Centre de Cultura Contemporània de BarcelonaMontalegre, 5 | 08001 Barcelona | Tel. 93 306 41 00 | www.cccb.org/lab

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01INTRODUCTION

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02DEFINITION AND OBJECTIVES

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03DEVELOPMENT AND IMPLEMENTATION

0503:1EVOLUTION OF FORMATS

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03:2DEVELOPMENT AND CONSOLIDATION OF OWN PROJECTS

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03:3CREATION OF NETWORKS

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03:4ARTICULATING DIS-COURSES OF THE KNOWLEDGE SOCIETY

1303:5 NEW WORK METHODOLOGIES

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03:6RECEPTION AND CHANNELLING OF EXTERNAL PROJECTS

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03:7ASSESSMENT OF TRENDS

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03:8A NEW PRESENTIALITY

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05DIRECTION OFTHE CCCB LAB

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I+D+i processes are traditionally used in the scientific and business world, but in recent years have they started to emerge as a necessity in the world of culture.

There are varying concepts about what cultural investi-gation and innovation represents or may represent, since this is a disputed terrain on several fronts, which range from creative cities 1 to media labs 2 and living labs 3, from the fascination for new digital technologies to the radical experimentation with genres and formats.

It is true that the adaptation to a hybrid, complex and changing cultural scenario is encouraging a concentra-tion of effort on the creation of I+C+i departments or areas, as can be observed in the major media, in the attempts of some museums, and n the proliferation of conferences, congresses and seminars on the subject 4.

The urgency to position oneself in this field reveals the existence of specific or strategic actions and basic ac-tions. The first are important for speedily activating the image of the cultural institutions that are considered to be leaders in prestigious programmes and which have become a reference point within national and interna-tional contexts. However, there is no doubt that it is the rigorous implementation of I+C+i processes that will permit them to support the impact of a transformation where the only constant feature seems to be the speed of the change. Although there are already some maps for the new territories, it is also true that there are still no maps for many others. And it is the capacity to try to map the unpredictable, what has still to arrive, the world of the future, which can establish a significant difference.

Thus, the drive for a rigorous and plural Research and innovation in culture may be an important instrument for the sustainable evolution of the CCCB in the 21st cen-tury. As it is a young and consolidated institution, with unquestionable national and international prestige, an acknowledged “know how” and a tradition of porosity, openness and cosmopolitanism, it is in the best condi-tions to take on the challenge that the strategic alliances and the basic actions present.

In this first work document, a general vision of its objectives, its methodology and its implementation are provided. It is an instrument for dialogue and consensus. A matrix that contemplates the necessary alliances, the basic work and the stages in which it can be deployed.

1 Creative Cities: http://portal.unesco.org/culture/es

files/23947/11097017581Ciudades_Creativas_Espagnol.doc/

Ciudades%2BCreativas%2BEspagnol.doc 2 Media lab (from the English Media Laboratory): A centre dedi-

cated to the research, the study and the creative use of digital

technology for the creation of innovating forms of thought,

communication and the exploration of ideas related to the new

frontiers between science and art.3 Open living labs: http://www.openlivinglabs.eu/concept.html 4 Positioning in research and innovation in the cultural sphere:

- Department of R+D of the New York Times, Open video

Conference (http://openvideoconference.org/speakers/)

- Golden Nica Awards (http://www.aec.at/prix_about_en.php)

- Institute of Networked Cultures: http://networkcultures.org/

wpmu/portal/)

- Lab for Culture (http://www.labforculture.org/)

- Virtueel Platform (http://www.virtueelplatform.nl/en/)

- Museum Lab (http://www.museumlab.org/)

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CCCB_LAB:INTRODUCTION

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The CCCB LAB is a new department of the CCCB dedi-cated to research and innovation in the cultural sphere, paying special attention to the evolution of formats, working in collaboration with the other departments of the company.

• Todevelopalineofexperimentationonvirtualandpresential formats that facilitates the evolution of the activities of the CCCB.

• Tocreateandconsolidateprojectsofownproduc-tion that incorporate the innovations developed by the department, making them extendible to other depart-ments of the CCCB.

• Topromotethecreationofnetworksandallianceswith groups, institutions and companies that favour research and innovation in the cultural sphere.

• Toactivatethestudyofkeythemesfromthecurrentphase of the Knowledge and Information Society.

• Tointroducenewinternalmethodologiesofworkwhich boost the processes and incorporate function-ing criteria coming from social networks and collabo-rative digital technologies.

