scholarly journals Creative economy, cultural economics and entrepreneurship – Questions for a masters programme in its adolescence. An Interview with Mariangela Lavanga and Ellen Loots

2019 ◽  
Vol 18 (2-3) ◽  
pp. 269-278
Author(s):  
Jonathan Vickery ◽  
Mariangela Lavanga ◽  
Ellen Loots

The purpose of this interview is to discuss the aims, objectives and achievements of a pioneering European masters degree – in the context of the politics of higher education and the economics of the creative industries.

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.


2021 ◽  
Vol 13 (4) ◽  
pp. 1637
Author(s):  
Xu Chen ◽  
Chunhong Liu ◽  
Changchun Gao ◽  
Yao Jiang

Industrial agglomeration serves as an effective model for developing the creative economy and manifests itself as the interdependence of creative subjects in geographical space. The traditional methods of resource agglomeration have undergone tremendous changes due to the development of digital technology. These transformations have given birth to a new organizational form of the virtual agglomeration of creative industries. The present work uses field interviews and grounded theoretical research methods to construct a theoretical model of this new organizational phenomenon. Questionnaire surveys and empirical testing using structural equation models are here combined to systematically analyze the formation mechanism of the virtual agglomeration of creative industries. The results show that digital technology, virtual platforms, digital creative talents, digitization of cultural resources, and government policies have driven the formation of the virtual agglomeration of creative industries. This has been achieved through network collaboration, freedom of participation, and trust guarantee mechanisms. The effect of emerging consumer demand on the virtual agglomeration of creative industries is not significant. In addition, the implications of this research are also considered and discussed.


2015 ◽  
Vol 21 (6) ◽  
pp. 855-868 ◽  
Author(s):  
Tomas KAČERAUSKAS

The article deals with issues of technologies in the environment of creative economy and creative society, mostly focusing on the following topics: 1) invasion of technologies, which is accompanied by technical illiteracy or simplification of intellection presupposed by a certain technique (e.g. computers); 2) new technologies emerge in the environment dominated by consumption in order to boost consumption; 3) political, media and communication technologies are intertwined to the extent that allows us to speak about the technologized society; 4) technologies are inseparable from creative activities: on the one hand, development of technologies needs creativity, on the other hand, every branch of creative industries needs certain technologies; 5) technologic development is conditioned by their syncretism, i.e. their ability to serve the art (technē) of life and creative intentions; 6) in the creative society, happiness does not depend on constantly upgraded (i.e. consumed) technologies but is rather possible in spite of them; 7) unlimitedness is the greatest limitation of global technologies: unconnected with any existential region, they billow in the wind of ever newer technologies.


2020 ◽  
Vol 5 (01) ◽  
pp. 84-108
Author(s):  
I Wayan Aditya Harikesa

President Joko Widodo or Jokowi has made a great leap in enhancing Indonesia�s Small Medium Enterprises (SME)s and the country�s overall creative industries by establishing a new non ministerial institution called Badan Ekonomi Kreatif (BEKRAF) or the Creative Economy Agency. The BEKRAF, established under the Presidential Regulation Number 6 of 2015 issued on January 20, 2015, is responsible for accelerating the development of creative economy in Indonesia. Small Medium Enterprises (SMEs) have been playing crucial roles for generating economic progresses as well as social inclusion in Indonesia. Among the most important and worthy of priority is the country�s creative economy. The existence of BEKRAF will enhance close cooperation between the government, SMEs players and related economic stakeholders. This paper aims to assess the concept of �Creative Industries,� as a boundary concept that allows for increased co-operation between players and the generally opposing knowledge concepts�as reflected in their respective knowledge and cultural politics. Indonesia has great potential in terms of economic growth. In 2015, Indonesia�s Gross Domestic Product (GDP) rocketed to 4.79 percent, far above the previous expectation of only 2.4 percent. This encouraging climate is indeed the right moment for the government to strengthen the country�s economic foundation particularly in the real economic sector. Hence, BEKRAF has a vision to build Indonesia as one of the world�s great economic powers in the field of creative economy by 2030. This issue will be discussed comprehensively in the final part of the paper.


Author(s):  
Kirsten Forkert ◽  
Ana Lopes

This article examines unwaged posts at UK universities, using recent examples of advertised job posts. While unpaid work is common in the UK higher education system, unwaged posts are not. The posts under scrutiny in this article differ from traditional honorary titles as they target early career academics, who are unlikely to have a paid position elsewhere, rather than established scholars. The article contextualizes the appearance of these posts in a climate of increasing marketization of higher education, entrenching managerialism in higher education institutions, and the casualization of academic work. We also discuss resistance to the posts, arguing that the controversy surrounding unpaid internships in the creative industries created a receptive environment for resisting unwaged posts in academia. We analyze the campaigns that were fought against the advertisement of the posts, mostly through social media and the University and College Union. We explore the tactics used and discuss the advantages and limitations of the use of social media, as well as the role of trade unions in the campaigns against these posts, and we reflect on what future campaigns can learn from these experiences.


