Economische kansen voor de regio Amsterdam, presentatie van Frank van Oort (Amsterdam, 7 februari 2008) gehouden tijdens het AIM08 event van de Amsterdamse Innovatie Motor (AIM).
Copyright: Frank van Oort.
This document outlines core indicators for measuring the success of CURE (Creative Urban Renewal) projects. It defines indicators as characteristics that can be measured to assess interventions and their outputs or results. The indicators are organized under four dimensions: Learning Lab, Cultural Value Chain, Flow of Diversity, and Cultural Business Modeling. Each dimension contains sub-values and specific indicators that partners will use to evaluate their projects. The indicators focus on topics like expanding entrepreneurial capacities, creating working spaces, cultural events, collaborative projects, urban planning, and employment in creative firms. While the core indicators will be used by all partners, each city can also add their own relevant local indicators.
Tlcue duluth june 2015 Guillermo Olivarez ChiliRene KOOYMAN
The Innovuss Program provided short-term professional training for cultural entrepreneurs in Valdivia, Chile. Over the course of 6 weeks, the program worked with 75 multidisciplinary entrepreneurs, providing workshops on design thinking, business models, marketing, pitching, and counseling. It also facilitated collaborative work between participants. The results included entrepreneurs improving their businesses by considering new factors, developing positive attitudes towards sharing experiences, and achieving a 75% success rate in obtaining public funding for cultural projects.
This document discusses strategies for urban renewal and area development using creative industries in times of economic crisis. It outlines how creative and cultural industries can drive economic growth and innovation. Small creative businesses and entrepreneurs are important for cultural networks and branding. Case studies show how cities are establishing creative zones to catalyze urban renewal by integrating cultural, social, economic and entrepreneurial development. These zones provide learning environments and cultural business models to stimulate continuous new ideas and alliances through convergence of art, technology and science.
Urban renewal within the economical downturnRene KOOYMAN
This document discusses creative careers and urban development during economic downturns. It contains the following key points:
1) Creative graduates often pursue portfolio careers and self-employment, taking on unpaid work to gain experience and contacts. They value creativity over financial rewards.
2) Arts and culture can be strategic urban development assets by enhancing quality of life, attracting skilled workers, and supporting clusters and networks that drive industries. Cultural resources and amenities shape place identities and branding.
3) During recessions, creative workers frequently change jobs and take unpaid work to build skills while facing hardships like pay cuts. However, they remain adaptable and innovative in exploring new opportunities.
Economische kansen voor de regio Amsterdam, presentatie van Frank van Oort (Amsterdam, 7 februari 2008) gehouden tijdens het AIM08 event van de Amsterdamse Innovatie Motor (AIM).
Copyright: Frank van Oort.
This document outlines core indicators for measuring the success of CURE (Creative Urban Renewal) projects. It defines indicators as characteristics that can be measured to assess interventions and their outputs or results. The indicators are organized under four dimensions: Learning Lab, Cultural Value Chain, Flow of Diversity, and Cultural Business Modeling. Each dimension contains sub-values and specific indicators that partners will use to evaluate their projects. The indicators focus on topics like expanding entrepreneurial capacities, creating working spaces, cultural events, collaborative projects, urban planning, and employment in creative firms. While the core indicators will be used by all partners, each city can also add their own relevant local indicators.
Tlcue duluth june 2015 Guillermo Olivarez ChiliRene KOOYMAN
The Innovuss Program provided short-term professional training for cultural entrepreneurs in Valdivia, Chile. Over the course of 6 weeks, the program worked with 75 multidisciplinary entrepreneurs, providing workshops on design thinking, business models, marketing, pitching, and counseling. It also facilitated collaborative work between participants. The results included entrepreneurs improving their businesses by considering new factors, developing positive attitudes towards sharing experiences, and achieving a 75% success rate in obtaining public funding for cultural projects.
This document discusses strategies for urban renewal and area development using creative industries in times of economic crisis. It outlines how creative and cultural industries can drive economic growth and innovation. Small creative businesses and entrepreneurs are important for cultural networks and branding. Case studies show how cities are establishing creative zones to catalyze urban renewal by integrating cultural, social, economic and entrepreneurial development. These zones provide learning environments and cultural business models to stimulate continuous new ideas and alliances through convergence of art, technology and science.
Urban renewal within the economical downturnRene KOOYMAN
This document discusses creative careers and urban development during economic downturns. It contains the following key points:
1) Creative graduates often pursue portfolio careers and self-employment, taking on unpaid work to gain experience and contacts. They value creativity over financial rewards.
2) Arts and culture can be strategic urban development assets by enhancing quality of life, attracting skilled workers, and supporting clusters and networks that drive industries. Cultural resources and amenities shape place identities and branding.
3) During recessions, creative workers frequently change jobs and take unpaid work to build skills while facing hardships like pay cuts. However, they remain adaptable and innovative in exploring new opportunities.