• Toproposenewinstrumentsforthereceptionofprojects, converting the CCCB into a catalyser of network initiatives.

• Toprepareandcarryoutreportsofcriticalassess-ment of the trends of the globalized cultural scene.

• Toincreasepublicandbeaccessibletonewremotepresential audiences.

DEFINITION AND OBJECTIVES

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The implementation of the objectives is organized in a chart based on the feedback of the research and experimentation procedures and the work methodology enables a dynamic process of continuous assessment:

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DEVELOPMENT AND IMPLEMENTATION

METHODOLOGY

• Self-organization,serendipity,openprocesses.

• Collaborativedynamics.• Continuousassessmentandself-

correction.• Polyvalentprofiles.• Permeabilityandlearning.

IMPLEMENTATION

• IRIprojects.• Ownproductionprojects.• Receptioninstrumentandchannellingof

external projects (MAP).• CollaborationintheCCCBgeneral

programming (Antic Teatre).• Coursesandotherinternaltraining

activities .

INVESTIGATION

• ArticulateddiscoursesontheKnowledgeand the Information Society.

• Studyofculturaltendenciesand projects.• Searchforalliancesandagencies.• Otherlinesgeneratedby experimentation.

EXPERIMENTATION

• Presentialformats.• Virtualformats.• Otherlinesgeneratedbyinvestigation.

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The care in the forms and the experimentation with diffe rent formats has been the mark of the company since its creation. In exhibitions as well as in the creation of festivals, conference cycles, experimental archives, publications or special projects, the Centre has an excellent background in formal innovation. The presential CCCB and the virtual CCCB form a dynamic unit. And a sizeable part of its immediate future depends on this harmony. Therefore, it is important to reactivate this internal tradition, based on a constant interest for the transformation and evolution of genres and formats.

This is not an easy task. The current panorama reveals erosion in the limits of each genre and each format. Hybridising, the mixing and convergence of the media and the arts is causing several important changes. Although one may think that this tendency might disappear, it is also certain that the crossover effect together with the impact of new technologies will force an in-depth reflection on the presential and virtual aesthetics of the CCCB.

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EVOLUTIONOF FORMATS

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RESEARCH AND INNOVATION IN PRESENTIAL GENRES AND FORMATS

The presential CCCB feeds the virtual CCCB. The pre-sential activities are irreplaceable, but the digital media enrich the interaction with the different publics. Each genre and/or format has its genealogy, its references, its points of inflection and its critical evaluation. The conventional nomenclature is still useful, but there are a growing number of variations and innovations that are modifying the usual taxonomy.

Exhibitions / Conferences, seminars, congresses, symposiums. / Festivals / Archives / Concerts / Installations / Performances / Itineraries / Workshops

The trend towards integrated processes where investiga-tion, design, production, representation and archive are continuous, obliges work with other emerging catego-ries: hybrid formats, work platforms and new presenta-tion types, exchange and debate 5 (book camps, uncon-ferences, etc.)

The CCCB LAB may constitute an activating nucleus of this transformation by means of the incubation of projects that incorporate emerging processes, raising awareness of the arts and crafts of material culture and their interaction with the digital tools that replicate or amplify the genres and formats 6.

5 See Nuevas dinámicas presenciales de intercambio de cono-

cimiento: cuando lo online se apropia del espacio físico, Enric

Senabre Hidalgo: http://www.cibersociedad.net/recursos/

art_div.php?id=300 6 See The Craftman de Richard Sennett: http://www.richard-

sennett.com/site/SENN/Templates/General.aspx?pageid=40

RESEARCH AND INNOVATION IN VIRTUAL FORMATS AND GENRES

The virtual CCCB empowers the presential CCCB. And at the same time, it acquires a singular importance in the positioning of the Centre on Internet, as well as in the projects of the Multimedia Area, such as the CCCB Channel and the CCCB Portal.

The virtual communication of the Centre requires a strategy that contemplates the differentiated processing of blogs, the presence in devices that activate social net-works (Facebook, Del.icio.us, You Tube, Flickr, etc.) and research and innovation in formats of multimedia conver-gence that permit the viewing of exhibitions, conferences, festivals, concerts, performances, etc., live (streaming) and in postproductions designed for Internet (included in second generation Internet that permits the Anella).

In this environment, the emergence of The Internet of Things, the universalization of services and the invisibi-lization of devices that characterize the current stage of development of virtuality, represent a space for explora-tion and experimentation that cannot be ignored.

