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.

IP/IPR as a Market Object

2019 ◽  
pp. 27-49
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Nineteenth Century ◽  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Work ◽  
Artistic Creation ◽  
Collective Processes

The creative economy is driven by the transfer of property; tradable property is the ‘product’ of the creative industries. The chapter explores how intellectual property (IP)/intellectual property rights (IPR) function to constitute creative work as a market object that can be disentangled and sold. The chapter deals first with the performative role of law in constructing market objects. We examine how law, with its focus on authorship and originality, embodies a particular conception of solitary artistic creation, inherited from nineteenth-century Romantic aesthetics; at the same time, the law also mandates property rights as a means of constituting a market object, and these property rights necessitate a creator to whom they can attach. Both aspects seem highly artificial in view of the collaborative and collective processes that produce creative work and it becomes clear that creative producers have to manage this multifaceted, liminal object in the shape of the IP/IPR nexus.

scholarly journals The Role of Local Governments in Supporting Creative Industries—A Conceptual Model

2020 ◽  
Vol 12 (1) ◽  
pp. 438
Author(s):  
Jan Fazlagić ◽  
Elżbieta Izabela Szczepankiewicz
Keyword(s):  
Local Government ◽  
Conceptual Model ◽  
Local Governments ◽  
Developed Countries ◽  
Creative Industries ◽  
Creative Economy ◽  
Economic Sectors ◽  
Goods And Services ◽  
Administrative Units

Local government relates to the public administration of towns, cities, counties, and districts. One of the key responsibilities of local government is the administrative purpose of supplying goods and services. Local governments should also represent and involve citizens in determining specific local public needs and how these local needs can be met. As the structure of gross domestic product (GDP) in many countries across the world changes, so do the expectations towards the role of local governments as far as supporting local economic growth is concerned. The administrative purpose involves creating conducive conditions for economic development. Statistical figures show that the share of the creative economy in the GDP of the most developed countries is steadily increasing. New economic sectors such as “creative industries” pose a challenge to local governments. In this paper, we present a conceptual model for measuring the efforts of local governments in developing and supporting the creative industries. The model proposed by the authors allows for the comparison of smaller administrative units such as counties regarding their advancement and commitment to supporting creative industries.

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.

scholarly journals Creative industries, Investment trends and their impact on the Economy and Financial Sectors: A study from Vietnam

2019 ◽  
pp. 31-49
Author(s):  
Phan The Cong
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
Performing Arts ◽  
Well Being ◽  
Creative Industries ◽  
Government Support ◽  
Creative Economy ◽  
Creative Industry ◽  
Economic Resource

Creative industries have been seen to become increasingly important to economic well-being, with proponents suggesting that "human creativity is the ultimate economic resource," and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation.” The term creative industries, refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. Development of creative industries will contribute to the awareness and protection of intellectual property rights and copyrights in the creative industry, in order to meet the WTO’s requirements on intellectual property rights. Government support for creative industries will help create a healthy competitive environment for businesses in the industry. It is important for Vietnam’s businesses to select a proper orientation and gain a suitable position in the global creative economy. The creative service sectors of great strength in Vietnam, which are also in need of investment are: design, art, education, tourism, performing arts, fashion, handicraft, culture, foods, and others. Additionally, empirical investigations in the present study reveal that creative industry indicators have a positive and significant influence on the economy and financial sectors. This study’s findings are highly recommended to government officials, economists, and anyone else working to make strategic decisions to achieve better economic results.

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.

scholarly journals Temporary Clusters and Communities of Practice in the Creative Economy: Festivals as Temporary Knowledge Networks

2016 ◽  
Vol 20 (3) ◽  
pp. 329-343 ◽  
Author(s):  
Roberta Comunian
Keyword(s):  
Communities Of Practice ◽  
Local Economic Development ◽  
Cultural Development ◽  
Creative Industries ◽  
Street Art ◽  
Creative Economy ◽  
Knowledge Communities ◽  
Career Opportunities ◽  
The Impact

The article explores the role of art festivals as platforms for knowledge and network development in the creative industries and creative policy intervention using the case of a small street art festival ( Fuse Festival in Medway, UK). The analysis provides a broader perspective on the current research and debate on the impact and role played by arts festivals in local economic and cultural development—which usually concentrate on either their socioeconomic impact on local communities—to focus instead of their role in building knowledge communities and communities of practice. The results highlight the key role played by the festival in supporting and commissioning artistic work. The results also expose the temporary and explorative nature of many artistic practices and the role of interaction with audiences and other creative producers. Following a network perspective, the findings highlight the role of temporary clusters not only in shaping career opportunities for artists but also in drawing new pathways for local economic development for contexts undergoing regeneration.

scholarly journals Model of creative economic development for micro, small and medium-sized culinary industries in Kupang City Indonesia

2019 ◽  
Vol 3 (1) ◽  
pp. 143-152
Author(s):  
Maria C. B. Manteiro ◽  
Enos Kabu
Keyword(s):  
Economic Growth ◽  
Economic Development ◽  
Mass Media ◽  
Business Development ◽  
Creative Industries ◽  
Development Model ◽  
Creative Economy ◽  
Travel Agencies ◽  
The City

