Aimia: The Big Deal About Big Data -- How It Will Transform Pharma Meeting an...David Nickelson, PsyD, JD
* What is Big Data? What is it Not?
*Recognizing Big Data trends and how it has transformed other industries
*The opportunities and challenges presented by "Big Meeting Data" to pharma meeting planners including SMM, personalization, optimization, specialization and globalization
* What pharma meeting planning looks like 10 years from now
Jane's Pick of 10 Learning Tools for SchoolNetSAJane Hart
Jane provides a list of 10 learning tools for use in the classroom for students of different ages and for different educational purposes. The tools include Glogster, Edmodo, Wallwisher, Animoto, Symbaloo, Voicethread, Voki, Livebinders, Aviary, and Storybird. For each tool, a brief description is given and examples are provided of how the tool could be used by teachers and students in the classroom. Feedback from workshop participants on one tool they may use is requested.
3 d pie chart circular puzzle with hole in center pieces 8 stages style 1 pow...SlideTeam.net
The document presents a series of diagrams that can be used as puzzle pieces in PowerPoint presentations. There are 8 stages of 3D circular puzzle pieces shown. The diagrams can be edited by changing colors, sizes, orientations, and ungrouping objects. They are meant to bring presentations to life and capture audience attention. The diagrams can be downloaded from the provided website.
JEM: a network for mathematics educatorsOlga Caprotti
This workshop provides an overview of current online teaching methods and content for mathematics at the high school and undergraduate levels in Europe. The event is organized by the JEM Network, which aims to connect mathematics educators. The presentation will introduce the JEM Network and its use of web2.0 tools to facilitate communication between developers, authors, and teachers in the mathematics community.
3 d pie chart circular puzzle with hole in center pieces 6 stages style 1 pow...SlideTeam.net
The document contains instructions for editing a 3D circular puzzle piece diagram with 6 stages. It includes steps to ungroup objects, edit colors, and change the size and orientation of icons. The diagrams can be downloaded and edited in PowerPoint for presentations.
Grafico diario del dax perfomance index para el 12 12-2012Experiencia Trading
Este documento presenta un análisis técnico del índice Dax alemán. Proporciona niveles de soporte y resistencia clave basados en medias móviles simples de 1, 2, 5, 13, 34, 89, 233 y 610 períodos. Predice posibles escenarios futuros para el índice dependiendo de si mantiene o pierde ciertos niveles clave, como 7.300 o 6.800. Explica que el análisis técnico intenta predecir el futuro inmediato basado en el análisis de tend
I am looking for and I am evaluating projects involved in Social Media and Community Management, Social Networking, Professional Orientation in the Social Media Management and Employment through International Collaboration Experiments and Initiatives.
You can find me here:
http://gr.linkedin.com/in/athanassioskollyris
http://about.me/athanassios.kollyris
http://socialconsulting.gr
My areas of operation are the Community networking and management, SEO and Web Design, Communication and Public Relations. I speak the user language.
I am available and mobile geographically.
Aimia: The Big Deal About Big Data -- How It Will Transform Pharma Meeting an...David Nickelson, PsyD, JD
* What is Big Data? What is it Not?
*Recognizing Big Data trends and how it has transformed other industries
*The opportunities and challenges presented by "Big Meeting Data" to pharma meeting planners including SMM, personalization, optimization, specialization and globalization
* What pharma meeting planning looks like 10 years from now
Jane's Pick of 10 Learning Tools for SchoolNetSAJane Hart
Jane provides a list of 10 learning tools for use in the classroom for students of different ages and for different educational purposes. The tools include Glogster, Edmodo, Wallwisher, Animoto, Symbaloo, Voicethread, Voki, Livebinders, Aviary, and Storybird. For each tool, a brief description is given and examples are provided of how the tool could be used by teachers and students in the classroom. Feedback from workshop participants on one tool they may use is requested.
3 d pie chart circular puzzle with hole in center pieces 8 stages style 1 pow...SlideTeam.net
The document presents a series of diagrams that can be used as puzzle pieces in PowerPoint presentations. There are 8 stages of 3D circular puzzle pieces shown. The diagrams can be edited by changing colors, sizes, orientations, and ungrouping objects. They are meant to bring presentations to life and capture audience attention. The diagrams can be downloaded from the provided website.