The CCCB LAB and the Multimedia Area may provide references and models, at the same time that they create prototypes that contemplate the needs of the CCCB website and its evolution towards a multimedia convergence portal. We must not forget that the presen-tial activities can be conceived by integrating from their conception and scripting, the web tools 2.0 and 3.0.

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The projects that are mentioned in the following consti-tute the most immediate test bench (2009-2010). I+C+i. criteria have been incorporated into all of these since their beginning. The focus on these projects does not impede also working the existing synergies with other relevant CCCB projects where there has also been an innovating vocation for some time.

CCCBARCHIVE

PUBLIC SPACE

I+C+i

KOSMOPOLIS

NOW

NANO

XCÈNTRICARCHIVE

MAP

DEVELOPMENT AND CONSOLIDATION OF

OWN PROJECTS

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I+C+i www.cccb.org/icionline

The cycle initiated three years ago will transform into a privileged public window of the CCCB LAB. The 2010 programme will aim to concentrate on important subjects, and emphasise the developmental praxis by means of workshops and the use of digital devices. A processing of the sessions that have taken place since 2007 will also be carried out with the aim of providing information on the provisional conclusions of the cycle.

To be carried out in the 2010 programme: New sessions, workshops and meetings that will serve to articulate the development and implementation of the CCCB LAB

NOWwww.cccb.org/now/ca

This project has been consolidated as a work platform that may become apparent in different genres and formats. In the same way as Kosmotica or the CCCB Archive, it has developed the creation of hybrid knowledge spaces (classroom- laboratory-library) and open grids where micro festivals, performance installations, conferences and network events can be carried out.

NOW is also a generalist summary of the existing solutions to the interconnected global crises. It is aimed at the sustained dissemination of the paradigm shifts which we are seeing and it is a project linked to an extensive network of organizations, groups and communities that work with the same spirit.

To be developed in the 2010/2011 programme: NOW Exhibition Installation, Project CRITICAL MASS.

KOSMOPOLISwww.cccb.org/kosmopolis

This can be considered as one of the pioneering festivals in the amplification of the concept of literature that is taking place at the beginning of the 21st century. Its conceptual and formal model is the forerunner of a new generation of festivals where literature interacts with the arts and the sciences in a cosmopolitan scope.

The next edition of the Fiesta Internacional de la Literatura Amplificada will investigate the networks of literature, the mutation of genres, the crisis and the evolution of the book medium, copyright, the transfer from hypertext to hypermedium, etc. The evolution of Kosmopolis also involves the development of the K Platforms, which are proposals in the original project aimed at consolidating a distributed networks system and that contribute to the above mentioned amplification process.

NANOwww.cccb.org/nano

This is an emerging project dedicated to the creation of a family programme belonging to the CCCB. The matrix, which was presented in October 2009, is only the first step. Nano can appear in a condensed version (Nano World), constitute the basis for a broader programme during 2010 and become a label susceptible of being incorporated into other projects of the centre, such as Kosmopolis, or CCCB Chanel.

Due to its genesis and development, it is a CCCB LAB project. It includes collective and collaborative creation, it is linked to NOW and Kosmopolis, it incorporates the investigation into new publics and the dynamics of social networking, and permits the creation of new groups and institutions in Barcelona, as well as the search for special sponsors.

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CCCB ARCHIVEwww.cccb.org/es/centre_de_documentacio

In January 2008, the Centre initiated the project CCCB Archive with which the collection generated over its fifteen years of activity has been progressively made available to the public. This material is available in digital format, and can be viewed from the space CCCB Archive. The Archive includes multimedia information on exhibitions, debates, seminars, projections, festivals and all types of cultural activities.

Currently, nearly 80% of the CCCB collection is available for public consultation (7000 multimedia references) and it is foreseen that in 2010, 100% of the material generated by the centre will be viewable. In 2011, it is foreseen that the ARCHIVE will be passed on to Internet and all the material will be available online.

XCÈNTRIC ARCHIVEwww.cccb.org/es/arxiu_xcentric

This is the first digital archive of experimental cinema and essay, with films which have in common the fact that they are difficult to see and are not circulated in the commercial distribution circuits.

A living archive thanks to constant acquisitions, now holding over 700 digital works. Currently, the XCÈNTRIC ARCHIVE can be viewed in two rooms in the CCCB building, a digital archive allowing a frame to frame specialized search.

