words, this is a cultural struggle between what he calls Culture 1.0 versus Culture 3.0.

In Sacco’s conceptualisation, Culture 1.0 is characterised by patronage,  limited audiences,  gate keepers, value absorption and limited structural markets (Sacco, 2013). Thus, Culture 1.0 is seen to be highly elitist and exclusionary,  it has resulted in arts audiences and leadership of our European top cultural institutions to  be predominantly white and upper middle class (ACE, 2019). And this is a problem, according to Sacco. With Europe being ‘hung up on Culture 1.0’, it is holding Europe back in its innovation and productivity potential  (Sacco, 2011). The UK and the US has taken a slightly different path since the late 90s, influenced by its focus on the creative industries, with its emphasis on IP and copyright (BEIS, 2018; Flew, 2011; Cunningham, 2014). This is Culture 2.0, and I have written about how the UK and US are in turn hung up on Culture 2.0, supporting extractive and exploitative models that have inherent gatekeeping functions. This is in turn holding both the UK and the US back to allow its creative and cultural activities to benefit its societies in equitable, fair and diversity-supporting manner (Boehm, 2017, 2016).  However, Culture 3.0 is fast becoming the dominant type of cultural engagement to make arts and culture more inclusive and more impactful. It is characterised by ‘everyday creativity’,  co-creation, open platforms, ubiquitously available production tools and individuals constantly shifting and renegotiating their roles between producing and consuming content. This ‘doing away’ with gatekeepers supports access, diversity and is evidenced to simply make all our lives healthier, happier, more creative and more resilient.

Whereas having predominantly Culture 1.0 types of cultural engagement will result in elitism and exclusivity. Culture 2.0 creates a highly neo-liberal, worker-exploitative model. But Culture 3.0 has the promise of providing the balance and Sacco suggests the new power centres of this type of cultural engagement are emerging in Asia, and is characterised by mass production, unlimited reproducibility, large audiences, and significant turnover and profits. So in this presentation, using the lenses of Culture 1.0 to 3.0,  I will explore solutions for  shaping our creative sectors and industries in our creative cities towards becoming more sustainable, more fair and more diverse. (Boehm, 2022)


  • ACE (2019). Equality, Diversity and the Creative Case. A data report. ACE 2018 – 2019. [Online]. Manchester.
  • ACE (2021). Let’s Create: Our strategy 2020-2030 | Arts Council England. [Online]. Manchester, UK..
  • BEIS (2018). UK Creative Industries Sector Deal.
  • Boehm, C. (2016). Academia in Culture 3.0: a Crime story of Death and Rebirth (but also of Curation, Innovation and Sector Mash-ups). REPERTÓRIO: Teatro & Dança. 19 (27). p.pp. 37–48.
  • Boehm, C. (2022). Arts and Academia. Emerald Publishing. To be published in 2022.
  • Boehm, C. (2017). The end of a Golden Era of British Music? Exploration of educational gaps in the current UK creative industry strategy. In: R. Hepworth-Sawyer, J. Hodgson, J. Paterson, & R. Toulson (eds.). Innovation In Music: performance, production, technology and business. Taylor & Francis/Routledge.
  • Cunningham, S. (2014). ‘Hidden Innovation: Industry, Policy and the Creative Sector.’ Lanham MD: Lexington Books.
  • Flew, T. (2011). The Creative Industries: Culture and Policy. 1st edition. SAGE Publications Ltd.
  • Sacco, P.L. (2011). Web Page. Culture 3.0: A new perspective for the EU 2014 -2020 structural funding programming.
  • Sacco, P.L. (2013). Culture 3.0: The impact of culture on social and economic development, & how to measure it. Prepared for Scientific support for growth and jobs:  Cultural and creative industries  Conference. p.p. 21.

Catch-Up: New Civic Imaginaries (#2) Andrew Stubbs and Becky Nunes

In this session, we consider existing strategies for cultural production that masquerade as avantgarde, while potentially in fact perpetuating an ideological status-quo. The role of the auteur is implicated in these strategies and examined in both presentations. The question is asked: what sort of art is really  needed for our future societies?

In this session:
Wednesday 2 March 2022, Room T101

  • Dr. Andrew Stubbs: Talent Managers and their Indie-Auteur Clients: Understanding the Conematization of Television
  • Becky Nunes: 15 Minutes of Fame. Andy Warhol, Facebooks and the Work of Luke Willlis Thomspn


New Book: Inside the Rehearsal Room by C3’s Rob Marsden

Associate Professor and C3 Centre member Rob Marsden’s text ‘Inside the Rehearsal Room‘  is now out, published by Bloomsbury/ Methuen Drama.