JEM: a network for mathematics educatorsOlga Caprotti
This workshop provides an overview of current online teaching methods and content for mathematics at the high school and undergraduate levels in Europe. The event is organized by the JEM Network, which aims to connect mathematics educators. The presentation will introduce the JEM Network and its use of web2.0 tools to facilitate communication between developers, authors, and teachers in the mathematics community.
3 d pie chart circular puzzle with hole in center pieces 6 stages style 1 pow...SlideTeam.net
The document contains instructions for editing a 3D circular puzzle piece diagram with 6 stages. It includes steps to ungroup objects, edit colors, and change the size and orientation of icons. The diagrams can be downloaded and edited in PowerPoint for presentations.
Grafico diario del dax perfomance index para el 12 12-2012Experiencia Trading
Este documento presenta un análisis técnico del índice Dax alemán. Proporciona niveles de soporte y resistencia clave basados en medias móviles simples de 1, 2, 5, 13, 34, 89, 233 y 610 períodos. Predice posibles escenarios futuros para el índice dependiendo de si mantiene o pierde ciertos niveles clave, como 7.300 o 6.800. Explica que el análisis técnico intenta predecir el futuro inmediato basado en el análisis de tend
I am looking for and I am evaluating projects involved in Social Media and Community Management, Social Networking, Professional Orientation in the Social Media Management and Employment through International Collaboration Experiments and Initiatives.
You can find me here:
http://gr.linkedin.com/in/athanassioskollyris
http://about.me/athanassios.kollyris
http://socialconsulting.gr
My areas of operation are the Community networking and management, SEO and Web Design, Communication and Public Relations. I speak the user language.
I am available and mobile geographically.
PrivateWave provides secure communication solutions using open source encryption technologies. Their products include an enterprise voice security suite, secure communication apps for smartphones, and integration with existing PBX systems. Their vision is to provide transparency, usability and security in communication tools. They see a need for encrypted voice solutions given the vulnerabilities of existing cellular networks and the low cost of intercepting phone calls.
El documento describe los factores productivos, agentes económicos y sectores económicos. Identifica tres factores productivos principales: recursos naturales, trabajo y capital. Describe los agentes económicos como familias, empresas y el sector público, y cómo interactúan a través del flujo circular de la renta. Finalmente, clasifica los sectores económicos en primario, secundario y terciario, y brinda detalles sobre cada uno.
The document describes a mobile neighborhood watch application called Neighborhood Watch. The application allows citizens to check-in at locations in their neighborhood to report criminal or problem activities. Users can become "mayor" of locations and earn badges to encourage participation. The goal is to reduce crime and increase neighborhood awareness through a gaming model. The document then outlines various screens and features of the mobile application prototype.
NV kunstenaar Jan De Cock in de financiële problemenThierry Debels
De NV DENKMAL 15 van kunstenaar Jan De Cock zit in woelig vaarwater.
Na twee verliesjaren (samen ruim 700.000 euro) is het eigen vermogen van de NV zwaar negatief geworden.
Het is nu wachten op de resultaten van het lopende boekjaar (afgesloten op 30/9/16).
Mario Draghi inherited a difficult financial position as the new President of the European Central Bank in 2011. The document discusses international finance topics such as how exchange rates are determined by demand and supply. It also covers fixed versus flexible exchange rate systems and how international financial crises can emerge, using examples like the Eurozone crisis and Argentina's financial crisis in the late 1990s and early 2000s. Key terms defined include exchange rates, current account, capital account, and purchasing power parity.
This document discusses the cycle of writing, publishing, and reading. It notes that through writing and publishing our creations, we allow others to rediscover themselves by reading our words, and completing the cycle by being cheered up by what they read. It encourages everyone to be part of this cycle by writing, reading, publishing and sharing stories with others regardless of the format, whether digital or printed, in order to tell stories and pass the time through words that connect people.
This document summarizes strategies for churches to communicate effectively and get their message out, including using branding, websites, email newsletters, social media, public relations, and advertising. It discusses the importance of branding and developing a brand identity. It also provides tips on using a church website, email newsletters, social media like blogs, text messaging, and public relations to connect with members and the community. The document emphasizes having a strategic and multi-channel approach to communication rather than relying on any single method.
Local sensitive hashing & minhash on facebook friendChengeng Ma
The Minhash is implemented by Hadoop to provide high Jaccard similarities, which is used to make friends recommendation on Facebook friend link New Orleans data through a way of collaborative filtering.