The document discusses the entrepreneurial dimension of cultural and creative industries, particularly small and medium-sized enterprises (SMEs). It notes that cultural and creative industries rely heavily on small, entrepreneurial initiatives. The industries have a complex labor market with many self-employed freelancers and non-traditional employment. Creative outputs are knowledge-intensive, labor-intensive, and have short product life cycles in a hypercompetitive environment. Cultural and creative industries are seen as drivers of economic growth and innovation due to their flexibility, creativity, and role in cultural and industrial networks.
The document discusses the creative economy and cultural and creative industries. It notes that cultural and creative industries were resilient during the economic crisis by continuing to create jobs while other sectors lost them. It describes characteristics of creative products, including their cultural uniqueness and uncertain success. The document also provides examples of how abandoned areas have been revitalized by creative industries, including case studies of specific projects in Dublin, Germany, and Belgium. Finally, it outlines UNITAR's Creative Economy Initiative and its goals of facilitating dialogue, developing strategies, and providing training and resources to support creative entrepreneurship.
Entrepreneurial dimension of cultural and creative industries DublinRene KOOYMAN
This document discusses cultural and creative industries (CCIs), especially small and medium enterprises (SMEs). It covers three main topics:
1. Definitions and characteristics of CCIs, including their labor markets which feature non-traditional employment.
2. Differences from other industries like more abundant creative inputs, hypercompetitive environments, and experience-based goods and services.
3. CCIs as strategic economic factors that can drive innovation and growth while facing challenges around access to financing and entrepreneurial skills.
The document discusses several topics related to the cultural and creative industries (CCIs). It notes that CCIs demonstrated resilience during the economic crisis by continuing to create jobs while employment fell in other sectors. The EU goals for cultural policy are outlined, including promoting cultural diversity, culture as a catalyst for creativity, and culture in international relations. The dimensions of national values according to Geert Hofstede are also presented, comparing scores for Great Britain and the Netherlands on indices like power distance, individualism, and uncertainty avoidance.
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
This document discusses the UNCTAD Creative Economy Reports and their role in shaping a new sustainable development paradigm. It summarizes the achievements of the reports in highlighting creativity, knowledge, and access to information as drivers of economic growth. The document then outlines some of the challenges and opportunities posed by trends like sustainability, digitization, urbanization, and changing labor markets for the creative economy. It presents the 17 UN Sustainable Development Goals and explores how the expert forum will rank and select goals to analyze the consequences for the creative economy and ways it can contribute to achieving the goals.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
This document summarizes a presentation on teaching cultural entrepreneurship. It discusses the cultural and creative industries, which include goods and services that embody cultural expressions. It notes that these industries are dynamic and fast-growing, even during economic downtimes. They tend to have many small and medium-sized enterprises. The presentation addresses how to educate students for entrepreneurship in this environment, which values social capital, economic capital, and cultural capital. It notes key dilemmas in teaching students to work collaboratively, promote sustainability, take risks, develop intuition, and prepare for uncertainty. The goal is to educate the "entrepreneurial ant" for the changing landscape of cultural work.
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
The document discusses the entrepreneurial dimension of cultural and creative industries. It defines cultural and creative industries and notes that they are typically small businesses, with most having fewer than 10 employees. The industries contribute significantly to economies through jobs, revenue, and innovation. However, work in these fields is often uncertain, with many self-employed or freelance workers. The document also examines business models, labor characteristics, and products within cultural and creative industries. It notes the importance of government support and diverse funding sources for small businesses in these entrepreneurial fields.
This document discusses the intersection of art, economics, and cultural policy. It covers several key topics:
1. It defines cultural economics as the application of economic analysis to creative and performing arts, both public and private.
2. It explains different views of capitalism and how economies have evolved from an industrial focus to a knowledge and innovation focus.
3. It outlines Pierre Bourdieu's theory of cultural capital and how social class is stratified based on economic and cultural resources.
4. It discusses different economic philosophies like liberalism, social liberalism, and monetarism and their approaches to the role of markets, the state, and cultural policy.
The document discusses creative urban renewal projects in several medium-sized cities in Northwestern Europe. It aims to facilitate growth of the creative economy in former industrial and decayed urban areas. The projects bring together partners from Germany, Belgium, France, the Netherlands, and the UK to develop and test an innovative model called the Creative Zone Innovator to plan and develop creative zones. Examples of redevelopment projects transforming abandoned industrial sites into areas for creative industries are provided from cities like Essen, Dinslaken, Hagen, and Lille.
This document discusses strategies for developing creative zones and industries in times of economic crisis. It argues that cultural and creative industries are key drivers of economic growth and innovation. It presents different models of entrepreneurship in the creative industries. The document also examines the urban dimension, noting how creative zones can integrate physical, social, infrastructure and conceptual development. Case studies are provided of creative zone projects in cities like Brugge, Colchester, Kettwig, and Lille that aim to spur economic and cultural value through networking alliances within a learning environment. The conclusion emphasizes the need to build trust through communication, support networks, and focusing on small initiatives over quick cash solutions to support sustainable urban renewal.