2019 ◽  
Vol 40 ◽  
pp. 21-37

Creative economy is one of the most propulsive sectors, which share in global economy as well as national ones continuously grows (Jones et al., 2016). Within the territory of 28 EU member states it participates with 4.5% of GDP and employs 3.8% of total workforce (https://ec.europa.eu/eurostat, 2017). Axis of creative economy development is made of cultural and creative industries that are generators of new technologies, innovation and media. This paper analyses cultural and creative industry in the Republic of Croatia, as well as their role in economic and social development of the country. Cultural and creative industry (CCI) are directed towards highly educated workforce of tertiary education, digital society and 4.0 Globalisation. People employed in CCI in the Republic of Croatia are at the EU average with 3.6% of total workforce (2017) and with 50% of employed with tertiary education (https://ec.europa.eu/eurostat, 2017). CCI are important in expressing identity of the people but they are also an engine of economic growth (HKKI, 2015).


2018 ◽  
Vol 13 (2) ◽  
pp. 99
Author(s):  
Alexandri Luthfi

Globalisasi, sebagai suatu proses integrasi internasional, terjadi karena pertukaran pandangan dunia dalam berbagai sektor. Di Indonesia gelombang globalisasi sudah bergerak lebih dari 25 tahun. Tumbuh dan berkembangnya memberikan pengaruh terhadap berbagai sisi kehidupan bangsa dengan semua  atribut budayanya. Di bidang pendidikan, globalisasi memiliki dampak yang cukup besar bagi perubahan pada sistem atau model pembelajaran dan kurikulum yang diajarkan. Era industri kreatif yang digulirkan oleh pemerintah melalui Menteri Perdagangan RI waktu itu masih dijabat oleh Dr. Mari Elka Pangestu, telah  memberikan peluang seluas-luasnya bagi pendidikan tinggi seni agar dapat berfungsi sebagai salah satu pilar bagi pertumbuhan ekonomi kreatif di Indonesia.Indonesia sudah memiliki kantong-kantong institusi dan perusahaan yang dapat menjadi mitra bagi para lulusan pendidikan seni. Para talenta yang kreatif dan terampil lulusan pendidikan seni adalah sumber daya manusia yang diperlukan bagi sektor industri kreatif di masa mendatang. Karya film dan program acara televisi sebagai karya seni yang memiliki standart estetika, di dalamnya terdapat gagasan, pengolahan artistik, matrialisasi, pengalaman teknik dan manajemen produksi, yang  proses produksinya  membutuhkan sekelompok atau individu sumberdaya manusia berkualitas dengan tingkat  pendidikan setara diploma dan sarjana. Kemudian juga dengan  televisi apabila sudah masuk ke dalam rana industri kapitalis, tentu akan berdampak pada bagi masyarakatnya, seperti yang dijelaskan oleh Redatin Parwadi untuk menciptakan perilaku konsumtif bagi konsumennya inilah, televisi mempunyai peran yang sangat penting baik sebagai media ataupun sebagai alat bagi kaum kapitalis untuk mengkonstruksi pikiran konsumen. Sejalan dengan konsep HAKI yang melindungi kualitas  karya cipta  anak bangsa dari originalitas dan eksistensinya, tentu lembaga pendidikan seni memiliki peran penting di dalam melahirkan sumberdaya manusia yang mampu menghasilkan karya seni  kreatif dan inovatif. Maka dewasa ini, di Indonesia sudah saatnya menerapkan konsep  pendidikan multikulturalisme berbasis budaya lokal yang dapat menjadi salah satu alternatif untuk membangun kearifan lokal menuju kebudayaan dunia. Art Education of Film and Television as Actuation in the Creative Economy Industry for the Lecturers of Television Department, Faculty of Recorded Media Arts ISI Yogyakarta. Globalization, as a process of international integration, occurs because there is an exchange of the world’s view in some sectors. In Indonesia, the wave of globalization has been ongoing for more than 25 years. Its growth and development have given influence to all aspects of nation’s life with its cultural attributes. In education, globalization has a quite big impact for the shift of system or learning model and the taught curriculum. The era of creative industry launchedby the government through the Indonesian Minister of Trade which was once held by Dr. Mari Elka Pangestu, has now given a vast opportunity for higher education in art to be one of the pillars for the growth of creative economy in Indonesia. Indonesia has certain institutions and companies that could be partners for the graduates of art school. Creative talents andskillful graduates from art school are the necessary human resources for creative industry sector in the future. Films and television programs as works of art which has standardized aesthetics, therein we could find ideas, artistic process, materialization, technique and production management experience, whose production processes need a group of people or qualified human resources holding diplomas of bachelor degree and bachelor of honors or those in equivalence. When television is admitted into capitalist’s industry, it will affect the society, as stated by Redatin Parwadi, to create a consumptive behavior for the consumers,television has an important part both as media and as means for the capitalists to construct the mind of the consumers. In accordance with the concept of HAKI (intellectual rights) to protect the quality of copyrights owned by the nations’ generation with their originality and existence, higher education of arts has a very significant role in creating human resources who are able to create creative and innovative works of art. Nowadays, Indonesia has already applied multiculturalism education concept on the basis of local wisdom that could be one ofalternatives to build local wisdom into world’s culture.