Written by Chengeng Ma
Für die zunehmende Digitalisierung und Vernetzung aller Lebensbereiche legen Telekommunikationsanbieter mit ihrer Infrastruktur die Grundlage – tun sich jedoch selbst schwer, von den darin liegenden Potentialen zu profitieren. Eine starke
Preissensibilität der Kunden und der damit einhergehende
enorme Preiswettbewerb inklusive Branchenkonsolidierung sind Folgen mangelnder Innovationskraft und „Commoditisierung“ und stellen ein ernst zu nehmendes Risiko dar.
Um dieser Entwicklung entgegenzuwirken und weiterhin
von ihrer enormen Kundenbasis zu profitieren, müssen Telekommunikationsanbieter ihre Kernleistungen erweitern und mit neuen Services anreichern, die sich gezielt an die unterschiedlichen Bedürfnisse ihrer Kundengruppen richten.
Iskander Business Partner (IBP) zeigt in seinem Paper „Individualisierte Mehrwertdienste – Wie Telekommunikationsunternehmen der Commoditisierungsfalle
entkommen können“ die Chancen solcher neuen Services auf. Anhand von praktischen Beispielen wird verdeutlicht, wie Telekommunikationsunternehmen mit Hilfe von Partnerunternehmen und anhand des Frameworks der
Business Model Canvas, neue Geschäftsmodelle für Value Added Services (VAS) entwickeln und somit neue Umsätze generieren und bestehende Kunden binden können.
El documento describe el naturalismo como un estilo artístico que representa objetivamente la realidad humana. Surge en Francia en la década de 1870 influenciado por el realismo. Se caracteriza por descripciones detalladas y temas como la herencia y el determinismo social. Incluye autores como Zola, Flaubert, Hardy y Dostoievski que criticaron la sociedad a través de obras sobre la clase trabajadora.
Выступление на форуме "Российские лесные университеты" на тему "Лесной план региона как ориентир для инвестора", Пушкино, 05.12.2012
Presentation "Russian regional forest scheme as a guide for investors" at "Russian forest universities" Forum, Pushkino, 05.12.2012
PrivateWave provides secure communication solutions using open source encryption technologies. Their products include an enterprise voice security suite, secure communication apps for smartphones, and integration with existing PBX systems. Their vision is to provide transparency, usability and security in communication tools. They see a need for encrypted voice solutions given the vulnerabilities of existing cellular networks and the low cost of intercepting phone calls.
El documento describe los factores productivos, agentes económicos y sectores económicos. Identifica tres factores productivos principales: recursos naturales, trabajo y capital. Describe los agentes económicos como familias, empresas y el sector público, y cómo interactúan a través del flujo circular de la renta. Finalmente, clasifica los sectores económicos en primario, secundario y terciario, y brinda detalles sobre cada uno.
The document describes a mobile neighborhood watch application called Neighborhood Watch. The application allows citizens to check-in at locations in their neighborhood to report criminal or problem activities. Users can become "mayor" of locations and earn badges to encourage participation. The goal is to reduce crime and increase neighborhood awareness through a gaming model. The document then outlines various screens and features of the mobile application prototype.
NV kunstenaar Jan De Cock in de financiële problemenThierry Debels
De NV DENKMAL 15 van kunstenaar Jan De Cock zit in woelig vaarwater.
Na twee verliesjaren (samen ruim 700.000 euro) is het eigen vermogen van de NV zwaar negatief geworden.
Het is nu wachten op de resultaten van het lopende boekjaar (afgesloten op 30/9/16).
Mario Draghi inherited a difficult financial position as the new President of the European Central Bank in 2011. The document discusses international finance topics such as how exchange rates are determined by demand and supply. It also covers fixed versus flexible exchange rate systems and how international financial crises can emerge, using examples like the Eurozone crisis and Argentina's financial crisis in the late 1990s and early 2000s. Key terms defined include exchange rates, current account, capital account, and purchasing power parity.
This document discusses the cycle of writing, publishing, and reading. It notes that through writing and publishing our creations, we allow others to rediscover themselves by reading our words, and completing the cycle by being cheered up by what they read. It encourages everyone to be part of this cycle by writing, reading, publishing and sharing stories with others regardless of the format, whether digital or printed, in order to tell stories and pass the time through words that connect people.