PUBLIC SPACEwww.publicspace.org

public space is a CCCB portal on city and public space. Articulated around the European Prize for Urban Public Space, it provides information on the projects that have been presented to the same, texts by prestigious authors and all the news on debates, exhibitions and festivals on urban themes linked to the CCCB.

Created in the year 2000 as a result of the exhibition “The Reconquest of Europe”, the prize is inaugurating a new website and a new graphic image to mark the launch of its sixth edition and to celebrate its tenth anniversary. Throughout the last decade, the prize has expanded throughout the continent and has gathered institutional support and has become a thermometer for the main questions and trends in European urban development. Coinciding with the sixth edition of the prizes, public space has become a privileged platform for 390 projects for the transformation of 239 European cities, as well as providing a good dose of theoretical reflection by the foremost experts on public space.

MAP

The Project Marathon (MAP) has the following objectives:

- To convert the CCCB into a project catalyzing node, breaking the inertia with which the groups and communities usually present their proposals.

- To encourage the new creative dynamics and the emerging projects that favour the development of a new culture.

- To reactivate the CCCB tradition of “porosity” - To establish new models for resident groups- To transform the CCCB into a “cultivating ground for

new talents” that will benefit the Centre itself and other cultural networks in BCN, Catalonia and Spain.

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During its history, the CCCB has created national and international networks in different areas. In 2010-2011, the idea is to continue to activate these networks and promote those that function in a distributed manner. In the case of the CCCB LAB, during the first stage, it is important to consolidate, through specific agreements, a progressive relationship with those centres, institutions and groups that support I+C+i.

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CREATION OF NETWORKS

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GROUPS AND COMMUNITIES

INSTITUT DE RECHERCHE ET D’INNOVATION

UNIVERSITAT POMPEU FABRA

CITILAB

ZZZINC

ADVISORS

PLATONIQ SOCIEDAD DE LAS INDIAS ELECTRÓNICAS

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INSTITUT DE RECHERCHE ET D’INNOVATION (IRI)www.iri.centrepompidou.fr

As founding member of the IRI, together with the Pompidou Centre and Microsoft Francia, the CCCB plays an important role in this alliance. The creation of the CCCB LAB will permit the consolidation of the commitment acquired by means of an assignment that contemplates the subjects of the agreement (or partenariat):

- Participation in the research seminars of the IRI/CCCB LAB.- Programme of residencies linked to the common

projects.- Participation in innovative events that favour the

interaction with the public of the IRI, the Pompidou Centre and the CCCB.

This alliance permits the development of international networks of research and innovation on an international sphere, (France, the United Kingdom, Japan, etc.) and the establishment of an intense relationship with its three levels of work: atelier, debates and university environment.

CITILABwww.citilab.eu

This may constitute an excellent local ally, with its own international networks. The agreement may be based on an established series of shared projects that range from advice on new digital formats to television production, the organization of network events or the optimization of the Anella Cultural 9.

UNIVERSITAT POMPEU FABRA

This is an agreement which supports collaboration with the Research Group DigiDoc, which would permit the development of joint activities in the digital sphere with regards research, documentation, visualization of data and techno-cultural innovation.

ZZZINCwww.zzzinc.net

Critical Mass is a collective research project whose main object is the study of the different genealogies and analyses that are derived from mass. The project aims to try to reach a better understanding of this phenomenon through an open process of research that will be coordinated by ZZZINC, a cultural research and innovation platform made up of various cultural agents.

PLATONIQwww.platoniq.net

Since 2003, this community has been collaborating with the Centro de Cultura Contemporánea de Barcelona and, in recent years, it has obtained several international awards for its project Burn Station, the mobile music copying station under Copyleft Licence (2004). Platoniq has stood out since its launch as a pioneer in the design of tools for citizen emancipation and social innovation, with projects such as the Bank of Common Knowledge, Burn Station, Openserver and SOS.

SOCIEDAD DE LAS INDIAS ELECTRÓNICASwww.lasindias.com

In cities such as Sao Paolo, Lima, Santiago de Chile and Buenos Aires, an intense social exchange has been generated in recent years on the relation between the languages that the new mediums require and the transformation of the structure of social networks promoted by Internet. Participating in a transatlantic network that permits the sharing, theorizing and experimenting in different cultural spaces and contexts represents something more than a natural promise of limits. La Sociedad de la Indias Electrónicas may become a privileged activator in the progressive articulation of this network.