An effort which can be conducted by the local government of Kupang city, Indonesia, to maintain its economic growth is by optimizing the role of creative industries of micro, small and medium-sized enterprises (MSMEs). One of the well-developed MSMEs in Kupang city is a culinary business. Interestingly, almost 70% of the culinary industry in the city is dominated by menus from outside rather than maintaining a typical menu of East Nusa Tenggara province which is processed creatively. The business development model of this industry tends to be partial, not integrated yet with policymakers, and other businesses, such as travel agencies and mass media. The purpose of this study was to identify and map the existence of the culinary business and to find out the model of developing a creative economy based culinary business in Kupang city, Indonesia. The object of this research was MSMEs actors who run business in the culinary industry in the city.

scholarly journals Intellectual Property Rights and Creative Economy; Way Forward for Pakistan

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Muhammad Danyal Khan ◽  
Rao Imran Habib ◽  
Attaullah Mehmood ◽  
Abdul Basit
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
South Asian ◽  
Creative Industries ◽  
Creative Economy ◽  
Asian Countries ◽  
Major Player ◽  
Need Support ◽  
The Relationship

This paper examines the relationship between enforcement of intellectual property rights and growth of the creative economy. Intellectual property based creative industries highly contribute towards national economy through trade, value addition, and tax revenues. Size of the global creative economy has almost doubled during 2015 leading it to the figure of $509 billion that was $205 billion during year 2002. It is worth noting that major player in global volume of creative economy are South Asian countries such as China, Hong Kong, Malaysia, India, and Taiwan. Major creative industries include software, pharmaceutical, music, cinema, fashion, design, art, culture, photography, publishing, and other related creative works. Creative industries need support of effective enforcement from intellectual property rights to pay incentive to a creator for its investment of expertise, labour, and finances. In absence of effective intellectual property enforcement and violation of intellectual property rights, innovation may go slow that affects growth of the creative economy. This research highlights potentials of growth of the creative economies in Pakistan in terms of intellectual property rights.

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 CREATIVE ECONOMY AND TECHNOLOGIES: SOCIAL, LEGAL AND COMMUNICATIVE ISSUES / KŪRYBOS EKONOMIKA IR TECHNOLOGIJOS: SOCIALINIAI, TEISINIAI IR KOMUNIKACINIAI ASPEKTAI

2012 ◽  
Vol 13 (1) ◽  
pp. 71-80 ◽  
Author(s):  
Tomas Kačerauskas
Keyword(s):  
Legal Aspects ◽  
Creative Industries ◽  
Individual Autonomy ◽  
Creative Economy ◽  
Social Changes ◽  
Social Challenges ◽  
Economic Relations ◽  
Economical Growth ◽  
Patent Right

The article deals with the philosophical questions of creative economy. Appealing to J. Howkins, R. Florida and other theorists of creative economy, the author analyses such aspects of creative economy as the need for enterprise, obsession by consuming, fusion of labour and leisure, integrality of the activities, striving for individual autonomy and privacy. The response to economical changes and social challenges could be creativeness that emerges in certain social and economical environment. The author pays attention to legal aspects of creative economy and analyses the role of technologies in the creative society. The author also focuses on the contradictory aspect of the copyright and patent right in creative economy. By expressing the creators’ right to just reward copyright restricts creative communication while patent right expresses aspirations to privatize social property, including nature. The relations between technologies and creative economy refer to social changes, too. Firstly, economic relations could be treated as social technologies. Secondly, technologies (especially e-technologies) are the base of creative industries that ensure economical growth. Thirdly, technologies are indispensable to the consuming that both demands new products and generates the very economy. Santrauka Straipsnyje nagrinėjami kūrybos ekonomikos filosofiniai klausimai. Apeliuodamas į J. Howkinsą, R. Floridą ir kitus kūrybos ekonomikos teoretikus, autorius nagrinėja tokius kūrybos ekonomikos aspektus, kaip verslumo reikmė, vartojimo manija, darbo ir laisvalaikio susiliejimas, veiklų integralumas, individualios autonomijos ir privatumo siekis. Atsakas į ekonominius ir socialinius pokyčius galėtų būti kūrybingumas, kuris kyla tam tikroje socialinėje (ekonominėje) aplinkoje. Autorius atkreipia dėmesį į teisinius kūrybos ekonomikos aspektus ir analizuoja technologijų vaidmenį kūrybinėje visuomenėje. Pabrėžiamas autorių ir patentų teisės prieštaringumas kūrybos ekonomikoje. Išreikšdama kūrėjo teisę į teisingą atlygį, autorių teisė apriboja kūrybos komunikaciją, o patentų teisė išreiškia siekius privatizuoti visuomeninį turtą įskaitant gamtą. Technologijų ir kūrybos ekonomikos santykiai taip pat išreiškia visuomeninius pokyčius. Pirma, ekonominiai santykiai gali būti traktuojami kaip socialinės technologijos. Antra, technologijos (ypač e. technologijos) yra kūrybinių industrijų, užtikrinančių ekonominį augimą, pamatas. Trečia, technologijos neatsiejamos nuo vartojimo, kuris reikalauja naujų produktų ir generuoja pačią ekonomiką.

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