This document summarizes strategies for churches to communicate effectively and get their message out, including using branding, websites, email newsletters, social media, public relations, and advertising. It discusses the importance of branding and developing a brand identity. It also provides tips on using a church website, email newsletters, social media like blogs, text messaging, and public relations to connect with members and the community. The document emphasizes having a strategic and multi-channel approach to communication rather than relying on any single method.
Local sensitive hashing & minhash on facebook friendChengeng Ma
The Minhash is implemented by Hadoop to provide high Jaccard similarities, which is used to make friends recommendation on Facebook friend link New Orleans data through a way of collaborative filtering.
Written by Chengeng Ma
Für die zunehmende Digitalisierung und Vernetzung aller Lebensbereiche legen Telekommunikationsanbieter mit ihrer Infrastruktur die Grundlage – tun sich jedoch selbst schwer, von den darin liegenden Potentialen zu profitieren. Eine starke
Preissensibilität der Kunden und der damit einhergehende
enorme Preiswettbewerb inklusive Branchenkonsolidierung sind Folgen mangelnder Innovationskraft und „Commoditisierung“ und stellen ein ernst zu nehmendes Risiko dar.
Um dieser Entwicklung entgegenzuwirken und weiterhin
von ihrer enormen Kundenbasis zu profitieren, müssen Telekommunikationsanbieter ihre Kernleistungen erweitern und mit neuen Services anreichern, die sich gezielt an die unterschiedlichen Bedürfnisse ihrer Kundengruppen richten.
Iskander Business Partner (IBP) zeigt in seinem Paper „Individualisierte Mehrwertdienste – Wie Telekommunikationsunternehmen der Commoditisierungsfalle
entkommen können“ die Chancen solcher neuen Services auf. Anhand von praktischen Beispielen wird verdeutlicht, wie Telekommunikationsunternehmen mit Hilfe von Partnerunternehmen und anhand des Frameworks der
Business Model Canvas, neue Geschäftsmodelle für Value Added Services (VAS) entwickeln und somit neue Umsätze generieren und bestehende Kunden binden können.
El documento describe el naturalismo como un estilo artístico que representa objetivamente la realidad humana. Surge en Francia en la década de 1870 influenciado por el realismo. Se caracteriza por descripciones detalladas y temas como la herencia y el determinismo social. Incluye autores como Zola, Flaubert, Hardy y Dostoievski que criticaron la sociedad a través de obras sobre la clase trabajadora.
Выступление на форуме "Российские лесные университеты" на тему "Лесной план региона как ориентир для инвестора", Пушкино, 05.12.2012
Presentation "Russian regional forest scheme as a guide for investors" at "Russian forest universities" Forum, Pushkino, 05.12.2012
3. Team Culture (2012)
”Hvordan kan vi som samfund lade os inspirere af kunsten
og kulturen, så vi kan finde perspektivrige, kloge og
overraskende veje ud af krisen? Hvordan bruger vi den
innovationskraft, der kommer fra kunsten og kulturen, til at
skabe nye former for sammenhold, identitet og økonomisk
udvikling?”
Uffe Elbæk [POLITIKEN, 3. marts 2012]
onsdag den 21. november 2012
4. ”du elsker i hvert fald ikke kunsten, for hvis du virkelig elskede
kunsten, så ville du ikke tugte den. Du elsker nemlig først og
fremmest kunsten for det, den skal bidrage til samfundet med.
Du elsker ikke kunsten for dens egen skyld. Den præmis er jeg
uenig i. Når du eksempelvis skriver, at »kulturen har et stort
potentiale for at blive en langt større drivkraft i det danske
samfund på alle niveauer« og taler om vækstteam, så kan jeg
ikke se det som andet end en instrumentalisering. Alene ordet
’vækstteam’ får det til at løbe koldt ned ad ryggen.”
