Creating Economy

2019 ◽  
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Empirical Study ◽  
Economic Value ◽  
Creative Industries ◽  
First Century ◽  
Cultural Economy ◽  
Creative Economy ◽  
Global Industry ◽  
Creative Products ◽  
The Uk ◽  
Sociological Studies

Creativity is at the vanguard of contemporary capitalism, valorized as a form of capital in its own right. It is the centrepiece of the vaunted ‘creative economy’, and within the latter, the creative industries. But what is economic about creativity? How can creative labour become the basis for a distinctive global industry? And how has the solitary artist, a figment of Romantic thought, become the creative entrepreneur of twenty-first-century economic imagining? Such questions have long provoked scholars interested in economics, sociology, management and law. This book offers a fresh approach to the theoretical problems of cultural economy, through a focus on intellectual property (IP) within the creative industries. IP and its associated rights (IPR) are followed as they journey through the creative economy, creating a hybrid IP/IPR that shapes creative products and configures the economic agency of creative producers. The book argues that IP/IPR is the central mechanism in organizing the market for creative goods, helping to manage risk, settle what is valuable, extract revenues, and protect future profits.. Most importantly, IP/IPR is crucial in the dialectic between symbolic and economic value on which the creative industries depend: IP/IPR hold the creative industries together. The book is based on a detailed empirical study of creative producers in the UK, extending sociological studies of markets to an analysis of the UK’s creative industries. It makes an important, empirically grounded contribution to debates around creativity, entrepreneurship, and precarity in creative industries and will be of interest to scholars and policymakers alike.

scholarly journals INTERLINKS OF CULTURAL AND CREATIVE ECONOMIES THROUGH CREATIVE PRODUCTS AND SERVICES / KŪLTŪROS IR KŪRYBOS EKONOMIKŲ SĄSAJOS PER KŪRYBINIUS PRODUKTUS IR PASLAUGAS

2012 ◽  
Vol 4 (3) ◽  
pp. 256-261
Author(s):  
Rasa Levickaitė
Keyword(s):  
Creative Industries ◽  
Community Identity ◽  
Cultural Value ◽  
Cultural Economy ◽  
Creative Economy ◽  
Cultural Products ◽  
Different Types ◽  
Points Of View ◽  
Creative Products ◽  
Definition Of

The paper focuses on contemporary creative cultural economy concepts and presents formation background and confrontational points of view discussed by variety of authors. The scope of the creative economy is determined by creative industries exponent. If culture is perceptible in the anthropological or functional sense, one might use the concept of the cultural product. An alternative definition of creative products and services originates from a created value type: one might say these products and services, no matter what commercial value they would obtain, together hold a cultural value which financially cannot be evaluated to the final point. It means different types of cultural activities and products or services produced are evaluated both by producers and consumers due to social and cultural reasons which add or exceed purely economic evaluation. For example, aesthetical value or community identity is hardly measured and interspersed into traditional evaluation characteristics. Cultural value is designated and is perceived as an observed characteristic whereas cultural products and services could be equalized with other product types. Santrauka Straipsnyje pateikiamos šiuolaikinės kultūros ir kūrybos ekonomikos koncepcijos, nurodomos susiformavimo prielaidos ir konfrontuojantys autorių požiūriai. Kūrybos ekonomikos apimtys nustatomos pagal kūrybinių industrijų rodiklius. Kai pati kultūra suprantama antropologine arba funkcine prasme, galima vartoti kultūrinių produktų sąvoką. Alternatyvus arba papildomas kultūrinių produktų ir paslaugų apibrėžimas kyla iš jų įkūnijamo arba kuriamo vertės tipo, t. y. galima sakyti, kad šie produktai ir paslaugos, kad ir kokią komercinę vertę įgytų, papildomai turi kultūrinę vertę, kurios neįmanoma iki galo įvertinti pinigais. Kitaip tariant, įvairių rūšių kultūrinė veikla ir ją vykdant sukurtos prekės ir paslaugos yra vertinamos – ir jos gamintojų, ir jos vartotojų – dėl socialinių ir kultūrinių priežasčių, kurios tikriausiai papildo ar viršija grynai ekonominį įvertinimą. Tai gali būti estetiniai svarstymai arba veiklos įnašas į bendruomenės kultūrinės tapatybės supratimą. Jei taptų įmanoma nustatyti tokią kultūrinę vertę, ja būtų galima pasinaudoti kaip stebima charakteristika, kurią taikant išskirti kultūriniai produktai ir paslaugos būtų lyginamos su kitais produktų tipais.

