Critical concepts


The environmental niche of micro-opera … is its technical layer⎯which is technology, infrastructure and the built environment; its social layer⎯its patterns of organisation, the social capital around it, the networks and the organisations it engages; and its mediating culture.[1]

The unique network of relationships between the artwork and artists, audiences (individual and collective) and publics are activated in the chamber as the space of co-creation. Beyond its mere existence, how might the small-to-medium arts organisation be revisioned as an agent of value? What is its contribution to the ‘reiterative feedback and co-creation’ that constitutes this complex ecosystem?[2]

In recognising and acknowledging the value generated in the chamber, what transformation in practice, artistic and operational, might result?

[1] Alexia Maddox, Agile Opera Project, Microlab 1, 17 April, 2015, unpublished transcript.

[2] Greg Hearn, Simon Roodhouse & Julie Blakey, “From value chain to value creating ecology: implications for creative industries development policy,” International Journal of Cultural Policy, 13:4, (2007): 422.


Photo credit: Pier Carthew

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