Author(s):  
Yulia O. Glushkova ◽  
◽  
Anastasia V. Vasina ◽  

Introduction. This study analyzes the impact of the new COVID-19 coronavirus infection on the creative industries in the Russian Federation, as well as finding solutions to support this area in the context of the pandemic. Theoretical analysis. Since the latest imperatives of the current world processes dictate the need for structural changes in the state economic activity, the actual principle of the economic activity organization can be called the creative industries concept development, which include industries related to the creation of a certain cultural or creative product, IT-sphere, fashion and design, advertising and marketing products, as well as folk art and craft. Due to the relevance of the creative industries development, modern research on the theory of creative economy development pays great attention to the study of the specifics of this activity and ways to improve it. The article provides a theoretical analysis of the crisis in the creative industries, as well as a detailed analysis of the opportunities and threats of the crisis. Empirical analysis. Based on the analysis of the activities of companies in the creative industries, the authors of the article identify opportunities for the development of companies in the creative sphere in terms of economic and social efficiency. New trends in the transformation of business processes in various fields (theatre, film industry, music, exhibition and Museum activities) are considered. Results. Based on the analysis, it is concluded that the urgent tasks in the situation of forced quarantine measures are the timely transformation of creative industries with the use of information technologies, the transition to online areas of interaction with consumers, as well as state support for creative industries most affected by the crisis.


Author(s):  
N. Ivanova ◽  
D. Kucherenko ◽  
Т. Kuznetsova ◽  
N. Hurzhyi ◽  
L. Lutay

Abstract. The radical changes that took place at the end of the last century contributed to the emergence of a creative economy. Unlike previous economies, in which the main factors of production were production capacity, land and labor, the basis for the development of the creative economy was the creative potential of man. The current economic situation in Ukraine faces many challenges that need to be confronted with viable solutions. The occupation of Crimea cost Ukraine 3.6% of GDP, and the occupied territories of Donbass cost another 15% of GDP and 25% of all Ukrainian industry. In addition, many industries and factories in Ukraine are physically and morally obsolete and require large capital investments. These problems, which, as the experience of Ukraine shows, are not solved by traditional tools, force us to look for non-standard ways to solve them. Such approaches are offered by the creative economy.To assess the opportunities provided to Ukraine by the development of the national creative economy, the article considers the positive effects of the creative economy as evidenced by the successful experience of other countries. Such effects are the formation of creative human capital, increasing incomes, increasing tolerance, the revival of depressed regions. However, the realization of these positive effects is possible provided that there are components of the creative economy in Ukraine. Research by Ukrainian scientists proves that in Ukraine there are the main features of the creative economy, namely: creative industries; creative class as a basis of the creative lever of development of creative economy; young, creative, ambitious entrepreneurs — startups. A key factor in the development of the creative economy is creative human capital, an essential component of which are entrepreneurs — innovators who establish startups to implement their ideas. Analyzing the various definitions of the category «startup», the authors concluded that the most acceptable is one that reflects the fundamental difference between startups and other businesses, namely: a startup is a business structure based on revolutionary innovations, the purpose of which is to solve a specific problem presentation of a new product or service in conditions of extreme uncertainty. Taking into account the innovative nature of startups, their impact on the creation and development of creative industries and the creative economy in general allowed the authors to conclude that startups are a strategically important component of the development of the creative economy. Research has shown that the Ukrainian startup ecosystem has good potential for development. However, the Government of Ukraine is not yet paying due attention to the development of the ecosystem for the successful creation and operation of domestic startups. Only in the last few years has Ukraine begun to support innovative products at the state level. Examples of such support are the creation of the Invention Support Fund of the Ministry of Economic Development and the Ukrainian Startup Fund. In addition, according to the strategy for the development of innovation for the period up to 2030, startups are a structural part of the national innovation ecosystem. However, intensive long-term work is needed to create an effective startup support ecosystem. Even with large investments and the desire to replicate the successful ecosystems of Silicon Valley or New York, it is very difficult, because their infrastructure was formed over 30 years. Keywords: creative economy, positive effects, creative human capital, startup, ecosystem of startups. JEL Classification М11 Formulas: 0; fig.: 1; tabl.: 1; bibl.: 14.


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