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This article examines the relationship between contemporary art spaces and 'Do-It-Yourself' (DIY) music in Glasgow. It demonstrates the continuity and interconnectedness of DIY music and art practices by considering the transition of galleries from 'white cubes' to music venues and spaces for social interaction. Following a brief overview of Glasgow's urban renewal and cultural regeneration, it traces the emergence of the Centre for Contemporary Arts (CCA) and Transmission and provides an outline of their organisational structure and policies. It then explores ethnographically how they have facilitated the cross-pollination between DIY music and contemporary art after the 2008 financial crisis. Approaching art galleries as social spaces that provide a platform for DIY musicians invites a holistic understanding of the reciprocal relationship between DIY music and contemporary art institutions in Glasgow. Therefore, the article considers in turn how these spaces were influenced by the ethics of DIY music. The malleability of contemporary art spaces and their relationship to the DIY ethos demonstrate that cultural policies should aim to strengthen the existing grassroots communities that form the bedrock of the city's cultural scenes. This necessitates a move beyond the labels 'post-industrial' and 'creative city', thus decoupling cultural activities from the discourse of urban competition and Glasgow's economic goals. [ABSTRACT FROM AUTHOR]

In Scotland, experimental and non-commercial art and music practices have long shared physical space, with a great deal of crossover between who is making visual art and music, as well as fluidity between artists and their audiences. Whilst Scotland's—and in particular Glasgow's—DIY scene and its history has been well documented by writers such as Sarah Lowndes and Hans Ulrich Obrist offering art-historical perspective, there has been less focus on the ways in which connections are embodied through music and sometimes experimental writing and publishing practices in these communities. This paper contains two qualitative studies of projects that operate within both visual art and music contexts: The Rhubaba Choir, an experimental choir attached to Edinburgh artist-run organisation Rhubaba and The Grass is Green in the Fields for You a small-press publishing project focused on music culture, run by Matthew Walkerdine. Working with a definition of DIY as an ethic or methodology rather than a style of production, it explores the philosophical overlap between DIY art and music practices as well as their differences and the influence they have had and continue to have on each other. [ABSTRACT FROM AUTHOR]