The document discusses the entrepreneurial dimension of cultural and creative industries, particularly small and medium-sized enterprises (SMEs). It notes that cultural and creative industries rely heavily on small, entrepreneurial initiatives. The industries have a complex labor market with many self-employed freelancers and non-traditional employment. Creative outputs are knowledge-intensive, labor-intensive, and have short product life cycles in a hypercompetitive environment. Cultural and creative industries are seen as drivers of economic growth and innovation due to their flexibility, creativity, and role in cultural and industrial networks.
The document discusses the creative economy and cultural and creative industries. It notes that cultural and creative industries were resilient during the economic crisis by continuing to create jobs while other sectors lost them. It describes characteristics of creative products, including their cultural uniqueness and uncertain success. The document also provides examples of how abandoned areas have been revitalized by creative industries, including case studies of specific projects in Dublin, Germany, and Belgium. Finally, it outlines UNITAR's Creative Economy Initiative and its goals of facilitating dialogue, developing strategies, and providing training and resources to support creative entrepreneurship.
Entrepreneurial dimension of cultural and creative industries DublinRene KOOYMAN
This document discusses cultural and creative industries (CCIs), especially small and medium enterprises (SMEs). It covers three main topics:
1. Definitions and characteristics of CCIs, including their labor markets which feature non-traditional employment.
2. Differences from other industries like more abundant creative inputs, hypercompetitive environments, and experience-based goods and services.
3. CCIs as strategic economic factors that can drive innovation and growth while facing challenges around access to financing and entrepreneurial skills.
The document discusses several topics related to the cultural and creative industries (CCIs). It notes that CCIs demonstrated resilience during the economic crisis by continuing to create jobs while employment fell in other sectors. The EU goals for cultural policy are outlined, including promoting cultural diversity, culture as a catalyst for creativity, and culture in international relations. The dimensions of national values according to Geert Hofstede are also presented, comparing scores for Great Britain and the Netherlands on indices like power distance, individualism, and uncertainty avoidance.
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
This document discusses the UNCTAD Creative Economy Reports and their role in shaping a new sustainable development paradigm. It summarizes the achievements of the reports in highlighting creativity, knowledge, and access to information as drivers of economic growth. The document then outlines some of the challenges and opportunities posed by trends like sustainability, digitization, urbanization, and changing labor markets for the creative economy. It presents the 17 UN Sustainable Development Goals and explores how the expert forum will rank and select goals to analyze the consequences for the creative economy and ways it can contribute to achieving the goals.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
This document summarizes a presentation on teaching cultural entrepreneurship. It discusses the cultural and creative industries, which include goods and services that embody cultural expressions. It notes that these industries are dynamic and fast-growing, even during economic downtimes. They tend to have many small and medium-sized enterprises. The presentation addresses how to educate students for entrepreneurship in this environment, which values social capital, economic capital, and cultural capital. It notes key dilemmas in teaching students to work collaboratively, promote sustainability, take risks, develop intuition, and prepare for uncertainty. The goal is to educate the "entrepreneurial ant" for the changing landscape of cultural work.
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
The document discusses the entrepreneurial dimension of cultural and creative industries. It defines cultural and creative industries and notes that they are typically small businesses, with most having fewer than 10 employees. The industries contribute significantly to economies through jobs, revenue, and innovation. However, work in these fields is often uncertain, with many self-employed or freelance workers. The document also examines business models, labor characteristics, and products within cultural and creative industries. It notes the importance of government support and diverse funding sources for small businesses in these entrepreneurial fields.
This document discusses the intersection of art, economics, and cultural policy. It covers several key topics:
1. It defines cultural economics as the application of economic analysis to creative and performing arts, both public and private.
2. It explains different views of capitalism and how economies have evolved from an industrial focus to a knowledge and innovation focus.
3. It outlines Pierre Bourdieu's theory of cultural capital and how social class is stratified based on economic and cultural resources.
4. It discusses different economic philosophies like liberalism, social liberalism, and monetarism and their approaches to the role of markets, the state, and cultural policy.
The document discusses creative urban renewal projects in several medium-sized cities in Northwestern Europe. It aims to facilitate growth of the creative economy in former industrial and decayed urban areas. The projects bring together partners from Germany, Belgium, France, the Netherlands, and the UK to develop and test an innovative model called the Creative Zone Innovator to plan and develop creative zones. Examples of redevelopment projects transforming abandoned industrial sites into areas for creative industries are provided from cities like Essen, Dinslaken, Hagen, and Lille.
This document discusses strategies for developing creative zones and industries in times of economic crisis. It argues that cultural and creative industries are key drivers of economic growth and innovation. It presents different models of entrepreneurship in the creative industries. The document also examines the urban dimension, noting how creative zones can integrate physical, social, infrastructure and conceptual development. Case studies are provided of creative zone projects in cities like Brugge, Colchester, Kettwig, and Lille that aim to spur economic and cultural value through networking alliances within a learning environment. The conclusion emphasizes the need to build trust through communication, support networks, and focusing on small initiatives over quick cash solutions to support sustainable urban renewal.
10. De mars der bedrijven hightech water shuffle Hitech / Afvalverwerking watergerelateerd Transport over water Hightechn milieu en energie bedr. Recreatie en horeca Containerterminal en industriehavens Watergerelateerd GMB Source: Dutch Study Team MUAD, oct 2009