Nobody Knows

2019 ◽  
pp. 75-100
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Social Relations ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Work ◽  
Risk And Uncertainty ◽  
Creative Agency ◽  
The Social ◽  
Creative Products ◽  
Symbolic Production ◽  
Management Of Uncertainty

Creative industries are beset by a problem: nobody knows how work will be received. The chapter examines how creative producers manage the pervasive uncertainty of creative work. In classical theories of enterprise, uncertainty is the source of opportunity and therefore profits, with the entrepreneur the market agent willing to organize that uncertainty in pursuit of return. We show that risk and uncertainty in the creative economy are managed through the same processes of symbolic production as give rise to creative goods and creative agency, mediated by the IP/IPR nexus; as creative products solidify into market goods so the uncertainties are transformed—at least in part—into risks, and the management of uncertainty through the social relations of the field develops into the legalistic protection of IP rights and contracts.

scholarly journals International Creative Product Exchange

2009 ◽  
Vol 12 (4) ◽  
pp. 95-120
Author(s):  
Joanna Wyszkowska-Kuna
Keyword(s):  
International Trade ◽  
Empirical Analysis ◽  
Creative Industries ◽  
Creative Economy ◽  
Key Players ◽  
Creative Products ◽  
The Empirical Analysis

The aim of this paper is to analyze and evaluate international trade in creative products with respect to the position of Poland in this exchange. In the introduction some definitions of creative industries and the concept of creative economy are presented. Then the classification of creative products in international trade and some problems with collecting data relating to international trade in creative products are discussed. In further work an empirical analysis of international trade in creative products is carried out. This work is divided into two parts. The aim of the first part is to indicate main tendencies and key players in international creative products exchange. The aim of the second part is to analyze the position of Poland in this exchange. The empirical analysis is based on the first database and report relating to international creative products exchange, published in 2008 by UNCTAD.

scholarly journals Creative economy as a tool of competitiveness

2020 ◽  
Vol 83 ◽  
pp. 01007
Author(s):  
Jana Centárová
Keyword(s):  
Intellectual Property ◽  
Natural Environment ◽  
Driving Force ◽  
Economic Value ◽  
Creative Industries ◽  
Creative Class ◽  
Creative Economy ◽  
Creative Industry ◽  
Creative Potential ◽  
Creative City

Creativity is a fundamental manifestation of human existence and is present in every human being in different forms. The creative economy is a natural environment for innovative ideas, development and exploitation of creative potential. Over the last two decades, it has been observed that creativity is gradually becoming a driving force for economies, and as a result the importance of creative industries is also increasing. The creative industry is increasingly becoming part of EU documents and policies. The governments of the creative countries gradually introduced the concept of the creative industry, the creative class and the creative city and their importance. The creative industry refers to those parts of the economy that create economic value on the basis of individual creative input or artistic talent. It is a sector based on the exploitation of intellectual property. The aim of this work is to briefly map the concept of creative economy and its measurement in the work of foreign and Slovak authors and describe the possible potential of this industry.

Conclusion

2019 ◽  
pp. 176-190
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Intellectual Property ◽  
Education Policy ◽  
Creative Industries ◽  
Cultural Economy ◽  
Creative Economy ◽  
Evidence Based ◽  
Policy Suggestions ◽  
Craft Skills ◽  
Rights Issues

We have now completed our journey through the creative economy. Our concluding chapter draws together arguments and elaborates policy suggestions. We examine the value of IP/IPR as an analytical construct and consider how it adds to our understanding of contemporary debates over the creative industries. Our analysis of IP policy and attendant rights issues argues that any evidence-based policy should be based on an understanding of the role of IP/IPR within the valorization process as a whole. We also place our discussion of IP within the context of cultural and education policy, emphasizing the importance of cultural access and support and the development of craft skills that underpin the process of creating intellectual property. We argue both are crucial for the future of creative production and the cultural economy as a whole.