Peter Nielsen [INFORMATION, 30. sept. 2012]
onsdag den 21. november 2012
5. Kunsten
Alt det andet
Tekst
onsdag den 21. november 2012 5
6. [Autonomi] = “selvlovgivende”
- jf. [auto]=”selv” + [nomos]=”lov”
autonomi,
Kunsten
uddifferentiering,
interesseløshed
etc.
vs.
instrumentalisering,
økonomiske logikkers
kolonisering,
Tekst
afdifferentiering
etc.
onsdag den 21. november 2012 6
7. Michelangelo:
The Sistine Chapel,
1508-12
onsdag den 21. november 2012
8. Tiziano Vecelli:
Emperor Karl V,
1548
onsdag den 21. november 2012
9. Art Basel 2012
Louise Lawler
onsdag den 21. november 2012
10. Charles Dickens,
Great Expectations,
1860-61
Bogforum 2012
onsdag den 21. november 2012
12. - Kultur- og Erhvervsministeriet: Danmarks kreative
potentiale – kultur- og erhvervspolitisk redegørelse,
Kbh.: Kultur- og Erhvervsministeriet, 2000.
- Advice Analyse: Den kreative alliance – en analyse
af samspillet mellem kulturlivet og erhvervslivet,
Kbh.: Advice Analyse, 2000.
- Richard Florida: The Rise of the Creative Class: and
How It's Transforming Work, Leisure, Community
and Everyday Life, New York: Basic Books, 2002.
- Institut for Fremtidsforskning: Creative Man, Kbh.:
Gyldendal, 2004.
onsdag den 21. november 2012
13. Creative Britain
- the world’s
creative hub
onsdag den 21. november 2012
14. 3. faser:
I. De kulturelle erhverv (1980erne–)
II. De kreative erhverv (1998–)
III. Den kreative økonomi (2004–)
onsdag den 21. november 2012
15. 3. faser:
I. De kulturelle erhverv (1980erne–)
II. De kreative erhverv (1998–)
III. Den kreative økonomi (2004–)
onsdag den 21. november 2012
16. 3. faser:
I. De kulturelle erhverv (1980erne–)
II. De kreative erhverv (1998–)
III. Den kreative økonomi (2004–)
onsdag den 21. november 2012
17. I. Forgængere: kulturelle erhverv (1990erne–)
The Economic Importance of the Arts (ved John Myerscough,
1988)
British Councils Export, Potential of the Cultural Industries (ved
Gorham and Partners, 1996)
Labour Party: Create the Future: A Strategy for Cultural Policy
(1997)
II. The Creative Industries Programme (1998-)
Department of Culture, Media & Sport, Creative Industries Mapping
Document, London, 1998.
DCMS, Creative Industries: Exports: Our Hidden Potential (1999)
III. The Creative Economy Programme (2004-)
Staying Ahead: the Economic Performance of the UK's Creative
Industries (2007)
Creative Britain: New Talents for the New Economy (2008)
onsdag den 21. november 2012
18. I. Forgængere: kulturelle erhverv (1990erne–)
The Economic Importance of the Arts (ved John Myerscough,
1988)
British Councils Export, Potential of the Cultural Industries (ved
Gorham and Partners, 1996)
Labour Party: Create the Future: A Strategy for Cultural Policy
(1997)
II. The Creative Industries Programme (1998-)
Department of Culture, Media & Sport, Creative Industries Mapping
Document, London, 1998.
DCMS, Creative Industries: Exports: Our Hidden Potential (1999)
III. The Creative Economy Programme (2004-)
Staying Ahead: the Economic Performance of the UK's Creative
Industries (2007)
Creative Britain: New Talents for the New Economy (2008)
onsdag den 21. november 2012
19. THE CREATIVE INDUSTRIES (1998-2004)
“those industries which have their origin in individual creativity, skill
and talent and which have a potential for wealth and job creation
through the generation and exploitation of intellectual property.
Key sectors:
• advertising
• architecture
• the art and antiques market
• crafts
• design
• designer fashion
• film
• interactive leisure software
• music
• the performing arts
• publishing
• software
• television and radio
Department of Culture, Media & Sport, Creative Industries Mapping Document, London, 1998.
