Abstract:
Globalisation has created increased complexity in relation to institutions, governments and events. While traditional social and cultural enclaves are increasingly vulnerable to and wary of the impact of globalised commerce, technology and human movement, some contemporary artists and designers actively seek out these sites of difference in order to explore the intricacies of aesthetic value. In universities and schools of art and design, the influence of this ever-‐expanding horizon of cultural and political perception is evident in the changing nature of student design and artistic work. The impact of embracing globalised perspectives is potentially positive and negative: productive and repressive. Ideas and information, transported as new knowledge through creative practices, are moving seamlessly across institutional and national boundaries. This fluidity of transfer, encouraged by open access to institutions, partnership and trans-‐national agreements, is further enabled by widespread use of digital media and financial support for academics and students to be mobile. While geographical mobility is encouraged and increasing, the patterns of adaptation within educational programmes and structures may not be responding as fast. This paper reflects on artistic identity and aesthetics based on personal accounts of immersive experience in educational environments. We examine the value and risks of flexible artistic identity and aesthetics and conclude by proposing a couple of key adaptive strategies for ensuring that the strengths and cultural integrity of internationalised creative practices are protected.