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GROUPS AND COMMUNITIES

There are many centers, groups and communities that work in cultural innovation. Medialab-Prado8, Hangar9, LABoral Centro de Arte y Creación Industrial10, Platoniq11, Disonancias12, Zemos9813, Bestiario14, Trànsit15, AreaTangent16, etc. are some references with which collaboration in specific projects such as ICi , NOW and Kosmopolis have already been established.

ADVISORS

It is also important to form a group of advisors according to each of the areas in process. For this purpose, a specific report will be prepared on the specialists and academics that are working in cultural research and innovation.

7 Anella Cultural: http://www.anellacultural.cat 8 Medialab Prado: http://medialab-prado.es9 Hangar: http://www.hangar.org/drupal10 Laboral Centro de Arte y Creación Industrial:

http://www.laboralcentrodearte.org11 Platoniq: http://www.platoniq.net 12 Disonancias: http://www.disonancias.com/es 13 Zemos 98: http://www.zemos98.org14 Bestiario: http://www.bestiario.org15 Trànsit: http://www.transit.es/index.html 16 Àrea Tangent: http://www.areatangent.com

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There is an increasing bibliography on the need for a cultural I+D+i (see ICI www.cccb.org/icionline) and also various subjects to be taken into special consideration. Networks science (Albert-László Barabási17), emergence (Steven Johnson18), media convergence (Henry Jen-kins19), social networks and their impact (Clay Shirky20), the comparison between taxonomies and folksonomies (Thomas Vanderwal21), the economy of contribution/distri-bution (Bernard Stiegler22, David de Ugarte23), the debate on copyright and creative commons (Lawrence Lessig24 / Richard Stallman25), P2P culture (Michel Bauwens26), etc. are some of the interrelated themes of the emerging para-digms, and where the research and innovation processes take on decisive importance, without forgetting that the answer to “What is innovation?” is not univocal, nor is it exempt from resistance and controversy.

One of the functions of a Research and Innovation Department is precisely that of providing articulated discourses that permit a systemic account and the possibility of offering new visions of the world. Cultural innovation needs permanent training, study and learning without forgetting the underlying connections with the great tales of modernity, its crises and transformations.

In order to be active agents in society, culture and the knowledge economy, it is fundamental to know a com-plex theoretical corpus, and at the same time, to be ca-pable of transferring it into different levels for a clearer, broader and more democratic understanding. The new department can collaborate in this task for everyone, by also carrying out specific research into the dynamics of innovation, new publics, the study of the most relevant cases in cultural I+D, and the evolution of the different genres and formats.

17 Albert-László Barabási: http://www.nd.edu/~alb/ 18 Steven Johnson: http://www.oreillynet.com/pub/a/

network/2002/02/22/johnson.html 19 Henry Jenkins: http://www.henryjenkins.org/ 20 Clay Shirky: http://www.shirky.com/ 21 Thomas Vanderwal: http://vanderwal.net/index.html 22 Bernard Stiegler: http://es.wikipedia.org/wiki/Bernard_Stiegler 23 David de Ugarte: http://www.deugarte.com/ 24 Lawrence Lessig: http://www.lessig.org/ 25 Richard Stallman: http://stallman.org/ 26 Michel Bauwens: http://blog.p2pfoundation.net/

ARTICULATING DISCOURSES ON THE KNOWLEDGE AND INFORMATION SOCIETY

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The paradigm shift that the Knowledge Society repre-sents inevitably implies the implementation of new work methodologies. In order for research and innovation to become a structural fact, not only are training, resources and commitment, etc., required but also a change in operative mentality which will permit the progressive introduction of work systems that incorporate collabora-tive dynamics, a greater dissemination of information, a greater fluidity in creative and productive processes and the use of tools aimed at establishing the greatest possi-ble number of internal synergies.

A large part of the existing bibliography on the subject coincides in a series of constant features that have already been mentioned in point 4. The new work methodolo gies are based on open processes, where polyvalent profiles, collaborative dynamics, permeability and learning are essential as they favour creative, self-organized environments that include serendipity, conti-nuous assessment and self-correction.

The CCCB LAB may collaborate in this change by pro-viding examples and the study of specific cases (From the methods employed by Google to the revaluation of the practices of the cooperative tradition).

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NEW WORK METHODOLOGIES

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The CCCB receives a large number of initiatives, ac-tions and projects in its various departments and which require a reply. In recent years, a project reception pro-tocol has been created to facilitate an order, a structure and to help to visualise the changes perceived in the type of projects presented, the dynamics that are pro-posed, the objective and the scope of each proposal.