Fashion Culture: Creative Work, Female Individualization

2002 ◽  
Vol 71 (1) ◽  
pp. 52-62 ◽  
Author(s):  
Angela McRobbie
Keyword(s):  
Cultural Economy ◽  
Small Scale ◽  
Creative Economy ◽  
Female Self ◽  
Joint Forces ◽  
High Street ◽  
Predominantly Female ◽  
Harsh Climate ◽  
The Uk ◽  
Post Industrial

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’.

scholarly journals ECONOMY OF CULTURE OR CREATIVE ECONOMY: INTERSECTIONS AND CONCEPTUAL CHANGES IN BRAZILIAN CULTURAL PUBLIC ADMINISTRATION

2019 ◽  
Vol 14 (32) ◽  
pp. 111
Author(s):  
Álisson José Maia Melo ◽  
Rodrigo Vieira Costa
Keyword(s):  
Public Administration ◽  
Economic Value ◽  
Creative Industries ◽  
Creative Economy ◽  
National Plan ◽  
Cultural Goods ◽  
Qualitative And Quantitative ◽  
Conceptual Changes ◽  
Quantitative Analyses ◽  
The Government

The present paper aims to draw an outline contrasting the concepts of economy of culture and creative economy, examining the theoretical debate on the current importance of the economic value of cultural goods to guide the Brazilian Cultural Public Administration and the national plan of cultural policies. Therefore, it is necessary that the Government sets guidelines for their actions through qualitative and quantitative analyses of the creative industries, without which it would continue at the stage of timely, uncoordinated and unmonitored operation. With no data, it remains impossible to assess the effectiveness of any incentives and stimuli to the creative economy and its inclusion. That includes tariff plans, programs, and funding; as it also inefficient to justify its relevance within today's cultural Brazilian Public Administration. These are the justifications for the existence of an Information System and unified indicators, which encourage municipalities, along with the State and the Union, to establish parameters that can be assessed once they are properly fed.

Knowledge Exchange between Universities and the Creative Industries in the UK

2014 ◽  
Vol 28 (3) ◽  
pp. 177-183 ◽  
Author(s):  
Morag Ferguson
Keyword(s):  
Communication Networks ◽  
Knowledge Exchange ◽  
Creative Industries ◽  
Creative Economy ◽  
Study Approach ◽  
Key Stakeholders ◽  
The Uk ◽  
Modes Of Engagement ◽  
Depth Interviews

The importance to the economy of knowledge exchange between universities and industry has long been recognized, and in the UK a number of initiatives are in place to support such activities. These initiatives have helped to stimulate engagement between universities and the creative industries, a sector of increasing importance to the UK economy. However, in contrast to other sectors, such as science and engineering, little has been published about the ways universities and the creative economy interact. In this paper a study designed to determine the characteristics of the modes of engagement which best support knowledge exchange between GCU and partners in the creative industries is described. A qualitative case study approach is employed, in which data are gathered through in-depth interviews with key stakeholders. The literature suggests that the culture of an institution, based on mission and history, and the communication networks which are in place to support engagement are likely to be important factors. The issues identified in the literature are explored in this study and interview responses are used to determine the practices that support and encourage successful engagement.

Realizing Value

2019 ◽  
pp. 124-153
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Intellectual Property ◽  
Economic Value ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Work ◽  
Structural Forces ◽  
Collecting Societies ◽  
Licensing Agreements ◽  
Market Intermediaries

The chapter turns to the realization of revenues in the creative economy, illustrating how the economic value of intellectual property becomes identified and registered. Strategies include work for hire, direct sale, and licensing, often relying on market intermediaries and collecting societies. We illustrate how arriving at prices for singular products in an exchange can be difficult, either because of a lack of ‘equivalence’ or because creative producers must learn what needs to be taken into consideration. We also examine practices of valuation as producers try to maintain control of IPR through licensing agreements. We draw links between the structural forces identified earlier in the book, especially debates over creative labour and entrepreneurship in the creative industries—casualization, precarious labour, the oligopoly of corporations—and the quotidian activities of creative producers as they seek to realize substantial enough returns to allow them to continue in the business of creative work.

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