2013 Sommet des villes créatives 2013

2013 Sommet des villes créatives 2013
2013      2013
 Creative City Summit       Sommet des villes créatives
Recalculating: Culture in   L’adaptation culturelle
         a Digital World    dans un monde numérique
                 Ottawa     Ottawa
       May 29 – 31, 2013    Le 29 au 31 mai 2013

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

                      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.
Jim Watson, Mayor

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
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.
Jim Watson, Maire

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

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

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.

T U E S D AY, M AY 2 8 , 2 0 1 3

                  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 city-
building 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.

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

              From Novotel Ottawa Hotel Lobby

              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
              Salle Harold-Shenkman


  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

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

Wednesday, May 29, 2013

   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
Wednesday, May 29, 2013

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.

                   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

Wednesday, May 29, 2013

Québec and a member of the Royal Canadian Academy of Arts. He is represented by Pierre-
François 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.

Wednesday, May 29, 2013

12:30pm            LUNCH AND FACILITY TOUR
                   Lower Lobby
                   Sponsored by

                                 Public Art / Facilities

                   Orléans Star-L’Express Music Studio
        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
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.

Wednesday, May 29, 2013

                          Cultural Planning / Mapping

                   Ottawa Citizen Dance Studio

        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
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.

Wednesday, May 29, 2013

         Engagement / Programming / Communication

                  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

Wednesday, May 29, 2013

                                Public Art / Facilities

                   Orléans Star-L’Express Music Studio

         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

Wednesday, May 29, 2013

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
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.

                         Cultural Planning / Mapping

                   Ottawa Citizen Dance Studio

         OLIN WIGINTON, City of Kingston, ON & JEFF EVENSON, Canadian Urban Institute,
        Kingston, ON

Indicators and performance measures for municipal cultural
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

Wednesday, May 29, 2013

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.

          Engagement / Programming / Communication

                   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.

3:00pm             NETWORKING BREAK
                   Lower Lobby
                   Sponsored by

Wednesday, May 29, 2013

3:20pm            FUNDING PANEL Harold Shenkman Hall

   Karen Ball, Former Executive Director, Calgary2012, Clagary, 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.

Wednesday, May 29, 2013

                    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
                   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.

T H U R S D AY, M ay 3 0 , 2 0 1 3

Arts Court, 2 Daly Avenue
Day sponsored by

                 GALLERY TOUR
                 Studio, Arts Court, 2 Daly Avenue
                 Sponsored by

9:45am           WELCOME

                 PRINCIPAL Theatre / Théâtre


  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

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

THURSDAY, May 30, 2013

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

                               Public Art / Facilities

                  Ottawa Dance Directive Studio B

        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.

THURSDAY, May 30, 2013

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.

                        Cultural Planning / Mapping

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.

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