R kthrosby
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The document discusses challenges facing the arts, culture, management, and policy in the next 20 years. It outlines how the growth of technology and free market ideology will impact stakeholders like artists, cultural managers, and policymakers. The roles of artists and cultural organizations are changing as technology drives new business models and consumption patterns. Cultural policy must balance artistic, cultural, and economic values to ensure financial sustainability while maintaining cultural missions. Research will play a key role in developing frameworks to understand these changes and inform balanced cultural policies.
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ECON3501
CARIBBEAN ECONOMIC
DEVELOPMENT
CREATIVE INDUSTRY
RESOURCE MATERIALS
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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 ...
call for abstracts Copenhagen Business School CSSI 2018
Conference call for abstracts (600 words ONLY) CAPITALS AND CITIES OF CULTURE & CROSS SECTOR PARTNERSHIPS at the 6th biennial International Symposium on Cross-Sector Social Interactions (CSSI 2018) @ Copenhagen Business School (CBS) http://bit.ly/2HypCyX
Cult sus bsr for seba conference oleg koefoed 01
This document discusses a mapping project of culture and sustainable development stakeholders in the Baltic Sea Region. The mapping found:
1) A wide range of stakeholders are engaged in cultural projects related to sustainability in many ways and for various reasons, leading to both diversity and fragmentation.
2) There is a lack of knowledge about the effects of culture on sustainable development and a lack of cross-fertilization between different cultural agents and sectors.
3) Moving forward, opportunities exist to reduce complexity and increase sustainability through culture as a transversal vector across sectors, with a focus on practical collaborative projects in areas like creative industries, urban development, and social innovation.
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Newsletter 4
The document summarizes the second Siena Cultural Relations Forum held in June 2019 in Siena, Italy. Over 60 cultural relations policymakers and practitioners attended along with academics to discuss bridging theory, policy, and practice of the EU's international cultural relations strategy. The forum covered topics related to implementing the EU's strategic approach. Day one included discussions on the impact of European elections and institutional sessions on progress and next steps in European cultural policy. Day two featured panels on key issues and preliminary findings from a related research project. Day three focused on design thinking sessions discussing the intersections of politics, culture, and communication in cultural relations.
Cultural Policy Lecture
The document discusses the historical development of cultural policy in different parts of the world and provides an overview of cultural policy development in Australia. It outlines key purposes of cultural policy including nation and identity building, supporting artistic creation, and increasing access and participation. The document also examines different models of cultural policy and rationales for arts funding including as an economic driver, for social benefits, and to support national identity and citizenship.
Culture, audience and technology
Presentation (05.07.2010) looking at the relationship between Collections Management and representation.
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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.
Creative Economy Leadership UK/NL
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.
Tlcue duluth june 2015 Guillermo Olivarez Chili
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.
Rk duluth cc is intro
DULUTH Conference 'Teaching and Learning Creative Entrepreneurship', June 2015. Introduction; state of affairs.
2015 05 28 UNITAR: launch Creative Economy Initiative
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.
2015 05 21 muad
Creative urban renewal in the North-West of Europe. Master Course University of Applied Sciences Utrecht.
Creative Economy Boot Camp; Amman, Jordan
Jordan, Amman; first Creative Business Modeling. OASIS500/HIVOS January 2015. Vivid Creative Industries in the Middle East.
The Cultural Entrepreneuriel Characteristics: approaching the Middel East
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.
2014 ma am econo
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.
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Creative Urban Renewal Looking after
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.
KBK Business Point Utrecht 2014: Urban Identity en Communicatie Plan
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2013 augsburg rene kooyman
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.
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Introductie Algemene Economie HKU les 6: Urban Area Development and the Creative Industries
2013 augsburg rene kooyman
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.
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R kthrosby
- 1. Looking ahead: challenges to the arts, culture, management and policy in the next 20 years David Throsby Professor of Economics Macquarie University, Sydney, Australia Keynote presentation at closing session of the 11th AIMAC Conference organised by the University of Antwerp in collaboration with the Antwerp Management School, 4-6 July 2011
- 9. The concentric circles model of the cultural industries Related industries Wider cultural industries Other core creative industries Core creative arts Core creative arts Literature Music Performing arts Visual arts Other core cultural industries Film Museums, galleries, libraries Photography Wider cultural industries Heritage services Publishing and print media Television and radio Sound recording Video and computer games Related industries Advertising Architecture Design Fashion
- 11. Further reading David Throsby, The Economics of Cultural Policy , Cambridge University Press 2010