The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing annually even during the 2008 economic decline. Well-supported creative industries can be a source of growth, jobs, innovation and trade while also contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions, and countries are now investing in their local cultural and creative economies to spur economic and community development.
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing even as world commerce declined in 2008. Well-nurtured creative industries can be a source of growth, job creation, innovation and trade while contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions, states and countries are now investing in their cultural and creative economies to spur economic and community development. Cultural entrepreneurs and enterprises are helping to connect artists and creators to markets while generating economic, social and cultural value.
Tom Aageson, Economic Development CourseTom Aageson
The document summarizes the economic impact of cultural and creative industries on local communities. It discusses how cultural industries contributed to 6.2% of the UK's GDP in 2007 and how cities and states across the US are investing in their cultural economies. It also outlines how cultural entrepreneurs generate revenue through cultural activities and how their innovative solutions create sustainable cultural enterprises that benefit communities.
This document provides information about a cultural tourism seminar presented by Tom Aageson and Alice Loy, co-founders of the Global Center for Cultural Entrepreneurship. The seminar focused on cultural entrepreneurship and building business. It was held on June 2, 2011 at the Institute of American Indian Arts in Santa Fe, New Mexico. The document includes background information on cultural entrepreneurship and examples of investments in local cultural economies.
Arts Wisconsin is a nonprofit organization that advocates for the arts and creative economy in Wisconsin. The presentation discusses how creativity and innovation are increasingly important to economic success and outlines Wisconsin's creative industries and assets, including nearly 13,000 arts-related businesses employing over 49,000 people. However, development of Wisconsin's creative economy currently lacks coordination and strategic investment compared to other states and countries that are intentionally cultivating their creative sectors.
The document discusses the importance of culture-based creativity for economic growth and innovation. It argues that cultural policy needs to be redefined to better support and promote creativity. Recommendations include valuing culture as a resource for creativity, mainstreaming creativity in local policies, and branding Ireland as a place that supports creativity.
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing even as world commerce declined in 2008. Well-nurtured creative industries can be a source of growth, job creation, innovation and trade while contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions, states and countries are now investing in their cultural and creative economies to spur economic and community development. Cultural entrepreneurs and enterprises are helping to connect artists and creators to markets while generating economic, social and cultural value.
Tom Aageson, Economic Development CourseTom Aageson
The document summarizes the economic impact of cultural and creative industries on local communities. It discusses how cultural industries contributed to 6.2% of the UK's GDP in 2007 and how cities and states across the US are investing in their cultural economies. It also outlines how cultural entrepreneurs generate revenue through cultural activities and how their innovative solutions create sustainable cultural enterprises that benefit communities.
This document provides information about a cultural tourism seminar presented by Tom Aageson and Alice Loy, co-founders of the Global Center for Cultural Entrepreneurship. The seminar focused on cultural entrepreneurship and building business. It was held on June 2, 2011 at the Institute of American Indian Arts in Santa Fe, New Mexico. The document includes background information on cultural entrepreneurship and examples of investments in local cultural economies.
Arts Wisconsin is a nonprofit organization that advocates for the arts and creative economy in Wisconsin. The presentation discusses how creativity and innovation are increasingly important to economic success and outlines Wisconsin's creative industries and assets, including nearly 13,000 arts-related businesses employing over 49,000 people. However, development of Wisconsin's creative economy currently lacks coordination and strategic investment compared to other states and countries that are intentionally cultivating their creative sectors.
The document discusses the importance of culture-based creativity for economic growth and innovation. It argues that cultural policy needs to be redefined to better support and promote creativity. Recommendations include valuing culture as a resource for creativity, mainstreaming creativity in local policies, and branding Ireland as a place that supports creativity.
Arts Wisconsin is a nonprofit organization that advocates for the arts and creative industries in Wisconsin. Their mission is to ensure everyone in Wisconsin has access to arts and culture. The presentation discusses how creativity and innovation are increasingly important to economic success. It defines the creative economy as an ecosystem where creative industries, businesses, artists, and entrepreneurs produce goods, services, and entertainment that enhance communities and drive economic growth. The creative economy is already happening in Wisconsin's downtowns and communities, but could be further developed through a more coordinated statewide strategy and investment.