onsdag den 21. november 2012
20. 1. velfærdsmodellen
• kulturen som isoleret felt
• store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv = erhverv ligesom alle andre erhverv: “normale”
varer og “normale” problemer/omstændigheder
➡ “normal” erhvervspolitik
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx tidlig indoptagelse af nye teknologier og
forretningsmodeller => nye typer job, nye typer varer og services
➡ investerings og vækstpolitik
4. innovationsmodellen
• de kreative erhverv som hele økonomiens “innovationssystem”
• jf. Schumpeter: ”kreative destruktion”
➡ innovationspolitik (à la den kreative økonomi-tilgangen)
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
21. Kunsten
Alt det andet
Tekst
onsdag den 21. november 2012 21
22. 1. velfærdsmodellen
• kulturen som isoleret felt
• store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv = erhverv ligesom alle andre erhverv: “normale”
varer og “normale” omstændigheder/udfordringer/problemer
➡ “normal” erhvervspolitik
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx pga. tidlig indoptagelse af nye teknologier
og forretningsmodeller => nye typer job, nye typer varer og services
➡ (særlig) investerings og vækstpolitik
4. innovationsmodellen
• de kreative erhverv som hele økonomiens “innovationssystem”
• jf. Schumpeter: ”kreative destruktion”
➡ innovationspolitik (à la den kreative økonomi-tilgangen)
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
23. 1. velfærdsmodellen
• kulturen som isoleret felt
• store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv = erhverv ligesom alle andre erhverv: “normale”
varer og “normale” omstændigheder/udfordringer/problemer
➡ “normal” erhvervspolitik
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx pga. tidlig indoptagelse af nye teknologier
og forretningsmodeller => nye typer job, nye typer varer og services
➡ (særlig) investerings og vækstpolitik
4. innovationsmodellen
• de kreative erhverv som hele økonomiens “innovationssystem”
• jf. Schumpeter: ”kreative destruktion”
➡ innovationspolitik (à la den kreative økonomi-tilgangen)
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
24. 1. velfærdsmodellen
• kulturen som isoleret felt
• store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv = erhverv ligesom alle andre erhverv: “normale”
varer og “normale” omstændigheder/udfordringer/problemer
➡ “normal” erhvervspolitik
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx pga. tidlig indoptagelse af nye teknologier
og forretningsmodeller => nye typer job, nye typer varer og services
➡ (særlig) investerings og vækstpolitik
4. innovationsmodellen
• de kreative erhverv som hele økonomiens “innovationssystem”
• jf. Schumpeter: ”kreative destruktion”
➡ innovationspolitik (à la den kreative økonomi-tilgangen)
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
26. I. Forgængere: kulturelle erhverv (1990erne–)
The Economic Importance of the Arts (ved John Myerscough,
1988)
British Councils Export, Potential of the Cultural Industries (ved
Gorham and Partners, 1996)
Labour Party: Create the Future: A Strategy for Cultural Policy
(1997)
II. The Creative Industries Programme (1998-)
Department of Culture, Media & Sport, Creative Industries Mapping
Document, London, 1998.
DCMS, Creative Industries: Exports: Our Hidden Potential (1999)
III. The Creative Economy Programme (2004-)
Staying Ahead: the Economic Performance of the UK's Creative
Industries (2007)
Creative Britain: New Talents for the New Economy (2008)
onsdag den 21. november 2012
27. THE CREATIVE ECONOMY (2004-)
”to promote creativity and innovation in every part of our
economy. [… We] must encourage the whole concept of
creativity right across our economy – in every sector and
in every workplace.”
Patricia Hewitt, “Creativity in the Knowledge Economy”, 2004
(ttp://www.berr.gov.uk/ministers/speeches/hewitt290604.html).
“We need to concentrate our efforts on where our
strengths lie – in adding value through innovation and
creativity. […] in the future, the only successful industries
will be those that have incorporated a strong streak of
creativity into their businesses. […] Every industry must
look to become a creative industry, in the broadest sense
of the word.”
Tessa Jowell, ”Keynote speech to the Creative Economy Conference”, 2005
(www.culture.gov.uk/Reference_library/Minister_Speeches/Ministers_Speech_Archive/
Tessa_Jowell/creative_economy_conference.htm?print=True)
onsdag den 21. november 2012
28. KREATIV ØKONOMI (2004-)
Kr
ea
tiv Økonomien generelt
ite = kreativ økonomi
t
onsdag den 21. november 2012 28
29. Richard Florida
The Rise of the Creative Class: and How It's
Transforming Work, Leisure, Community and
Everyday Life
New York: Basic Books, 2002.
onsdag den 21. november 2012
33. Daniel Pink: Whole New Mind: Moving from the Information
Age to the Conceptual Age (2005)
onsdag den 21. november 2012
34. 1. velfærdsmodellen
• kulturen som isoleret felt
•store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv er erhverv ligesom alle andre erhverv: “normale”
varer og “normale” omstændigheder/udfordringer/problemer
➡ “normal” erhvervspolitik
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx tidlig indoptagelse af nye teknologier og
forretningsmodeller, fører til nye typer job, nye typer varer og services
➡ (særlig) investerings og vækstpolitik
4. innovationsmodellen
• de kreative erhverv som hele økonomiens “innovationssystem” = et
særligt moment/fænomen i økonomiens udviklingslogik
• Schumpeter: ”kreativ destruktion” (enhver skabelse er samtidig en ødelæggelse)
➡ innovationspolitik
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
35. 1. velfærdsmodellen
• kulturen som isoleret felt
•store kulturelle gevinster (“velfærdsberigende”), men negativ
økonomisk impact (“underskudsforretning”)
➡ offentlig kulturstøtte
2. konkurrencemodellen
• de kreative erhverv er erhverv ligesom alle andre erhverv: “normale”
varer og “normale” omstændigheder/udfordringer/problemer
➡ “normal” erhvervspolitik
kreative erhverv
3. vækstmodellen
• de kreative erhverv som “vækst-drivers” (positiv økonomisk impact)
• = en speciel/særlig sektor: fx tidlig indoptagelse af nye teknologier og
forretningsmodeller, fører til nye typer job, nye typer varer og services
➡ (særlig) investerings og vækstpolitik
4. innovationsmodellen
kreativ økonomi
• de kreative erhverv som hele økonomiens “innovationssystem” = et
særligt moment/fænomen i økonomiens udviklingslogik
• Schumpeter: ”kreativ destruktion” (enhver skabelse er samtidig en ødelæggelse)
➡ innovationspolitik
Løst baseret på “FOUR MODELS OF THE CREATIVE INDUSTRIES” (Potts & Cunningham, 2008)
onsdag den 21. november 2012
36. Team Culture (2012)
”Hvordan kan vi som samfund lade os inspirere af kunsten
og kulturen, så vi kan finde perspektivrige, kloge og
overraskende veje ud af krisen? Hvordan bruger vi den
innovationskraft, der kommer fra kunsten og kulturen, til at
skabe nye former for sammenhold, identitet og økonomisk
udvikling?”
Uffe Elbæk [POLITIKEN, 3. marts 2012]
onsdag den 21. november 2012
37. KREATIV ØKONOMI (2004-)
Kr
ea
tiv Økonomien generelt
ite
t = kreativ økonomi
onsdag den 21. november 2012 37
38. KREATIVE ØKONOMI + KREATIVE ERHVERV
Kr
ea
tiv Økonomien generelt
ite = kreativ økonomi
t
+
de kreative
erhverv
onsdag den 21. november 2012 38
39. I en dansk kontekst
De kreative erhverv:
- Kultur- og Erhvervsministeriet: Danmarks kreative
potentiale – kultur- og erhvervspolitisk redegørelse,
Kbh.: Kultur- og Erhvervsministeriet, 2000.
- Advice Analyse: Den kreative alliance – en analyse
af samspillet mellem kulturlivet og erhvervslivet,
Kbh.: Advice Analyse, 2000.
Den kreative økonomi:
- Institut for Fremtidsforskning: Creative Man:
The Future Consumer, Employee and Citizen,
Kbh.: Gyldendal, 2004.
onsdag den 21. november 2012
40. “Et gammelt ordsprog siger, at kreativitet er en procent
inspiration og 99 procent transpiration. Men sådan vil
det ikke være i fremtiden. Efterhånden som
teknologien overtager mere og mere af det sure slid i
den kreative proces, nærmer vi os en situation, hvor
kreativitet er 99 procent inspiration og en procent
transpiration. Så kan alle, ikke kun en elite, få mulighed
for at udfolde deres talenter for kreativitet og
innovation. Så bliver det Creative Mans tidsalder.”
onsdag den 21. november 2012
41. “Et gammelt ordsprog siger, at kreativitet er en procent
inspiration og 99 procent transpiration. Men sådan vil
det ikke være i fremtiden. Efterhånden som
teknologien overtager mere og mere af det sure slid i
den kreative proces, nærmer vi os en situation, hvor
kreativitet er 99 procent inspiration og en procent
transpiration. Så kan alle, ikke kun en elite, få mulighed
for at udfolde deres talenter for kreativitet og
innovation. Så bliver det Creative Mans tidsalder.”
onsdag den 21. november 2012
42. “Et gammelt ordsprog siger, at kreativitet er en procent
inspiration og 99 procent transpiration. Men sådan vil
det ikke være i fremtiden. Efterhånden som
teknologien overtager mere og mere af det sure slid i
den kreative proces, nærmer vi os en situation, hvor
kreativitet er 99 procent inspiration og en procent
transpiration. Så kan alle, ikke kun en elite, få mulighed
for at udfolde deres talenter for kreativitet og
innovation. Så bliver det Creative Mans tidsalder.”
onsdag den 21. november 2012
43. I en dansk kontekst
De kreative erhverv:
- Kultur- og Erhvervsministeriet: Danmarks kreative
potentiale – kultur- og erhvervspolitisk redegørelse,
Kbh.: Kultur- og Erhvervsministeriet, 2000.
- Advice Analyse: Den kreative alliance – en analyse
af samspillet mellem kulturlivet og erhvervslivet,
Kbh.: Advice Analyse, 2000.
Den kreative økonomi:
- Institut for Fremtidsforskning: Creative Man:
The Future Consumer, Employee and Citizen,
Kbh.: Gyldendal, 2004.
onsdag den 21. november 2012
45. En ny idé? …. IKKE HELT!
“I forbindelse med genopbygningen af vores forliste
industri, må kunstnerisk og industriel kreativitet spille
en enorm rolle for Ruslands betydning på det
internationale valutamarked.”
- udtalelses fra Kunst- og Produktionsrådet under Videnskabelig og Teknologisk
Afdeling ved Folkekommissariatets Øverste Råd (Moskva, 1920)
Kunstneren skulle bevæge sig “fra staffeli til maskine”
- Nikolai Tarabukin (1923)
onsdag den 21. november 2012
46. Team Culture (2012)
”Hvordan kan vi som samfund lade os inspirere af kunsten
og kulturen, så vi kan finde perspektivrige, kloge og
overraskende veje ud af krisen? Hvordan bruger vi den
innovationskraft, der kommer fra kunsten og kulturen, til at
skabe nye former for sammenhold, identitet og økonomisk
udvikling?”
Uffe Elbæk [POLITIKEN, 3. marts 2012]
onsdag den 21. november 2012
47. En ny idé? …. IKKE HELT!
Konstruktivismen/Produktivismen...
“… udsprang af ønsket om at forvandle arbejderne til
kunstnere, som aktivt skaber deres produkt, at forvandle
det mekanisk arbejdende menneske, arbejdskraften, til
kreativt skabende arbejdere.”
- Vladimir Khrakovski, 22. december, 1921
➡ et ”bevidst kreativt forhold til produktions processen”
➡ forvandling af de russiske fabrikker til “værktøjer til/
instrumenter til kollektive kreativitet.” (Osip Brik, 1921)
onsdag den 21. november 2012
48. Karl Ioganson på Krasnyi Prokatchik
onsdag den 21. november 2012
50. Rodchenko, Workers’ Club (rekonstruktion, 2008)
Rodchenko & Mayakovsky,
reklameplakat for Røde Oktober-kiks, 1923 50
onsdag den 21. november 2012
51. En ny idé? …. IKKE HELT!
Konstruktivismen/Produktivismen...
“...udsprang af ønsket om at forvandle arbejderne til
kunstnere, som aktivt skaber deres produkt, at
forvandle det mekanisk arbejdende menneske,
arbejdskraften, til kreativt skabende arbejdere.”
- Vladimir Khrakovski, 22. december, 1921
➡ et ”bevidst kreativt forhold til produktions processen”
➡ forvandling af de russiske fabrikker til “værktøjer til/
instrumenter for kollektiv kreativitet.”
- Osip Brik, 1921
onsdag den 21. november 2012
54. Andy Warhol
“Business art is the step that comes after
Art. I started as a commercial artist, and I
want to finish as a business artist. After I did
the thing called ‘art’ or whatever it’s called, I
went into business art. I wanted to be an Art
Businessman or a Business Artist. Being
good in business is the most fascinating
kind of art. During the hippie era people put
down the idea of business – they’d say
‘Money is bad,’ and ‘Working is bad,’ but
making money is art and working is art and
good business is the best art.”
onsdag den 21. november 2012