Book launch at Wednesday 2nd March at 6.30 at the New Vic Theatre in Newcastle-under-Lyme, Staffordshire. RSVP to email

Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process.

Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production. The text also includes: – Auto-ethnographic and fully ethno-graphic case study approaches to different rehearsal rooms – Interviews with directors, actors, designers and actor trainers – A consideration of the ethics of the rehearsal room and material selected for production – Practical exercises on how to creatively read a text from an acting and directing perspective.

Informed by over 20 years of directing experience in the UK and Europe, Robert Marsden’s book offers a practical guide that ultimately demystifies the rehearsal process and challenges how the rehearsal room should be run in the 21st Century.

Interviews include with Rufus Norris, Kate Wasserberg, Kirstie Davis, Ivo van Hove, Roy Alexander Weise, Sir Alan Ayckbourn, Steven Boden, RC-Annie, Katrina Lindsay, Paule Constable, Stephen Mear and many more…

Catch-Up: Art/Practice-Based Research Seminar Series #5 – Who is it for and how can we communicate it?

Guest Speaker: Dr Charlie Tweed
With the traditional publications still defining many academic careers, it becomes a challenging task for researchers working with practice-based methods. Luckily, the emergence of alternative platforms for dissemination makes this task more attainable and relevant to various non-conventional outputs. This session explores the possibilities and challenges of practice-based focused online journals and other platforms focusing on alternative forms of research-based in creative methods.

DICO International Digital Storytelling Online Workshop

This is an opportunity for UG and PG learners of Staffordshire University’s Performing, Media, Digital Arts, Games, Visual Arts, Fine Arts and Design programmes and the Create Place leadership programme to take part in an

International Digital Storytelling Online Workshop (2 ECTS credits)


Sustainability in Arts and Culture

Sign in for the workshop at (EVENTBRITE LINK, or contact

This workshop gives participants an opportunity to reflect on (environmental, cultural, economic, and social) sustainability and share your ideas with other arts and culture students from five universities: MOME (Hungary), Stafforshire University (UK), Technical University of Dublin (Irland), Turku University of Applied Sciences (Finland) and University of Macerata (Italy).

In the workshop, we will use creative methods such as Photo Diary, creative writing and Digital Storytelling. Each student creates their own digital story on sustainability, approaching the theme from a personal perspective: what does sustainability mean in/for my studies, creative/artistic practice, and my identity and career as an arts/culture professional.  A web-based video editor WeVideo will be used for editing the digital stories.

You do not need any advanced skills in photography, or prior experience in Digital Storytelling or videoediting to participate in the workshop. You will, however, need:

  • A camera phone or a digital camera
  • A laptop or desktop computer (a touch screen tablet is not sufficient)
  • Google Chrome as a browser
  • An external mouse for your computer
  • A headset (headphones with a microphone)
  • Stable Internet connection
  • A silent room for audio recording

The workshop consists of a preassignment and 3 online workshop sessions (in Zoom):

  • –23.3.2022 Pre-assignment: Introducing yourself in Teams, readings on sustainability in arts and culture, and a Photo Diary assignment.
  • Thu 24.3.2022 Online session 1 at 11–17 (Finland) / 10–16 (Italy & Hungary) / 9–15 (UK & Irland)
  • Fri 1.4.2022 Online session 2 at 11–17 (Finland) / 10–16 (Italy & Hungary) / 9–15 (UK & Irland)
  • Fri 8.4.2022 Online session 3 at 11–17 (Finland) / 10–16 (Italy & Hungary) / 9–15 (UK & Irland)


Sign in for the workshop at (LINK, or contact

Participants will receive an email ahead of the workshop, with instructions for the preassignment and for joining the Teams platform used for sharing instructions and materials of the workshop.

The workshop is part of the DICO project (DICO, Digital Career Stories – Opening new career paths for arts and culture students).  

Catch-Up: New Civic Imaginaries (#1) Maria Sanchez and Anna Francis

New Civic Imaginaries proposes a shared civil space of ideas that “belong” to society rather than to the individual or the institution. The presentations, chaired by Becky Nunes,  collected here represent the fields of research that faculty of the School of DTA at Staffordshire University are currently engaged with.

In this session:

  • Wednesday 2 February 2022. 3.30-5.00 p.m
  • Dr. Maria Martinez Sanchez: The Fun Palace: Architecture, Theatre and Cybernetics
  • Anna Francis: Towards a 100 year Plan

Upcoming Event: How Culture 3.0 is your city?

