High‐resolution geospatial surveying techniques provide new insights into rock‐art landscapes at Shuwaymis,Saudi Arabia

Many parts of the Arabian Peninsula contain rock art that has received minimal archaeological attention or has not yet been thoroughly surveyed. In 2001 an extensive rock‐art complex called Shuwaymis, Ha'il Province, Saudi Arabia was brought to the attention of the Saudi General Commission for Tourism and Antiquities. This paper sets out the results of the first high‐resolution geospatial mapping and recording of rock art at this remote site. The research saw the innovative use of a differential GPS to record rock‐art panels to within 5 mm of accuracy at the site of Shuwaymis‐2, the first time that such technology has been used to record rock art in the Arabian Peninsula. With such technology it was possible to show which of eighty‐three late prehistoric rock‐art panels surveyed were in their original position and which had fallen, and to demonstrate that there was spatial homogeneity of rock‐art styles and composition across the site. The mapping recorded multiple panels of cattle, ibex, equid, large cat and other animals. The depictions of lions and cattle in particular indicate that the rock art must have been engraved no later than the early Holocene humid phase (c.10–6 ka BP).     

THE "CREATIVE CLASS" IN THE UK: AN INITIAL ANALYSIS

Richard Florida argues that regional economic outcomes are tied to the underlying conditions that facilitate creativity and diversity. Thus the Creative Class thesis suggests that the ability to attract creativity and to be open to diverse groups of people of different ethnic, racial and lifestyle groups provides distinct advantages to regions in generating innovations, growing and attracting high‐technology industries, and spurring economic growth. In this paper we investigate the extent to which there might be similar processes concerning the relationship between creativity, human capital, and high‐technology industries at work in the UK as in North America. The approach taken is broadly sympathetic to the Creative Class thesis; critical perspectives and reservations from the literature are introduced as appropriate research is focused around the three principal research questions: Where is the creative class located in the UK? What is the impact of quality of place upon this dispersion? What is the connection between the location of the creative class and inequalities in technical and economic outcomes within the UK? To this end, the creative class and its subgroups are defined and identified. We then construct quality of place indicators relating to tolerance, diversity, creativity and cultural opportunity. To these are added measures of public provision and social cohesion. Data are analysed by means of correlations and regression. In general we find that, although the distribution of the creative class is uneven and complex, our results are consistent with the findings of the North American research with the notable exception of technology‐based employment growth. Finally, priorities for further research are discussed. The need to further investigate causality, variations within the creative class itself, and the potential role of qualitative data in this are highlighted, as is the potential fate of “non‐creative” workers and places.     

Reviews

The curbing of anarchy in Kunimaipa society. by A. Margaret McArthur Edited by Douglas Oliver Oceania Monograph 49 University of Sydney: Oceania Monographs. 2000 Pp. xii + 232 + 19 pp. plates [unpaginated] Price: $52.80.     

The Britishness of ‘British Video Games’

Abstract

British Government policy has much to say about video games, through production support, regulation and recognition (or lack of it) of their cultural nature, with games defined and promoted as part of the creative industries in a manner which owes much to film policy. Yet, the drive to promote both the games industry and games culture, and the inconsistent usage of terms like culture and creativity, produces tensions between different elements of ‘Britishness’, expressed and experienced not only through policy, but also through the creation and consumption of games. In considering the specificity of games’ contribution to British identity, therefore, we must understand how different elements of cultural policy interact with the interests of audiences and creators to define ‘British games’ – games which have the quality of being, or being seen to be, British. Such games might be expected not only to represent British culture within a global marketplace, and to project soft power, but also to address the British nation in some manner. This diversity, of global and local, of present-mindedness and nostalgia, suggests that British games articulate a complex and plural sense of national (cultural) identity.     

Cultural policies in cities of the ‘global South’: a multi-scalar approach

ABSTRACT

Building on the literature on global cities and on the worlding of cities, the articles in this special issue chart how cities outside Europe and North America try to reinvent and rescale themselves using culture. They suggest that the fabric of urban cultural policy is embedded in multi-scalar power dynamics. First, the contributions in this special issue reveal the importance of circulating standards across borders in structuring narratives about urban history, heritage and identity, in conjunction with local actors’ interests. Second, the diffusion of hegemonic cultural policy models such as the “creative city” leads to logics of exclusion, gentrification, and has been met with resistance, which suggest that these models can be to the detriment of local residents, despite the progressive values they are often claim to promote. Third, this special issue points to the need to rethink the politics of cultural policy mobility and offers conceptual tools such as vernacularization to make sense of the ways in which urban elites navigate, negotiate and take advantage of circulating cultural policy models.     

States,Money and the Persistence of Colonial Financial Hierarchies in British West Africa

This article contributes to debates about the persistence of colonial hierarchies in global finance by examining the reproduction of key features of colonial monetary and financial systems through the end of formal colonialism in West Africa, with a focus on Ghana. The article draws together engagements with Marxian theories of money and of the colonial state, and an examination of a key period which has often not received sufficient direct attention in debates about colonialism and financial subordination: the breakdown and end of formal colonial rule, roughly between 1930 and 1960. The central puzzle addressed in this article is how, despite the explicit desire on the part of nationalist political leaders to overturn colonial financial systems, these wound up being reproduced through the negotiation of political independence. The article shows how the entanglements of colonial monetary and financial systems with processes of state formation posed severe limits on efforts to articulate a ‘developmental’ colonialism after World War II. Efforts to work around these limits ultimately reinforced the reliance of the colonial and postcolonial state on extractive and hierarchical structures of global finance. In short, the article shows how the contradictory position of the state in colonial capitalism is vital to understanding the persistence of colonial monetary and financial structures.     

Cultural democracy: an ecological and capabilities approach

ABSTRACT

In recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of ‘excellence and access’ and the neoliberal logic of ‘creative industries’. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying ‘cultural democracy’ as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice.