Arts Policy and the Creative Economy

2017 ◽  
pp. 323-332
Author(s):  
Ivonne Chand O’Neal ◽  
Brian Kisida ◽  
Laura Smyth ◽  
Rekha S. Rajan
Keyword(s):  
1998 ◽  
Vol 87 (1) ◽  
pp. 84-94 ◽  
Author(s):  
Liz Greenhalgh

This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.


Author(s):  
Aria Dimas Harapan

ABSTRACTThe essence of this study describes the theoretical study of the phenomenon transfortation services online. Advances in technology have changed the habits of the people to use online transfortation In fact despite legal protection in the service based services transfortation technological sophistication has not been formed and it became warm conversation among jurists. This study uses normative juridical research. This study found that the first, the Government must accommodate transfotation online phenomenon in the form of rules that provide legal certainty; second, transfortation online as part of the demands of the times based on technology; third, transfortation online as part of the creative economy for economic growth . 


2017 ◽  
pp. 100-116 ◽  
Author(s):  
T. Abankina

The paper analyzes trends in the development of the creative economy in Russia and estimates the export potential of the Russian creative industries. The author demonstrates that modern concepts of cultural heritage preservation focus on increasing the efficiency of its use and that building creative potential and systematic support of the creative industries are becoming a key task of the strategic development of regions and municipalities in the post-industrial era.


Author(s):  
V.Y. Chevganova ◽  
A.V. Vvedenska ◽  
O.Y. Zaplava
Keyword(s):  

2017 ◽  
Vol 7 (1) ◽  
pp. 282-307
Author(s):  
Sehun Kim ◽  
Gi-Eun Chung
Keyword(s):  

2020 ◽  
Vol 46 (2) ◽  
pp. 10-21
Author(s):  
Charles Landry

More people, more organizations, more towns, cities, regions and countries for more reasons have found that over the last 30 years the arts, their broader culture and overall creativity has something in it for them in renewal and revitalization. Over the last decade there have been over a hundred studies of the economic and social importance or impact of the arts, culture, heritage, the recycling of buildings for cultural purposes, creative quarters and the creative economy across the world. Yet there is much more to the arts, culture and creativity in city development. Places in transition urgently need to develop an overall culture of creativity cu ing across all domains within which the arts can be significant. This can be a painful exercise as old certainties crumble and systems, like education, need rethinking. Yet this can unleash new social innovations, new business models and new forms of citizen engagement. Renewal and transformation together are a cultural project involving a shift in mindset and perspective. Creativity is a primary resource as it creates the conditions from which innovations can emerge. Within this the creative economy sectors, especially when aligned to the dramatic digitization dynamic, play a significant role in developing new products and services, generating jobs, anchoring identity and helping expression. Cultural activities and programming and the physical assets of places, their heritage and older industrial buildings are significant elements in the renewal repertoire.


2021 ◽  
Vol 13 (13) ◽  
pp. 7150
Author(s):  
Silvia Cerisola ◽  
Elisa Panzera

Following the hype that has been given to culture and creativity as triggers and enhancers of local economic performance in the last 20 years, this work originally contributes to the literature with the objective of assessing the impact of cultural and creative cities (CCCs) on the economic output of their regions. In this sense, the cultural and creative character of cities is considered a strategic strength and opportunity that can spillover, favoring the economic system of the entire regions in which the cities are located. Through an innovative methodology that exploits a regional production function estimated by a panel fixed effects model, the effect of cities’ cultural vibrancy and creative economy on the output of their regions is econometrically explored. The data source is the Cultural and Creative Cities Monitor (CCCM) provided by the JRC, which also allows the investigation of the possible role played by the enabling environment in catalyzing the action of cultural vibrancy and creative economy. The results are thoroughly examined: especially through cultural vibrancy, CCCs strategically support the output of their region. This is particularly the case when local context conditions—such as human capital and education, openness, tolerance and trust, and quality of governance—catalyze their effect. Overall, CCCs contribute to feeding a long-term self-supporting system, interpreted according to a holistic conception that includes economic, social, cultural, and environmental domains.


2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.


Sign in / Sign up

Export Citation Format

Share Document