scholarly journals Lessons Concerning Creative Economy

2013 ◽  
Vol 14 (2) ◽  
pp. 223
Author(s):  
Sándor Somogyi ◽  
András Ricz

This paper deals with the terms of creative economy and creative industry as well as their rising economic power and employment capacity. The original concept of creative class by Florida is accepting that all those devoted to science as well as engineers, architects, designers, and employees in fields of education, arts and entertainment industry fall within this class. Moreover, the qualified experts from the areas of business, finance, law and health belong to the mentioned class. Among the researches made in Hungary, the findings by Ságvári (2008) seem especially relevant, since he expands the term of creative economy beyond cultural industry with other creative and knowledge-intensive ones. Global and business competitiveness of Serbia as well as its innovative capacity lags far behind the neighbouring countries, except Bosnia and Herzegovina. We do not possess adequately prepared management layer capable of answering the requirements of the world market. In order to check this assumption we provided a survey among managers wondering how much they know and apply management methods applied in competitive economies, as well as if there are opportunities for applying sophisticated business methods. The paper underline that the business incubator and its innovative services will provide a stable background for local, in most of the cases start-up businesses, due to which, after the incubation period, they will come out to the market strengthened and they will be able to hold on in domestic and international competition.

Arsitektura ◽  
2018 ◽  
Vol 16 (2) ◽  
pp. 185
Author(s):  
Nabila Hanif Farah ◽  
Ana Hardiana ◽  
Mohamad Muqoffa

<p>Surakarta City is designated as National Activity Center (PKN) on the National Spatial Plan (RTRWN) in the development of the creative economy sector. The determination is reinforced by Bekraf Developer Day 2017 and the Economic Census of the Central Bureau of Statistics which shows that Surakarta has more than 1250 creative workers. 65.75% of them have no place to work, so they do their work at home and or cafe. Problems that arise are how to design facilities and comfortable workspace so that the creative workers can make presentations and discussions with colleagues without being disturbed by the noise of other cafe visitors, or by family activities at home. In order to connect between start-up and creative workers, and to create a comfortable workspace to improve productivity and creativity of its users, is required collaborative working space (office) for creative industry workers and start-up in Surakarta City. The design of collaborative working space is done by collecting primary and secondary data through interviews, observation, precedent study, book literature study, local regulations, articles, and news. The data sets are then analyzed and synthesized to produce the concept of the space character criteria and the concept of the shape and appearance of the space which is then transformed into a collaborative working space design that supports the productivity and creativity of its users in Surakarta.</p>


Author(s):  
Denny Kusuma

One of the characteristics of millennials is being creative. However, this creativity has not been utilized fully due to the absent of spare rooms to be used, whilst the main drive of creative industry is millennials themselves. The government begins to realize the importance of the emergent creative industry that can play a big role in the overall economy of the country. So, the government is currently trying to provide various spaces to accommodate them, likewise supporting them to open up to possibilities and innovation that drives them towards the creation of start-up companies. Millennial Hub that is situated at Grogol functions as a space for millennials to co-share, co-develop, open up ideas and creativity in order to assemble start-up companies or innovative produces that can increase the creative economy on a nationwide or global scale. Here, there are two main programs: millennial hall and creative hub. Both spaces support each other – creative hub functions as a space for the millennial generation to develop their creativity, meanwhile millennial hall functions as a space for them to exhibit their own creative innovations so as to be acknowledged by the public that can help in the investment on the nation or global scale.AbstrakSalah satu karakteristik millennial adalah kreatif, di mana kreativitas millennial ini belum tersalurkan secara maksimal dengan adanya wadah-wadah yang dapat menampungnya, sedangkan pendorong utama industri kreatif utama saat ini adalah generasi millennial tersebut. Pemerintah pun mulai menyadari akan pentingnya industry kreatif ini untuk mendorong perekonomian negara. Oleh karena itu maka pemerintah mulai membuat wadah-wadah untuk menampung dan juga mendorong generasi millennial ini untuk menyalurkan hingga akhirnya membentuk perusahaan-perusahaan baru dalam bidang industri kreatif. Pusat Kegiatan Kaum Millenial atau Millennial Hub yang terletak di Grogol ini difungsikan sebagai wadah bagi generasi millennial untuk saling berbagi, mengembangkan dan menyalurkan ide dan kreativitas mereka hingga akhirnya mereka dapat membentuk dan menghasilkan perusahaan start-up maupun sesuatu yang berguna untuk meningkatkan ekonomi kreatif baik skala nasional maupun internasional. Di dalam Pusat Kegiatan Kaum Millenial ini terdapat 2 program utama yaitu Balai Millennial dan Pusat Kreativitas dimana kedua program ini saling mendukung satu dengan lainnya dimana Pusat Kreativitas difungsikan sebagai wadah bagi generasi millennial untuk menyalurkan dan mengembangkan kreativitasnya, sedangkan Millennial Hall difungsikan sebagai wadah bagi mereka untuk menunjukkan hasil dari kreativitasnya tersebut hingga diketahui dan diakui oleh masyarakat dan dapat dibantu kembangkan hingga skala nasional maupun internasional.


