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.

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 On Understanding the Administrative Law Subject

2020 ◽  
Vol 12 ◽  
pp. 18-20
Author(s):  
Olga N. Ordina ◽  
Keyword(s):  
Public Administration ◽  
Legal Theory ◽  
Administrative Law ◽  
Executive Power ◽  
Legal Science ◽  
Different Types ◽  
Common Concept ◽  
The Subject ◽  
Points Of View ◽  
Definition Of

In the administrative and legal science there is a refinement, change and expansion of the subject of the dynamic branch of administrative law, aimed at eliminating the resulting lag of legal theory from the legal reality. In our view, of the three basic categories that characterize the subject of administrative law, “public administration”, “executive power” and “administrativepublic activity”, the main generalization category is the category “administrative and public activities”. The phenomenon of the subject of administrative law refracts the problems and discussions inherent in the industry as a whole. In view of the existence of different points of view on the subject of administrative law, the legal science has not yet formulated a single definition of it. There is a tendency to overcome the conflict between different types of understanding, to bring together the positions of different concepts of understanding of administrative law in order to form a “universal” concept of it, to develop its common concept.

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 Rehabilitation of renders of old buildings in Portugal

2015 ◽  
Vol 33 (4/5) ◽  
pp. 337-353 ◽  
Author(s):  
Carmo Gonçalves de Carvalho ◽  
Inês Flores-Colen ◽  
Paulina Faria
Keyword(s):  
Stone Masonry ◽  
Content Type ◽  
Performance Requirements ◽  
Periodic Maintenance ◽  
Different Types ◽  
Points Of View ◽  
And Performance ◽  
Definition Of ◽  
Correct Implementation

Purpose – The purpose of this paper is to present a proposal for a methodology to support the rehabilitation project of renders of old buildings. Design/methodology/approach – To achieve the objective it was considered essential to define the main types of participants and aspects to integrate the proposal. The research methodology consists in an inquiry presented to several professional participants in rehabilitation, a market study of materials and products available in Portugal, the design of a methodology proposal and its application to a case study. The inquiry sample totals 24 answers from the targeted professionals. A sequence of relevant supporting procedures consists in the proposal, which aims to provide a supporting methodology to decide and project in this context and also to be tested with its application to the building. This proposal was applied to an old building with load-bearing stone masonry walls and air-lime-based renders. Findings – It was concluded that the assessment of the building and ex+ternal renderings’ condition, its diagnosis and of the supporting walls, the definition of intervention, the specification of materials to be used and performance requirements to comply, and also plans for conservation and periodic maintenance, are crucial. From the inquiry, compatibility between materials and complementary roles and points of view of different types of participants in rehabilitation must be highlighted. Originality/value – A proposal for a methodology to support the project could provide useful guidance particularly for architects and construction engineers, and improve the understanding of direct participants on site, therefore contributing for the correct implementation of the intervention.

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 COMMUNICATION PLATFORMS: A MODER VISION

2021 ◽  
Vol 12 (1) ◽  
pp. 98-106
Author(s):  
Angelica Dosenko
Keyword(s):  
Social Networks ◽  
Communication Technologies ◽  
Theoretical Justification ◽  
Communication Platform ◽  
Independent Unit ◽  
Different Types ◽  
Points Of View ◽  
The Difference ◽  
Definition Of

The aim.Тhere is a theoretical justification for the phenomenon of «Communication Platform».Theapplied social and communication technologies there is a layering of terminological apparatus: classification and identification of terms and theoretical and methodological basis. One of such phenomena is the development of communication platforms, which are separated into an independent definition and depart from Internet platforms and social networks. It is important to study the development of platforming as a process of forming platforms of different types and cluster formation.Research methods.The method of theoretical analysis is used to study the existing points of view and clearly derive the definition of «communication platform».A method of comparison to derive the author's vision of the existence and functioning of the characteristics of the definition of «Communication Platform»and distinguish it from other types of platforms.The method of sociological survey contributed to the practical vision of the communication platform as an independent unit that is able to raise socially important issues and help solve difficult issues.The resultsof the study showed the difference between the terms «Social Networks»and "Communication Platform". There is a classification of platforms, the difference between them. The own vision of the terminological unit is given. This approach demonstrated the need for further scientific study of the phenomenon, the need to unify the approach to the description of platforming as a process in applied social and communication technologies.Social networks as a communication unit are considered in detail, the features that distinguish platforms and social networks are described.The conclusionsemphasize the further need to study communication platforms as applied scientific units. The definition of the phenomenon taking into account the author's vision is offered. Emphasis is placed on the features inherent in communication platforms.

scholarly journals Modern understanding of legal policy

2020 ◽  
pp. 97-104
Author(s):  
Danis Rifkatovich Khasanov
Keyword(s):  
Social Life ◽  
Science Research ◽  
Theoretical Understanding ◽  
Legal Policy ◽  
Scientific Methods ◽  
Different Types ◽  
General Scientific ◽  
Points Of View ◽  
Definition Of

This article is dedicated to the theoretical understanding of the problem of ambiguity of the concept of “legal policy” as a complicated phenomenon that has a substantial number of attributes, which connect it with multiple occurrences within the legal sphere of social life and outside it; as well as overcoming such ambiguity through analyzing the diversity of characteristics of legal policy presented in the definitions of modern authors , and formation of the unified definition on their basis that would serve as methodological framework for the research of legal policy in all branches of juridical science. Research methodology includes the general scientific methods, such as analysis, synthesis, comparison, generalization, classification, and systemic approach. The author analyzes different points of view of the Russian scholars on formation of the concept of legal policy; describes their specific features; makes an attempt of their systematization. The conclusion is made on the presence of two different types of approaches towards determination of the content of legal policy. The author highlights most substantial characteristic suitable for both approaches, and offers an original version of a unified definition of legal policy of the state.

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.

scholarly journals SENTENCE LENGTH

2020 ◽  
pp. 29-42
Author(s):  
Liqaa' Sadeq Ali
Keyword(s):  
English Language ◽  
Sentence Length ◽  
Short Sentence ◽  
Different Types ◽  
Points Of View ◽  
Definition Of ◽  
Almost All ◽  
Proper Length ◽  
Coordinate Structures

Writers usually exert many efforts in writing sentences with the proper length. Some of them stick to short sentences, which can make their writing looks choppy. Others like to write with long sentences, which can make the writing seems long-winded or wordy, even if it is not. In English language, the length of a sentence refers to how many words are there in that sentence. In almost all formulas, this number is used to estimate how much the sentence is difficult. Still, sometimes, a short sentence shows more difficulty to be read than a long one. Sometimes, longer sentences lead to facilitate comprehension, especially those that contain coordinate structures. This study discusses the basic grammatical notion of sentence, and its length from different points of view. Innumerable definitions of sentence exist and some of these are presented here to get a workable definition to this key term. A definition of sentence length is also presented. Different  treatments  of  the  so called  sentence  length  are  to  be  discussed . The various  techniques , that  have  been  devised to  deal  with  the  sentence  in  different  types  of  texts  as  to  get  better  writings,  are  accounted  for  in  this  study . These  points  are  discussed  to  reach  the  end , i.e. the conclusion  of  good  sentence  length .

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.

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