scholarly journals FOUR APPROACHES TO THE CREATIVE ECONOMY: GENERAL OVERVIEW

2011 ◽  
Vol 9 (1) ◽  
pp. 81-92 ◽  
Author(s):  
Rasa Levickaitė
Keyword(s):  
Business Processes ◽  
Market Access ◽  
Social Indicators ◽  
Creative Industries ◽  
Creative Economy ◽  
City Development ◽  
Economic Phenomenon ◽  
Creative City ◽  
Definition Of ◽  
Technology And Economy

The article presents the concept of the creative economy as a new economic phenomenon in the globalized environment. Four approaches on the new occurrence are presented. According to John Howkins theory, the fifteen creative industries (listed by the author) are the core of the creative economy. Both creativity and economy aren’t new, but brand new are its interaction and scope. A wide definition of creativity has formed Richard Florida’s theory of the developing creative class, which is a group of professionals, researchers and artists whose presence creates socioeconomic and cultural dynamism in cities especially. Richard Caves characterizes creative industries on the basis of seven economic properties and presents an idea that creative industries as such aren’t unique but the sectors of creative industries driven by creativity generate new approaches to business processes, the demand-supply chain and covers both economic and social indicators of the country development. Charles Landry has proposed a creative city concept, which states that cities are dependent on one resource only – its people. Creativity changes place, natural resources, market access, and becomes the key to dynamism of city development. A creative city defines a metropolis with variety of cultural activities glued to urban economical and social functioning. Key activities highly influencing rapid growth of the creative industries worldwide are related to both technology and economy. Digital revolutions and economic environments where revolutions took place, changes in technology and communications altogether have formed new conditions for development of creative economy as a new economic phenomenon.

scholarly journals Influence of COVID-19 on creative industries

2021 ◽  
Vol 21 (1) ◽  
pp. 48-54
Author(s):  
Yulia O. Glushkova ◽  
◽  
Anastasia V. Vasina ◽  
Keyword(s):  
Theoretical Analysis ◽  
Economic Activity ◽  
Information Technologies ◽  
Structural Changes ◽  
Business Processes ◽  
Creative Industries ◽  
Creative Economy ◽  
Social Efficiency ◽  
Coronavirus Infection ◽  
The Impact

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.

Counting on Carrington Road: Street Numbers as Metonyms of the Urban

2018 ◽  
Vol 17 (4) ◽  
pp. 433-450 ◽  
Author(s):  
Alexandra Crosby ◽  
Kirsten Seale
Keyword(s):  
Visual Presentation ◽  
Creative Industries ◽  
Creative Economy ◽  
Top Down ◽  
Fine Grained ◽  
Creative City ◽  
Starting Point ◽  
Urban Futures ◽  
Post Industrial ◽  
The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

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 CITIES RESEARCH IN PENANG, MALAYSIA: A REVIEW OF CONCEPTUAL AND METHODOLOGICAL FRAMEWORK

2015 ◽  
Vol 13 ◽  
Author(s):  
Khoo Suet Leng ◽  
Nurwati Badarulzaman ◽  
Narimah Samat ◽  
Morshidi Sirat ◽  
Sharifah Rohayah Sheikh Dawood
Keyword(s):  
New Economy ◽  
Creative Industries ◽  
Policy Framework ◽  
Creative Economy ◽  
Methodological Framework ◽  
Methodological Issues ◽  
Creative Cities ◽  
Contemporary Research ◽  
Creative City ◽  
Conducting Research

A heightened interest in the notions of ‘creative cities, creative industries and creative economy’ has propelled research in these emerging areas of the New Economy. As an emerging area, some conceptual and methodological issues need to be addressed prior to adopting the creative city paradigm as part of the strategic and policy framework towards a creative economy. This paper presents a review of key conceptual and methodological issues that need to be considered when conducting research on creative cities in Malaysia. The conceptual and methodological issues relating to creative cities and creative industries should be addressed and dealt with in order to facilitate an enabling framework for contemporary research in this emerging area.

Creative economy assessment: a case study of Kish Island

2017 ◽  
Vol 44 (12) ◽  
pp. 1940-1956 ◽  
Author(s):  
Elham Lafzi Ghazi ◽  
Miguel Goede
Keyword(s):  
Performance Measures ◽  
Design Methodology ◽  
Creative Industries ◽  
Creative Class ◽  
Small Island ◽  
Creative Economy ◽  
Content Type ◽  
Tourist Attractions ◽  
Creative City

Purpose The purpose of this paper is to evaluate the case of Kish, which is a small island off the coast of Iran, using the creative indicators of a creative economy. Design/methodology/approach Based on the extant literature, a set of performance measures and factors are identified for the creative economy. This set is mainly based on Florida’s theory on the creative class. The case of Kish Island is evaluated based on these indicators, and after analysis, conclusions are drawn. Findings Kish Island, with its numerous tourist attractions, shows remarkable creative industries that highlight the presence of the creative class and the development of a creative economy in this area. Originality/value The paper illustrates the model of a creative economy assessment for the small Kish Island and finally provides a good understanding of the concept of the creative economy as a key element of the creative city.

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.

CITY FESTIVAL - A TRADITIONAL CULTURAL EXPRESSION OF THE CREATIVE INDUSTRIES (THE CASE OF INTERNATIONAL CONTEMPORARY DANCE FESTIVAL “NEW BALTIC DANCE”) / MIESTO FESTIVALIAI – TRADICINĖ KULTŪRINĖ KŪRYBINIŲ INDUSTRIJŲ RAIŠKA (TARPTAUTINIO ŠIUOLAIKINIO ŠOKIO FESTIVALIO ”NAUJASIS BALTIJOS ŠOKIS“ ATVEJIS)

2011 ◽  
Vol 4 (1) ◽  
pp. 36-53 ◽  
Author(s):  
Rasa Levickaitė
Keyword(s):  
Creative Industries ◽  
Capital City ◽  
University Graduates ◽  
Contemporary Dance ◽  
City Development ◽  
Contemporary Culture ◽  
Cultural Expression ◽  
Creative City ◽  
City Tourism ◽  
Fact Finding

The article is based on theoretical overview on the subject of festival with its focus on special occasion having some unique aspect which is important to both the organizers and visitors of the festival. Second part of the article represents a case of International Contemporary Dance Festival. City festival is a traditional cultural expression of the creative industries. Creative city more rapidly develops through festival activities – creative cities use their creative potential in various ways: cultural activities, expressions, experiences, involvement of city inhabitants and visitors, presentation of city cultural heritage assets. A case study presented in the article is based on quantitative survey conducted during International Contemporary Dance Festival “New Baltic Dance” which took part in Vilnius 4–9 May 2010. Survey is designed for five key factors: choosing the festival, frequency of festival visits in Vilnius, transportation type visitors have arrived to the festival, channel visitors have found information about the festival, expenses during the festival period (including entrance ticket, overnight if needed, etc.), and each variable correlation between age, gender and education. Survey also includes fact-finding questions as destination festival visitors have arrived from and if festival visitors have used hotel services. While comparing goals of festival organizers and survey results, a conclusion is made that “New Baltic Dance” is a part of Vilnius city creative industries, meeting aims of the capital city and also of other Lithuanian cities and peripheries, attracting university graduates who have high demand for contemporary culture expressions and interest in contemporary dance process. On the other hand, festival visitors almost have no direct demand for better city tourism infrastructure and their economic input to the city development is very low. Santrauka Straipsnyje pristatoma miesto festivalių kaip tradicinės kultūrinės kūrybinių industrijų raiškos koncepcija. Teorinė dalis grindžiama festivalio objekto analize, festivalio kilmės, poveikio, unikalumo ir svarbos bendruomenės nariams, miesto, šalies gyventojams ir svečiams apžvalga. Antroji straipsnio dalis skirta tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ atvejo analizei. Kaip manoma, kūrybinis miestas kur kas greičiau plėtojasi per festivalių veiklas – kūrybiniai miestai naudoja savo kūrybinį potencialą įvairiausiais būdais: plėtodamos kultūrines veiklas, ekspresiją, patirtis, įtraukdamos miestelėnus ir miesto svečius, pristatydamos miesto paveldą. Straipsnyje pristatomas atvejis yra kiekybinio tyrimo fragmentas, atliktas tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ metu 2010 m. gegužės 4–9 d. Tyrimą grindžia šie pagrindiniai veiksniai: priežastys, lėmusios tiriamojo festivalio pasirinkimą; apsilankymo Vilniuje organizuojamuose festivaliuose dažnis; būdas, kaip žiūrovai pasiekė festivalį; kanalas, per kurį žiūrovai sužinojo apie festivalį; išlaidos, kurias patyrė festivalio žiūrovai (įskaitant bilietus į renginius, nakvynės mokesčius ir kt.). Tirta kiekvieno kintamojo koreliacija su sociodemografiniais rodikliais – amžiumi, lytimi ir išsilavinimu. Į tyrimą taip pat buvo įtraukti klausimai apie miestą, iš kurio atvyko žiūrovai, ir ar buvo pasinaudota viešbučių paslaugomis festivalio metu. Lyginant festivalio ”Naujasis Baltijos šokis“ organizatorių siekius ir tyrimo rezultatus, darytina išvada, kad šis festivalis yra Vilniaus miesto kūrybinių industrijų dalis, jis atitinka sostinės ir šalies periferijos kultūros gyvenimo poreikius, pritraukia aukštą jį išsilavinimą turinčią auditoriją, siekiančią pažinti ir patirti šiuolaikinės kultūros išraiškas, besidominčią šiuolaikinio šokio procesu. Kita vertus, tiriamo festivalio žiūrovai neformuoja poreikio geresnei miesto infrastruktūrai plėtotis ir daro mažą indėlį į miesto ekonomikos augimą.

scholarly journals CREATIVE CITIES RESEARCH IN PENANG, MALAYSIA: A REVIEW OF CONCEPTUAL AND METHODOLOGICAL FRAMEWORK

2015 ◽  
Vol 13 (5) ◽  
Author(s):  
Khoo Suet Leng ◽  
Nurwati Badarulzaman ◽  
Narimah Samat ◽  
Morshidi Sirat ◽  
Sharifah Rohayah Sheikh Dawood
Keyword(s):  
New Economy ◽  
Creative Industries ◽  
Policy Framework ◽  
Creative Economy ◽  
Methodological Framework ◽  
Methodological Issues ◽  
Creative Cities ◽  
Contemporary Research ◽  
Creative City ◽  
Conducting Research

A heightened interest in the notions of ‘creative cities, creative industries and creative economy’ has propelled research in these emerging areas of the New Economy. As an emerging area, some conceptual and methodological issues need to be addressed prior to adopting the creative city paradigm as part of the strategic and policy framework towards a creative economy. This paper presents a review of key conceptual and methodological issues that need to be considered when conducting research on creative cities in Malaysia. The conceptual and methodological issues relating to creative cities and creative industries should be addressed and dealt with in order to facilitate an enabling framework for contemporary research in this emerging area.

scholarly journals FORMATION OF A CREATIVE CLASS AS AN INTENTION FOR HIGHER EDUCATION DEVELOPMENT

2020 ◽  
pp. 42-54
Author(s):  
I. Lisakova
Keyword(s):  
Nonprofit Organizations ◽  
Workforce Development ◽  
Creative Industries ◽  
Creative Class ◽  
Creative Economy ◽  
Education Development ◽  
Industrial Age ◽  
Concert Halls ◽  
Definition Of ◽  
Access To Knowledge

More and more cultural and government leaders are recognizing the scope and impact of the creative industries on the economy. Commercial enterprises (such as publishing, design, advertising, music, and theater), and nonprofit organizations (such as museums, concert halls, folk life centers, art schools and conservatories), – all of them are gaining recognition as an important engine of the 21st-century economy. The main manpower of creative industries is the creative class. The guiding principles of the creative class include freedom of imagination, inquiry, and expression, as well as freedom of opportunity for all to participate in a vital and diverse culture. It is fundamentally different from the industrial age workforce. And it provokes important issues about training and workforce development, preservation of culture, and access to knowledge. The policies affecting the creative economy are being formed at a global level within international and multilateral institutions. This makes tracing their ramifications particularly complex. The article highlights modern approaches to the definition of "creative industries", "creative class". The transformational processes taking place on the world labor market and influencing the national socio-cultural space are analyzed. It is determined that the gap in the economic growth of countries is based on the disproportion of intellectual capital, technology, accumulated knowledge, and ways to use them. The means of eliminating such a disproportion is the development of a special creative class, the formation of which will contribute to a number of state, political, legal decisions, and, in particular, restructuring the education system, its reorientation to overcome standardization and stimulate creativity, diversity of cultural events, science, art, technology.

BANDUNG FASHION HUB SEBAGAI RUANG INTERAKSI DAN REKREASI DENGAN PENDEKATAN DESAIN EKSPRESIF DI KOTA BANDUNG

Arsitektura ◽  
2017 ◽  
Vol 14 (2) ◽  
Author(s):  
Annisa Fadhilla Jasmine ◽  
MDE Purnomo ◽  
Hari Yuliarso
Keyword(s):  
Creative Industries ◽  
Design Concept ◽  
Creative Economy ◽  
Suitable Habitat ◽  
Creative City ◽  
Government Work ◽  
The Government ◽  
And Performance ◽  
Public Recreation ◽  
The City

<p><em>Today’s fashion is an important part of the lifestyle and influence in many aspects of life including influential in global economic that the development should be considered. Bandung as a creative city supported by enterprising creative industries and communities is a suitable habitat in the development of the fashion mode that has significant impact on the development of the creative economy in the city of Bandung. Based on the Government Work Report Bandung (LKPJ AMJ) in 2012, the growth of creative industries has decreased. Fashion needs to be developed starting from human resources, the manufacturing process of mode, distribution of works / fashion products, activities in the networking community, the container activities of urban communities to engage in communal and urban public recreation in the creative space. Therefore, the existence of Bandung Fashion Hub as a center of fashion in Bandung is indispensable. Of these issues, the design problem is to what extent the expression of space and forms that can be imaged expression of fashion stakeholder interaction and how to express creatively through fashion symbol of the city which can be a recreational space in the city of Bandung. The method used is a method of planning and designing architecture namely by processing the data and information (concept of) for creating design concept (concept for design) through the process of programming, design criteria and performance of a design concept. Expressive design approach by using the meaning of the symbol, the idea of space, form that expose the material so that it can express the character of fashion events and characters of Bandung as a creative city. Therefore the design of Bandung Fashion Hub aims to facilitate all activities related to the character of the activities of fashion stakeholders including forecasting activities, show off, market and shop. Fashion hub as a place to meet and communicate between communities and the media as well as with fashion activists in general and also as a place of education and information (forecasting), promotion (market), exhibitions (show off) and recreation for the community so as to enhance the growth of creative industries in Bandung.</em></p><p><em> </em></p><p><strong><em>Keywords:</em></strong><em> Bandung, Creative City, Creative Industry, Expressive Design, Fashion, Hub </em></p>

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