The Creative Economy is growing fast driven by entrepreneurs and the Digital Age. We are about to launch our Accelerator for Cultural and Creative Entrepreneurs.
This document contains a SWOT analysis and business model canvas for developing a strategic plan to brand Athens, Greece as a more "Agile" city. The SWOT analysis identifies strengths like Athens' climate, culture, and talent pool, as well as weaknesses such as unemployment, lack of green spaces, and outdated infrastructure. The business model canvas outlines key activities, partnerships, resources, target audiences and more to guide Athens toward becoming a hub for innovation, sustainability, and talent. The overall goal is to improve Athens' economy, environment and quality of life.
Presentation IDF 03 Singapore Creative Industries in 2003Virtu Institute
This presentation was developed for the Singapore International Design Forum (IDF) in 2003 by Professor Ron Newman. Professor Newman was, at the time, Director and Dean of Sydney College of the Arts a Faculty of the University of Sydney
The creative industries are defined as activities originating from individual creativity and skill that generate wealth and jobs through intellectual property. They include 13 main sectors like advertising, architecture, crafts, design, fashion, film and video, music, broadcasting, interactive software, performing arts, and publishing. In 2014, the creative industries contributed £84.1 billion to the British economy, growing at almost double the rate of the UK economy as a whole and generating £9.6 million per hour. They not only boost economic growth but also add great cultural value as some of the UK's most famous exports.
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).
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.
City Case for the URBACT Summer University 2013URBACT
City Case for the URBACT Summer University 2013. Participants are involved in the management of the city of Allium, which is described here.
Information is presented, so that participants can define and understand which issues they are dealing with.
More details on the URBACT Summer University available at http://university2013.urbact.eu/
Culture and Creative Industries in AustraliaTerry Flew
The document discusses the origins and development of Australia's creative industries. It notes that a 1994 cultural policy recognized culture as an economic driver that attracts tourism, students, and supports other exports. The policy led to the growth of six key creative industry sectors. More recently, digital technologies have reduced barriers to entry and given users more power and control over media content creation and distribution. Current cultural policy focuses on leveraging the creative industries to drive innovation and economic growth.
GLOBAL VIEW OF A VIBRANT WORLD 360° THE ISSUE Urbanisation FACE TO FACEAdhitya Arjanggi
AN URBAN PLANET:The sustainable city challenge
CITY LIVING: Creating vibrant sustainable cities SECURING CRITICAL INFRASTRUCTURE SOME FOR ALL FOREVER:Water resource management on an urban planet
TRANSFORMING TRANSPORT: The 21st century urban challenge
URBAN ENERGIES RESOURCES DEMAND AND COMMUNITY IMPACTS A 360° face to face interview BUILDING A LEGACY Creating an agile global culture of inventiveness, safety and sustainability
NEW SKILLS MAKE THE SUSTAINABLE DIFFERENCE INSPIRATIONAL ENGINEERING CAPTURING THE VISION
TCI 2015 Creative Economy: Innovation, Trade and Business Opportunities TCI Network
This document discusses the creative economy and its importance. It covers:
1) How the world is changing due to technological and cultural shifts, requiring more innovation.
2) The creative economy contributes to growth by fostering creativity, clusters, education and knowledge.
3) Trade of creative goods and services is growing, providing business opportunities, especially in areas like media, music, design and cultural activities.
4) Nurturing creative capacities requires investing in intellectual capital, education and lifelong learning to drive innovation.
What is the Creative Economy - and Why You Should CareCreative Startups
The Creative Economy is exploding - leading economic growth, innovation, and entrepreneurial opportunities. So, what is it? And, how does your work fit?