Carola Boehm: My #Culture30Walks – How Culture 3.0 is your city?



Even before the pandemic the UK, along with many other countries, has seen a shift in  how we want to value the way we engage in cultural activities, culminating in the Arts Council England’s 10-year strategy of “Let’s Create”, firmly focussing on supporting access of communities and individuals to cultural production.

For Carola Boehm, a self-described musician-tech-academic, Luigi Sacco’s concept of Culture 3.0 is a key one, characterised by ‘everyday creativity’,  co-creation, open platforms, ubiquitously available production tools and individuals constantly shifting and renegotiating their roles between producing and consuming content. This ‘doing away’ with gatekeeping systems supports access, diversity and is evidenced to simply make all our lives healthier, happier, more creative and more resilient.

In testing that notion, she took some walks and documented them in a few twitter threads. These culture30 walks aimed at making visible how places that have attended specifically to cultural policy have almost unknowingly enhanced the everyday creativity that one encounters on a simple 30 minute walk to work. One by one, a #culture30walk told her a story of how culture30 a city really was.

On February 9th, 7pm (UK time) she will explore this with thewalking artist community as part of the Walk – Listen – Cafe (, discussing how this Culture 3.0 concept interfaces with those of the walking artist community.  

The curated twitter thread from 2019 can be still seen at #Culture30walk 

Catch-Up: Art/Practice-Based Research Seminar Series #4 – Methodological quagmires in the post-disciplinary era

Art/Practice-Based Research Seminar Series
(led by Agata Lulkowska at Staffordshire University)

Catch up on past events in this series, a place for inspiring discussions about art/practice-based research and methods. More details of the whole series:

  • Session 4: Methodological quagmires in the post-disciplinary era
  • 19th January | 15:30-17:00
  • Guest speaker: Prof. Carola Boehm 

Although Practice-as-Research has been welcomed in the academic communities, it often finds itself in positions needing to justify its effectiveness. The resistance to new methodologies is common when looking at the evolution of interdisciplinary research enquiry, and practice-as-research is often inter- or even trans-disciplinary in its nature and thus encounters the age-old divide between those methodologies supporting theoretical enquiries and those supporting practically oriented lines of enquiry. And as our knowledge domains grew, this left additional tensions in the choice or acceptance of research methodologies. My presentation will foreground this in the context of ever-growing knowledge domains that are in need of new methodological developments.

Catch-Up: Art/Practice-Based Research Seminar Series #3 – Creative methods

Art/Practice-Based Research Seminar Series
(led by Agata Lulkowska at Staffordshire University)

Catch up on past events in this series, a place for inspiring discussions about art/practice-based research and methods. More details of the whole series:

  • Session 3: Creative methods
  • 15th December | 15:30-17:00
  • Guest speaker: Nicole Brown, UCL

This session explores the wide range of creative methods which could be applied to practice-based research. It reflects on the processes to choose the most relevant methodology, practical application of some, processes, and the implications.

Upcoming Profs in the Pav with Ian Brown

Celebrity and the Attention Economy: how popular culture can commodify an audience’s attention




Professor Ian Brown will base his presentation on a series of artworks produced as part of artists’ group Common Culture (Ian Brown, David Campbell, Mark Durden). The work uses appropriation and the ready-made to engage audiences in a critical assessment of a celebrity culture which functions by commodifying its audience’s attention, leading to questions on its cultural and social value.

OMG I love common culture !!!! ❤️❤️❤️❤️  and ME, The Total Show were made in response to an American internet celebrity who capitalized on the intimate relationship he had built with his online followers by trademarking the name ‘Common Culture’ to brand, promote and sell a range of products.  The Die Raum gallery was turned into a Common Culture shopfront, with logo, weblink and an accumulation of graphic stickers based on the online posts of the celebrity’s fan base. The Rampa gallery collates appropriated and translated material into an enclosed interior space for consumption. The two exhibitions involve a parodic mimicry of the internet celebrity’s commodification of his audience, himself and his products. This explores how the aesthetics, interactions and transactional intimacy built by internet personalities are ruthlessly deployed to convert followers into consumers and attention capital. 

OMG I love common culture!!!!♥♥♥♥ Die Raum, Berlin, Germany. 29th Feb — 19th April 2020 

Gallery Website:

ME, The Total Show Rampa, Porto, Portugal 30th April – 29th May 2021

Gallery Website: