The Creative Industries

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Media Life is a course intended for undergraduate students across campus. Its goal is to make people aware of the role that media play in their everyday life. The key to understanding a "media life" is to see our lives not as lived WITH media (which would lead to a focus on media effects and media-centric theories of society), but rather IN media (where the distinction between what we do with and without media dissolves).

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  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • http://manyeyes.alphaworks.ibm.com/manyeyes/visualizations/number-of-movies-made-per-genre-worl According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • According to Caves (2000), creative industries are characterized by seven economic properties: Nobody knows principle : Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. Art for art’s sake : Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. Motley crew principle : For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. Infinite variety : Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). A list/B list : Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. Time flies : When coordinating complex projects with diversely skilled inputs, time is of the essence. Ars longa : Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.
  • remix/design/selection
  • design of things
  • POC: Technology; Law & Policy; Organization of Work; Careers; Markets
  • POC: TECHNOLOGY
  • POC: LAWS
  • POC: ORGANIZATIONS
  • POC: CAREERS: flexibility (biased towards the young and the restless)
  • POC: MARKETS: 1. Editorial logic
  • First step: Analysis of the society structure (the establishment survey). Second step: Selection of the group of families as a representation of country (construction of the telemetric panel). Third step: Equipping the households with data collecting electronic devices. Fourth step: Day-to-day data transmission from the households to the computerized ''library'' of AGB Nielsen Media Research. Fifth step: Data processing and creation - out of thousands of elements - one consistent database. Sixth step: Determining, second by second, what programs were broadcast by individual stations. Seventh step: Providing customers with files, which, when used with appropriate software, give a full picture of the TV audience.
  • POC: MARKETS: 1. Convergence Culture Logic: http://www.crashthesuperbowl.com/
  • Final thoughts 1: TALENT = FANDOM Media work & FANDOM: social contract producers/consumers = leave me alone to do what I want to do + please acknowledge my work/what I’m doing
  • The Creative Industries

    1. 1. <ul><li>Creative Industries, City, and Self </li></ul><ul><li>after considering the changes in society and the economy, in the structure of the media industry, the nature of media work and the kind of storytelling that happens across media… </li></ul><ul><li>we tie it all together in three concepts: the Creative Industries, the Creative City, and the Creative Self </li></ul><ul><li>key idea in a media life : reality can be created by you as an individual (the reality of what work you do, where and how you live your life, and the kind of person you are) </li></ul><ul><li>this notion is not new; what is new, is that we now see this as an individual’s responsibility instead of something we do together as a society . </li></ul>
    2. 2. “ The idea of the creative industries seeks to describe the conceptual and practical convergence of the creative arts (individual talent) with cultural industries (mass scale), in the context of new media technologies (ICTs) within a new knowledge economy, for the use of newly interactive citizen-consumers” - John Hartley
    3. 3. Nobody knows principle
    4. 4. Art for art’s sake
    5. 5. Motley crew principle
    6. 6. Infinite variety
    7. 7. A list/B list
    8. 8. Time flies
    9. 9. Ars longa
    10. 10. <ul><li>Three Crucial Points about Creative Industries: </li></ul><ul><li>culture/creativity become key to development </li></ul><ul><li>rise of the knowledge-based economy </li></ul><ul><li>service & creative industries as dominant employment sector </li></ul>- Terry Flew
    11. 13. creative industries = production of culture technology laws & regulations organizations careers markets
    12. 14. technology: to empower or enslave?
    13. 15. law & regulation: constraint or enabling?
    14. 16. organization: firms or networks?
    15. 17. careers: soloist or superstar DJ?
    16. 18. decision-making in creative industries: editorial logic
    17. 19. decision-making in creative industries: market logic
    18. 20. today: convergence culture logic?
    19. 21. creative professionals as fans

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