Creative Startups is a nonprofit organization that aims to accelerate the success of creative entrepreneurs and economies. Their accelerator program is a 6-week intensive course that provides 50 mentors, networking opportunities, and investor pitches. The document shows that the creative industries contribute $700 billion to US GDP and employ over 27 million individuals. It also notes that the global creative industries are valued at $3.7 trillion. The accelerator has led to significant increases in jobs created, investment capital raised, and companies launched for participants.
The document discusses strategies for supporting cultural entrepreneurs through five key areas: cultural industries policy, education and training, investment strategies, creating markets, and sharing wisdom. It provides examples of developing cultural entrepreneurship education and mentorship programs. It also gives examples of funding initiatives and investment funds that provide financing for cultural enterprises and entrepreneurs.
The document discusses the economic impact of arts and cultural enterprises on local economies. It finds that such enterprises create jobs, income, tax revenue, and new capital while enhancing quality of life. A study of Santa Fe County found that arts and cultural industries generated over $1 billion in revenues, employed over 12,000 workers, and attracted most of their funds from outside the county. Museums are highlighted as cultural enterprises that attract new money to the economy and enhance communities. Cultural entrepreneurs are described as visionaries who generate revenue through cultural activities and create economically sustainable cultural enterprises.
Balancing Art and Money (Columbia College) 2009Tom Aageson
The document discusses the relationship between art, culture, and economic development. It provides examples from cities and organizations that demonstrate how art creates jobs, generates tax revenue, and boosts local economies through cultural enterprises and tourism. Art builds cultural capital and financial capital when supported by cultural entrepreneurs, public funding, and markets for cultural goods and services. Communities that invest in arts and culture benefit from increased economic activity, employment, and livability.
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing even as world commerce declined in 2008. Well-nurtured creative industries can be a source of growth, job creation, innovation and trade while also contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions and countries are now investing in their cultural and creative economies to boost local economies and quality of life.
Discussion of strategies for supporting creative, cultural, arts entrepreneurs in increasingly digital economy. Presented to Serravles Museum and UPTec Porto. Also, in Lisbon at Catolica University.
This document provides information about the Global Center for Cultural Entrepreneurship (GCCE). It discusses GCCE's vision of using cultural entrepreneurship to create economic and cultural wealth globally. GCCE connects cultural entrepreneurs with resources like training, technical assistance, markets, and financing. It outlines GCCE programs that support cultural entrepreneurs in New Mexico through public libraries, cooperatives, and a fellowship program.
An entrepreneurial culture consists of a group suppressing individual interests to achieve group success, as this will advance their own interests. Key aspects of an entrepreneurial culture include being people-focused, valuing innovation and change, attention to basics, hands-on management, integrity, freedom to grow and fail, commitment, and emphasis on the future. Ways to foster an entrepreneurial culture include increasing awareness of opportunities, intensifying enterprise education, establishing role models, and incentivizing business succession and training.
Arts Wisconsin is a nonprofit organization that advocates for the arts and creative industries in Wisconsin. Their mission is to ensure everyone in Wisconsin has access to arts and culture. The presentation discusses how creativity and innovation are increasingly important to economic success. It defines the creative economy as an ecosystem where creative industries, businesses, artists, and entrepreneurs produce goods, services, and entertainment that enhance communities and drive economic growth. The creative economy is already happening in Wisconsin's downtowns and communities, but could be further developed through a more coordinated statewide strategy and investment.
The Creative Economy is growing fast driven by entrepreneurs and the Digital Age. We are about to launch our Accelerator for Cultural and Creative Entrepreneurs.
This document contains a SWOT analysis and business model canvas for developing a strategic plan to brand Athens, Greece as a more "Agile" city. The SWOT analysis identifies strengths like Athens' climate, culture, and talent pool, as well as weaknesses such as unemployment, lack of green spaces, and outdated infrastructure. The business model canvas outlines key activities, partnerships, resources, target audiences and more to guide Athens toward becoming a hub for innovation, sustainability, and talent. The overall goal is to improve Athens' economy, environment and quality of life.
Presentation IDF 03 Singapore Creative Industries in 2003Virtu Institute
This presentation was developed for the Singapore International Design Forum (IDF) in 2003 by Professor Ron Newman. Professor Newman was, at the time, Director and Dean of Sydney College of the Arts a Faculty of the University of Sydney
The creative industries are defined as activities originating from individual creativity and skill that generate wealth and jobs through intellectual property. They include 13 main sectors like advertising, architecture, crafts, design, fashion, film and video, music, broadcasting, interactive software, performing arts, and publishing. In 2014, the creative industries contributed £84.1 billion to the British economy, growing at almost double the rate of the UK economy as a whole and generating £9.6 million per hour. They not only boost economic growth but also add great cultural value as some of the UK's most famous exports.
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).
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.
City Case for the URBACT Summer University 2013URBACT
City Case for the URBACT Summer University 2013. Participants are involved in the management of the city of Allium, which is described here.
Information is presented, so that participants can define and understand which issues they are dealing with.
More details on the URBACT Summer University available at http://university2013.urbact.eu/
Culture and Creative Industries in AustraliaTerry Flew
The document discusses the origins and development of Australia's creative industries. It notes that a 1994 cultural policy recognized culture as an economic driver that attracts tourism, students, and supports other exports. The policy led to the growth of six key creative industry sectors. More recently, digital technologies have reduced barriers to entry and given users more power and control over media content creation and distribution. Current cultural policy focuses on leveraging the creative industries to drive innovation and economic growth.
GLOBAL VIEW OF A VIBRANT WORLD 360° THE ISSUE Urbanisation FACE TO FACEAdhitya Arjanggi
AN URBAN PLANET:The sustainable city challenge
CITY LIVING: Creating vibrant sustainable cities SECURING CRITICAL INFRASTRUCTURE SOME FOR ALL FOREVER:Water resource management on an urban planet
TRANSFORMING TRANSPORT: The 21st century urban challenge
URBAN ENERGIES RESOURCES DEMAND AND COMMUNITY IMPACTS A 360° face to face interview BUILDING A LEGACY Creating an agile global culture of inventiveness, safety and sustainability
NEW SKILLS MAKE THE SUSTAINABLE DIFFERENCE INSPIRATIONAL ENGINEERING CAPTURING THE VISION
TCI 2015 Creative Economy: Innovation, Trade and Business Opportunities TCI Network
This document discusses the creative economy and its importance. It covers:
1) How the world is changing due to technological and cultural shifts, requiring more innovation.
2) The creative economy contributes to growth by fostering creativity, clusters, education and knowledge.
3) Trade of creative goods and services is growing, providing business opportunities, especially in areas like media, music, design and cultural activities.
4) Nurturing creative capacities requires investing in intellectual capital, education and lifelong learning to drive innovation.
What is the Creative Economy - and Why You Should CareCreative Startups
The Creative Economy is exploding - leading economic growth, innovation, and entrepreneurial opportunities. So, what is it? And, how does your work fit?
Creative Startups is a nonprofit organization that aims to accelerate the success of creative entrepreneurs and economies. Their accelerator program is a 6-week intensive course that provides 50 mentors, networking opportunities, and investor pitches. The document shows that the creative industries contribute $700 billion to US GDP and employ over 27 million individuals. It also notes that the global creative industries are valued at $3.7 trillion. The accelerator has led to significant increases in jobs created, investment capital raised, and companies launched for participants.
The document discusses strategies for supporting cultural entrepreneurs through five key areas: cultural industries policy, education and training, investment strategies, creating markets, and sharing wisdom. It provides examples of developing cultural entrepreneurship education and mentorship programs. It also gives examples of funding initiatives and investment funds that provide financing for cultural enterprises and entrepreneurs.
The document discusses the economic impact of arts and cultural enterprises on local economies. It finds that such enterprises create jobs, income, tax revenue, and new capital while enhancing quality of life. A study of Santa Fe County found that arts and cultural industries generated over $1 billion in revenues, employed over 12,000 workers, and attracted most of their funds from outside the county. Museums are highlighted as cultural enterprises that attract new money to the economy and enhance communities. Cultural entrepreneurs are described as visionaries who generate revenue through cultural activities and create economically sustainable cultural enterprises.
Balancing Art and Money (Columbia College) 2009Tom Aageson
The document discusses the relationship between art, culture, and economic development. It provides examples from cities and organizations that demonstrate how art creates jobs, generates tax revenue, and boosts local economies through cultural enterprises and tourism. Art builds cultural capital and financial capital when supported by cultural entrepreneurs, public funding, and markets for cultural goods and services. Communities that invest in arts and culture benefit from increased economic activity, employment, and livability.
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing even as world commerce declined in 2008. Well-nurtured creative industries can be a source of growth, job creation, innovation and trade while also contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions and countries are now investing in their cultural and creative economies to boost local economies and quality of life.
Discussion of strategies for supporting creative, cultural, arts entrepreneurs in increasingly digital economy. Presented to Serravles Museum and UPTec Porto. Also, in Lisbon at Catolica University.
This document provides information about the Global Center for Cultural Entrepreneurship (GCCE). It discusses GCCE's vision of using cultural entrepreneurship to create economic and cultural wealth globally. GCCE connects cultural entrepreneurs with resources like training, technical assistance, markets, and financing. It outlines GCCE programs that support cultural entrepreneurs in New Mexico through public libraries, cooperatives, and a fellowship program.
An entrepreneurial culture consists of a group suppressing individual interests to achieve group success, as this will advance their own interests. Key aspects of an entrepreneurial culture include being people-focused, valuing innovation and change, attention to basics, hands-on management, integrity, freedom to grow and fail, commitment, and emphasis on the future. Ways to foster an entrepreneurial culture include increasing awareness of opportunities, intensifying enterprise education, establishing role models, and incentivizing business succession and training.
This document discusses new strategies for cultural enterprises. It focuses on supporting cultural entrepreneurs through five key areas: cultural industries policy, education and training, investment strategies, creating markets and market links, and sharing wisdom. Cultural entrepreneurs are seen as drivers of cultural change and economic development. The presentation argues for developing policies, education programs, investment funds, and global forums to foster cultural entrepreneurship around the world.
The document discusses how cultural industries and entrepreneurship can drive economic development through job creation, tax revenue, and quality of life improvements. It provides examples of how arts and cultural industries contribute significantly to economies in New Mexico, Santa Fe County, and around the world. Cultural entrepreneurs are highlighted as innovators who generate revenue through cultural activities and create sustainable enterprises.
The document discusses creative industries and their role in sustainable economic development. Some key points:
- Creative industries such as film, music, and design contribute significantly to GDP and job creation in cities like Buenos Aires.
- They foster social inclusion and development by creating jobs in areas like publishing, visual arts, and performing arts.
- Technologies, rising incomes, and changing consumption patterns are driving global growth in the creative economy and exports of creative goods.
- Creative industries tend to be less dependent on infrastructure and more environmentally friendly than heavy industries. They promote sustainable development.
(Silver city) nm econ. develop. course may 2008Tom Aageson
This document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural industries generate significant revenue, employment, and tax income for communities. The cultural entrepreneur plays an important role in connecting artists and cultural creators to markets. Arts and cultural activities improve personal well-being, build social cohesion, stimulate economic development, and attract businesses and residents. Communities that invest in arts spaces see economic and cultural benefits as they are able to retain and attract creative talent.
The document discusses how cultural industries and creative enterprises are an important part of New Mexico's economy. They generate billions in revenue, employ tens of thousands of people, and contribute to the tourism industry. Studies show that cities like Santa Fe have high percentages of employment and GDP tied to their arts and cultural industries. The creative economy is growing through new enterprises in film, technology, and other fields that utilize local talent and culture.
The document discusses how creative industries such as arts, culture and related sectors contribute significantly to New Mexico's economy by creating jobs, incomes, and tax revenues. It provides statistics showing that these industries generate over $3 billion for the state economy and employ over 58,000 people. The creative economy is an important part of New Mexico's identity and helps drive other industries such as tourism.
New Mexico Econ. Develop. Course May 2008Tom Aageson
The document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural enterprises generate significant employment, attract residents and businesses, and boost tourism. Investments in arts and culture increase community expenditures and tax revenues. The role of cultural entrepreneurs in connecting artists to markets is also examined, as well as how artists' centers and spaces can support artistic networks and development.
The document discusses the economic impact of arts and cultural enterprises on local economies. It provides examples from studies that found arts and cultural industries generated over $1 billion in revenues and employed over 12,000 workers in Santa Fe County, representing a significant portion of the local economy. Cultural enterprises help diversify local economies and bring in outside money. Museums are highlighted as examples of cultural enterprises that can catalyze economic development through activities like shops, licensing programs, and special events.
The document discusses how investing in the arts and creative economy can benefit Wisconsin. It outlines trends showing a shift from traditional industries to a focus on creativity and human talent as drivers of economic development. The creative economy encompasses creative industries, workforce, and communities. Statistics are provided on the economic impact of arts and cultural industries in Wisconsin, showing contributions to employment, business, and tax revenue. Examples are given of other places that have successfully invested in their creative economies through various models and strategies.
The creative industry in the UK is made up of sectors like advertising, music, film and publishing. It contributes billions to the economy and supports many jobs. Recent developments include funding for the creative sector in Scotland. The industry is important culturally by representing British culture through media like film and music. It has synergies across sectors as music can be used in films for example. A key issue is piracy reducing profits in the music sector and challenging business models.
Columbia college (chicago) presentation 2009Tom Aageson
The document discusses how art and cultural enterprises contribute significantly to economic activity and job creation. It provides examples from different cities and regions showing that the creative industries generate billions in annual spending, support tens of thousands of jobs, and provide substantial tax revenues for state and local governments. Cultural entrepreneurs are important for connecting artists and cultural works to markets. Public support for the arts is important as it generates more tax revenues than it costs.
This document summarizes a report about developing Auckland, New Zealand as a Creative City. It defines the creative sector, provides recommendations, discusses Auckland's existing creative demographics and economy, and examines strategies from 7 other international creative cities. The key recommendations are to undertake a comprehensive mapping of Auckland's creative activities, establish objectives and metrics to measure progress, and develop an overarching plan as part of Auckland's Arts and Culture Strategic Plan to better integrate and support the creative sector. The goal is to harness Auckland's creative industries to achieve economic, social, and cultural benefits and improve the city's livability.
The document discusses trends in the cultural economy and their impact on hybrid or creative communities. It defines the cultural economy as including sectors like artisans, performing arts, film, tourism, and design. Emerging trends include more emphasis on creativity in schools, more home-based work using technology, and a preference to live near family over relocating. New types of housing incorporate live/work spaces, artist centers, and performance spaces. Successful projects blend these trends, like artists' housing with job training and entrepreneur programs, to strengthen both cultural enterprises and communities.
ECON3501
CARIBBEAN ECONOMIC
DEVELOPMENT
CREATIVE INDUSTRY
RESOURCE MATERIALS
Levitt, Kari; Witter, Michael (1996). The Critical Tradition of Caribbean Political
Economy: The Legacy of George Beckford. Kingston. Ian Randle Publishers
Beckford; George (2000) Persistent Poverty; Underdevelopment in the Plantation
Economies of the Third World. UWI Press.
Todaro Michael & Smith Stephen; C. (2011) 11th Ed. Economic Development. Pearson
Education & Addison-Wesley
Bhagwati Jagdish (2004). In Defence of Globalization, Oxford University Press
Blackman; Courtney. (2005). The Practice of Economic Management: Caribbean
Perspective Kingston: Ian Randle Publishers
United Nations- UNDP, Human Development Report. World Bank-World
Development Report
2
CREATIVE INDUSTRIES
Broadly speaking, the term ‘creative industries’ refers
to a range of economic activities that are concerned
with the generation and commercialization of
creativity, ideas, knowledge and information.
The term ‘creative industries’ describes businesses
with creativity at their heart.
For example design, music, publishing, architecture, film
and video, crafts, visual arts, fashion, TV and radio,
advertising, literature, computer games and the
performing arts.
3
CREATIVE INDUSTRIES
There are thirteen sub-sectors under the term
‘creative industries’.
These include: advertising; architecture; the art and
antiques market; crafts; design; designer fashion; film
and video; interactive leisure software; music; the
performing arts; publishing; software and computer
games; and television and radio.
4
CONFUSION BETWEEN CREATIVE AND
CULTURAL INDUSTRIES
“In its broadest sense it is used to refer to all the industries that
generate copyright, patents and trademarks. In other contexts it
is used to refer only to such industries that produce content or
cultural industries.” (Hawkins, 1991)
Possibly the most accepted definition at an international level is
that of the Department of Culture, Media and Sport (DCMS) in
the UK.
According to the Department, creative industries are those that:
“Have their origin in creativity, individual skills and talent and
have the potential to create wealth and employment through the
generation and exploitation of intellectual property.”
5
CULTURAL INDUSTRIES
The term ‘cultural industries’ is also used by some
agencies, though this term relates to a more specific
range of industries and can be regarded as a subset of
the creative industries.
The cultural industries are defined by UNESCO as
‘industries that combine the creation, production and
commercialization of contents which are intangible and
cultural in nature
these contents are typically protected by copyright
and they can take the form of a good or a service.’
6
CREATIVE ECONOMY
7
This is an evolving concept based on creative assets embracing
economic, cultural, social and ...
CULTURAL PLANNING: leveraging cultural assetsEmily Robson
Presentation delivered by Craig Metcalf, Director of Culture & Heritage,City of Orillia at November 27 2008 "Economies in Transition" forum in Chatham, Ontario.
This document provides an overview of the creative economy, including definitions of key concepts, drivers of growth, and policy considerations. It defines the creative economy as involving creativity, culture, economics and technology. Industries like publishing, music, film and design are included. Growth is driven by technology, rising incomes, and tourism. Policy strategies aim to strengthen infrastructure, finance, copyright, and education to develop these knowledge-based sectors while protecting cultural identity. National policies need coordination across ministries to effectively support the creative economy.
The Culture of Welcoming: Attracting and Retaining Creative ClassEmily Robson
Presentation delivered by Magdy ElDakiky, Community Economic Development Specialist, Ontario Ministry of Agriculture, Food and Rural Affairs at November 27 2008 \"Economies in Transition\" forum in Chatham, Ontario.
The document discusses several initiatives related to cultural and creative industries in Latin America, the Caribbean, Africa, and Asia:
- Mexico promotes its creative industries advantages for trade.
- Barbados' National Cultural Foundation hosts an annual cultural industries symposium.
- A Spanish foundation identifies cultural industries as a key sector of the new economy.
- A Latin American and Caribbean organization examines the potential of creative industries for economic and social development in Central America.
- UNESCO identifies Ghana's cultural industry as a way to alleviate poverty.
- In Kenya, entrepreneurs are using technology to scale up creative businesses.
- Thailand plans to promote cooperation in cultural industries with Bay of Bengal countries through new commissions and observatories.
The document discusses several initiatives related to cultural and creative industries in different countries and regions. It mentions Mexico's creative industries advantages, Barbados' National Cultural Foundation and annual cultural industries symposium, and a Spanish foundation focused on cultural industries. It also discusses reports on the potential of creative industries as an economic and social development factor in Central America, and the promotion of cultural and creative industries in Latin America and the Caribbean. Further, it notes that Ghana's cultural industry has been identified as a way to alleviate poverty, and discusses how cultural entrepreneurs in Kenya are using technology to scale businesses. Lastly, it outlines Thailand's plan to promote cooperation in cultural industries with Bay of Bengal countries through signing an MOU to establish a commission and
The document discusses the economic impact of cultural and creative industries on local communities. It begins by noting that global trade in creative services and products continued to grow even as world commerce declined in 2008. It then quotes a UN report stating that nurtured creative economies can be a source of growth, job creation, innovation, and trade while contributing to social inclusion, cultural diversity and sustainable development. Finally, it provides examples of investments in local cultural and creative economies from various cities and states that have fueled economic growth through cultural activities and enterprises.
The survey found strong interest in agritourism among farmers in northern New Mexico. Of the 63 farmer respondents, 33 currently offer agritourism activities and 22 more want to. Respondents described a wide array of agricultural experiences available, from farm tours to cultural activities. However, many sites need improvements to accessibility and visitor amenities before they can fully capitalize on agritourism. Marketing efforts are mostly local currently; expanding use of online marketing could attract more visitors. Respondents expressed the most interest in training for marketing and website development assistance.
Tom Aageson is an expert on cultural entrepreneurism and the creative economy. He argues that developing the creative economy requires an integrated approach across state departments, including education. He emphasizes supporting cultural entrepreneurs and developing their skills. Aageson also stresses the importance of teaching creativity at the elementary level, especially for economically disadvantaged children, to help address poverty. He advocates shifting away from "arts education" and toward developing a concept of teaching creativity in various forms.
(Silver city) nm econ. develop. course may 2010Tom Aageson
The document discusses how cultural enterprises and entrepreneurs can positively impact local economies. It provides examples from studies that show how arts and culture generate billions in economic activity and tax revenues for cities and support thousands of jobs. Cultural enterprises create jobs, attract investment, and enhance quality of life. The document also profiles characteristics of successful cultural entrepreneurs, such as passion, vision, innovation, and creating new markets.
(Silver city) nm econ. develop. course may 2009Tom Aageson
The document discusses the economic impact of arts and cultural enterprises in local economies. It provides examples from various cities and regions showing that cultural industries create jobs, income, tax revenues, and attract investment that supports sustainable economic development. Cultural entrepreneurs play an important role in generating revenue from cultural activities and building economically sustainable cultural enterprises.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
5th LF Energy Power Grid Model Meet-up SlidesDanBrown980551
5th Power Grid Model Meet-up
It is with great pleasure that we extend to you an invitation to the 5th Power Grid Model Meet-up, scheduled for 6th June 2024. This event will adopt a hybrid format, allowing participants to join us either through an online Mircosoft Teams session or in person at TU/e located at Den Dolech 2, Eindhoven, Netherlands. The meet-up will be hosted by Eindhoven University of Technology (TU/e), a research university specializing in engineering science & technology.
Power Grid Model
The global energy transition is placing new and unprecedented demands on Distribution System Operators (DSOs). Alongside upgrades to grid capacity, processes such as digitization, capacity optimization, and congestion management are becoming vital for delivering reliable services.
Power Grid Model is an open source project from Linux Foundation Energy and provides a calculation engine that is increasingly essential for DSOs. It offers a standards-based foundation enabling real-time power systems analysis, simulations of electrical power grids, and sophisticated what-if analysis. In addition, it enables in-depth studies and analysis of the electrical power grid’s behavior and performance. This comprehensive model incorporates essential factors such as power generation capacity, electrical losses, voltage levels, power flows, and system stability.
Power Grid Model is currently being applied in a wide variety of use cases, including grid planning, expansion, reliability, and congestion studies. It can also help in analyzing the impact of renewable energy integration, assessing the effects of disturbances or faults, and developing strategies for grid control and optimization.
What to expect
For the upcoming meetup we are organizing, we have an exciting lineup of activities planned:
-Insightful presentations covering two practical applications of the Power Grid Model.
-An update on the latest advancements in Power Grid -Model technology during the first and second quarters of 2024.
-An interactive brainstorming session to discuss and propose new feature requests.
-An opportunity to connect with fellow Power Grid Model enthusiasts and users.
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Test Automation with generative AI and Open AI.
UiPath integration with generative AI
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21. Cities Building their Cultural and
Creative Economy
• Philadelphia Art, Culture and the Creative
Economy: http://www.phila.gov/oacce/
• Greater Philadelphia Cultural Alliance:
www.philaculture.org