2020 ◽  
Vol 5 (1) ◽  
Author(s):  
Yudi Amboro ◽  
Adityayoga Adityayoga

Animation is one of the flagship products of creative industry which grow rapidly, under Bekraf (Indonesian Creative Economy Board) film, animation, and video sub sector. The high quantity of animation production in Indonesia can be shown through several animation projects which currently still in production stage or already circulated, whether in the form of serialization for TV or in the form of movie on silver screen. Therefore, the study of animation made in Indonesia nowadays is needed more than before. As an art form, animation is also a media that can be deconstructed for each of its aspect, historically, socially, theoretically, and critically. Animation in its visual form is using various element and technique that common in visual media design. This technique historically can be look down to past media that already used before the advent of animation. One of the important visual elements of animation film is visual character element. Visual character is an embodiment of characterization from the scenario. The embodiment done through the design of visual character that made to facilitate the movement in order to make audience understand the story. Character design and its movement in animation through the detail planning must be able to show its personality. In order to show it, the designer uses various technique and methods such as: acting and expression which achieved through character visualization of gesture, movement, voice and other form of body language. Many form of that character visual expression not only used for delivering the story but also to convey meaning to audience. One of the popular genres of animation made in Indonesia is a fairytale (dongeng) animation. Fairytale animation derives its story from folklore (cerita rakyat) of Indonesia. Though it is a misconception the folklore is considered as children friendly story therefore deemed appropriate to be used as animation story for children. One of the popular folklore or fairytale stories that often adapted for animation is Timun Mas story. This animation character gesture study hopefully can be considered as the way to enriching the study of animation as media in Indonesia and in the end can be use to further study of methods and process of character design in animation.


Author(s):  
Rewindy Astari Surbakti ◽  
Doddy Yuono

The 21st century is known as the industrial revolution 4.0 which changes the economy among people who grow together with modernity and technology systems. It proves that the development of human thinking on creativity will greatly affect the development of the creative economy, but this has made the market begin to be abandoned by new generations and switch to e-commerce systems. The existence of an epidemic that has begun to spread in people's lives is also one of the factors that have changed the world economy and made the market begin to be abandoned. Changes in the world economy will require revitalization so that this is used as a foundation in the formation of the Screen Market integrated with the digital system to polarize the economy. The new generation is the key to the development and balance of the economy in technology, this is in line with the entrepreneurial nature and character of the new generation, which makes them prefer to develop as start ups. The revitalization of the economic center will become a forum for interaction with the surrounding environment so that the characteristics of the formation of interaction space are the basis and the beginning of the screen market. The screen market is located on Jl Arjuna Utara which is surrounded by malls, offices, universities, making the type of retail being marketed a creative sub-sector, namely culinary with local products, fashion retail, and also craft retail managed by start ups so it is hoped that the screen market can accommodate interaction and creatively combined with digital developments. Keywords: Economy; Market; New Generation; Technology. Abstrak Abad ke-21 dikenal dengan terjadinya revolusi industri 4.0 yang mengubah  perekonomian  di kalangan masyarakat yang bertumbuh bersama dengan sistem modernitas dan juga teknologi. Membuktikan bahwa perkembangan pemikiran manusia terhadap kreativitas akan sangat memengaruhi perkembangan ekonomi kreatif tetapi hal ini menjadikan pasar mulai ditinggalkan oleh generasi baru dan beralih pada sistem e-commerce. Adanya wabah yang mulai merambat dikehidupan masyarakat juga menjadi salah satu faktor yang merubah perekonomian dunia dan menjadikan pasar mulai ditinggalkan. Perubahan perekonomian dunia ini akan membutuhkan revitalisasi sehingga hal ini dijadikan sebagai landasan pijakan dalam pembentukan Pasar Layar yang dipadukan dengan sistem dari digital sebagai polarisasi perekonomian. Generasi baru merupakan kunci dari perkembangan dan keseimbangan perekonomian dalam teknologi, hal ini sejalan dengan sifat dan watak entrepreneur yang dimiliki oleh generasi baru sehingga menjadikan mereka lebih memilih berkembang sebagai start up. Revitalisasi pusat perekonomian ini akan menjadi wadah interaksi dengan lingkungan sekitar sehingga adanya karakteristik pembentukan ruang interaksi sebagai dasar dan awal dalam pasar layar. Pasar layar berada di Jl. Arjuna Utara yang dikelilingi oleh mall, kantor, universitas menjadikan jenis retail yang dipasarkan merupakan subsektor kreatif yaitu kuliner dengan produk lokal, retail fashion dan juga retail kriya yang dikelola start up sehingga diharapkan Pasar Layar mampu menampung antara interaksi dan kreatif  yang dipadukan dengan perkembangan digital.