What the new situation requires is an answer that is more in line with what a part of the cultural bottom up is calling for: a greater democratization of the procedures, a finer tuning of criteria, a natural dialogue born from a more intense interaction with groups, communities, artists and activists that work in the paradigm shift in which we are immersed.

Thus, perhaps it is important to redefine the function of the CCCB as a catalyzing node of new initiatives and projects. Not all the projects can be taken on by the CCCB, but an effort should be made in order to ensure that the most solvent and promising can be carried out with various types of aid that are not exclusively – as has been the case up to now – the providing of a space, a date in the calendar and economic aid.

MAP is a first specific example of how to structure an application that is innovative and that involves the new presentation formats, the new deliberative dynamics, the selection criteria, the stage in which each project is at, its potential and the specific aid that it may require.

One of the functions of the CCCB LAB is to reflect, eva-luate and propose formats and dynamics that support the research and innovation of the emerging groups and communities. In order to do so, it is necessary to have a sequence that ranges from proposals such as MAP to the option of residency at the CCCB and in other institutions, free advice, the creation of synergies with similar projects, access to work areas, the search for resources, etc.

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RECEPTION AND CHANNELLING OF PROJECTS

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The increasing flow of information is causing concern for number of experts: it is very difficult to establish a global vision even within specific disciplines. The visualization of data is only one of the tendencies that attempt to offer a solution to this situation.

There are macro tendencies, tendencies and micro tendencies. For example: the changes that are being experienced in cinema, radio, the press and television. As hegemonic media of the 20th century, they have their own modulations. Each media form tries to compete by integrating the rest of the media in different modes -or micro tendencies-, but the macro tendency must be found in the culture of convergence of the media where the old media clash with the new media, where popular media and corporative media intertwine, where the power of the media producer and the power of the media consumer (or contributor) interact in unpredictable ways (Jenkins).

To be able to manage the necessary information in order to be aware of the changes, anticipate them or generate them, a special alert is required that involves continuous assessment of macro tendencies and cultural macro tendencies. The creation of internal blogs dedicated to collecting classified information according to the themes of each project is a first step, but it is more important to systemize this task with periodical reports that summa-rize the new inputs in the CCCB’s main theme areas.

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ASSESSMENT AND PROFITABILITY OF TENDENCIES

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Increasing publics and accessing remote presential audiences – such as the people who participate live in the conferences through the Network-, is another way of extending the work of the CCCB in the near future.

The experience of organizations such as TED demonstra te that the audience percentage that follows the activities, both in real time and in deferred interac-tion, is growing continuously.

This permits the incorporation of a new perspective: that of the cycle of each activity that is programmed including a previous stage of contextualization that is complemented with a later stage of dissemination and penetration in the social networks. This practice involves the development of precise measuring systems to dis-tinguish audiences and locations that feed the strategic reflection in the design and dissemination of activities.

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A NEW PRESENTALITY

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Juan Insua, Director of CCCB_LAB, has been linked since 1993 to the CCCB where he has directed various projects. He has conceived and has been the curator of the exhibition cycles “Cities and their Writers”: “James Joyce’s Dublin” (1995, FAD Prize in the category of “Es-pais efímers”), “The Lisbons of Pessoa” (1997, Laus’98 Prize for the best three dimensional communication), “The city of K. Franz Kafka and Prague” (1999) and “Bor-ges y Buenos Aires” (2002, Ciudad de Barcelona Prize, 2003). He has also created and directed the exhibition cy-cle “Lighthouses of the Twentieth Century”. Since 2002, he has directed “Kosmopolis. International Literature Festival” (www.cccb.org/kosmopolis). In 2005, he was appointed Director of the CCCB Cultural Activities Servi-ce, a stage in which he created projects for reflection and debate on current events experimenting with the formats: BCNmp7 (www.myspace.com/bcnmp7), NOW: Encoun-ters in the present continuous (www.cccb.org/now), I+C+i. Research and innovation in the Cultural Sphere (www.cccb.org/icionline/) and NANO: The CCCB family programme (www.cccb.org/nano). In 2008, he received the Fad Medal which is awarded annually by the Foment de les Arts i el Disseny (FAD) to individuals or organiza-tions that have contributed to the social or cultural life of the country.

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THE DIRECTION OF THE CCCB_LAB

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WWW.CCCB.ORG/LABCentre de Cultura Contemporània de Barcelona (CCCB)

Montalegre, 5 08001 BarcelonaT. 93 306 41 00Blog: www.cccb.org/lab Mail: lab@cccb.orgTwitter: @ICI_CCCB @cececebe