2012 ◽  
Vol 30 (4) ◽  
pp. 372-385 ◽  
Author(s):  
Olli Kuivalainen ◽  
Sami Saarenketo ◽  
Kaisu Puumalainen
Keyword(s):  
Start Up ◽  

2018 ◽  
Vol 154 ◽  
pp. 01088
Author(s):  
Dwi Adi Purnama ◽  
Riadho Clara Shinta ◽  
Vembri Noor Helia

Indonesia has several creative economy sectors that rapidly developed and potentially can be improved to 7% annually. One of them is textile industry specifically bag industry. This industry’s development could enhance the production of commodities and emerge other SMEs to initiate the similar field. Therefore, to raise its profit, customer’s satisfaction must be elevated by minimizing defected products. In order to support it, an improvement on production process is a must. This research employs Six Sigma methods integration with Fuzzy Analytical Hierarchy Process (Fuzzy AHP)-Failure Mode and Effect Anlysis (FMEA). Six Sigma is designated to analyze the level of products’ defect through Define, Measure, Analyze, Improve, and Control (DMAIC) stages and assess the factors that cause the defects by using Fuzzy AHP decision support system and FMEA in risk analysis on defect. The result of the research shows the shortage of defects that demonstrated by DPMO indicator and Sigma level. It is identified that the number of DPMO was being reduced from 20003.75 to 11185.73. While Six Sigma level demonstrated the enhancement from 3.61 to 3.86. Those suggest that the improvement solution provides has significant effect on the defects decreasing at the bag convection industry.


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.


AKSEN ◽  
2020 ◽  
Vol 5 (1) ◽  
pp. 16-31
Author(s):  
Gavrila Wibowo ◽  
Failasuf Herman Hendra ◽  
Dian Pramita Eka Laksmiyanti

creative economy becomes one of priorities which is feasible to develop because the strength of creativeeconomy does not depend on the exploitation of natural resources instead of human resources. Art works,architecture, technology innovation, animation, and other creative products are derived from creativeideas of human thoughts. These phenomena have encouraged people’s enthusiasm to create innovationand require support from Creative Economy Agency which is specifically responsible for monitoring andguiding the creative economy.The Central Building of Creative Economy Agency is planned and designedin Surabaya as an effort to provide facilities for developing the Office of Creative Economy Agency.The facilities are designed in such a way so as to support Surabaya as the metropolitan city which isenvironmentally friendly and interesting for business doers particularly start-up business. Designing the buildingarchitecture is carried out through a series of phases beginning from project identification, precedent study,design program, concept, and development. The approach of Out of the Box theme is used as the point ofview which is different from the usual in terms of land order, shape, and space configuration. So as to producebuildings Is carried out by continuing and changing or transforming the office building from the standardized andrigid characters into flexible and relaxed office without altering the culture of behavior inside. It does not leave theusers’ culture or habit including those who want to work autonomously. Keywords: Sustainable Architecture, Creative Economy, Out Of the Box


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