Creative Economy, Cultural Industries and Local Development

The purpose of this paper is to draw a clear picture of creative and cultural industries and of the creative economy, as driving factors of economic growth and local development. To this aim, the paper analyzes some recent data on the significance of the creative economies, reflecting on the concepts of creative and cultural industries. In the text, attention is paid to the links between creative economy and local development on one hand, and the concepts of territorial capital and social capital on the other side. In the end, the work focuses on presenting the results of an in-progress study, about the recent literature on the mentioned issues, presenting a brief overview of some significant works

Industrie culturali ed economia creativa: il rapporto con lo sviluppo locale ed il capitale sociale

This paper aims at reflecting on the relationship among creative and cultural industries, creative economy and local development. In addition, the paper focuses on the link between local development, territorial capital and social capital. The essay explores, in the end, some significant works, chosen from the recent literature dealing with the theme of creative economies

INDUSTRIE CULTURALI ED ECONOMIA CREATIVA: IL RAPPORTO CON LO SVILUPPO LOCALE ED IL CAPITALE SOCIALE

This paper aims at  reflecting on the relationship among creative and cultural industries, creative economy and local development. In addition, the paper focuses on the link between local development, territorial capital and social capital. The essay explores, in the end, some significant works, chosen from the recent literature dealing with the theme of creative economies. DOI: http://dx.medra.org/10.19254/LaborEst.15.0

Platfospheres and sociocultural explosion of Web 2.0: The commercial centre of the digital semiosphere

This paper explores digital culture with the tools of cultural semiotics in general, and then employing the semiosphere model in particular. Web 2.0 platforms are taken as the major cultural dispositive of our time, as the most representative way in which the internet shapes digital culture. Most of the global population is currently immersed in digital culture. In the first part of the paper the striking similarities between Web 2.0 platforms and the semiosphere are explored and equivalences between the elements of the classic (Lotman’s) semiotic model and these platforms, or platfospheres, are identified. The second part explores the fundamental difference between the “genetic code” at the centre of the semiosphere (as conceived by Lotman), and the computer code and commercial algorithms at the core of the platfospheres that are responsible for their cultural operation. Then the parallels are examined that arise between the past cultural reality, in which the intellectual elite and academics were the driving force of culture, and the contemporary proactive (or even aggressive) core of the platfospheres, in which secret and patent-protected algorithms shape a cultural reality exclusively motivated by the logic of commercial success.  &nbsp

Urban semiosis: Creative industries and the clash of systems

© The Author(s) 2014. This article has two aims. The first is to make the case that the ‘universe of the mind’ imagined by Yuri Lotman may be considered as a foundational model for cultural evolution (population-wide, dynamic, autopoietic, self-organising adaptation to changing environments). The second aim is to take forward a model of culture derived from Lotman’s work – a model I call ‘the clash of systems’ – in order to apply it to creative industries research. Such a move has the salutary effect of putting the ‘universe of the mind’ literally in its place. That place, now, predominantly, is in the city. Thus, the article uses Lotman’s model of the semiosphere to link different complex systems, principally the semiosphere with that of the city, in order to explore the productive potential of encounters – clashes – between different systems. Applying these insights to the field of creative industries research, the article proposes that creative culture in the globalised, urban and web-connected era can be characterised as ‘urban semiosis’

MASKOT SEBAGAI PENCITRAAN KOTA (STUDI KOTA CIMAHI DAN MALANG)

Wilayah perkotaan merupakan entitas yang paling membutuhkan adanya program pencitraan. Kepentingan ini mengingat peran kota sebagai pusat ekonomis dan politis. Pada perkembangannya beberapa kota mengadopsi maskot sebagai figur visual dalam pencitraan kotanya. Penggunaan figur ini awalnya sebagai pembeda dengan wilayah lain, ternyata juga membawa nuansa kebaruan dalam proyeksi pencitraan yang layak untuk dikaji. Penelitian ini melihat keterkaitan wujud maskot dengan identitas kota sehingga mampu memberikan deskripsi mengenai maskot kota dan menemukan konsep aplikasi maskot kota. Penelitian menggunakan prinsip kualitatif dengan pendekatan keilmuan Desain Komunikasi Visual. Penyajian data dilakukan secara deskriptif analitik. Lokasi penelitian adalah Kota Cimahi dan Kota Malang yang dipilih berdasarkan kriteria: kemudahan akses data, ketersediaan responden di lapangan, entitas industri kreatif, aplikasi media yang sudah dilaksanakan, peran serta masyarakat, dan kinerja media. Pengumpulan data dilakukan melalui pengamatan berperan serta, wawancara mendalam, studi literatur, dan kelompok diskusi terarah (FGD). Data yang terkumpul kemudian dianalisis secara deskriptif, mengingat topik yang dibicarakan terkait erat dengan nilainilai yang menjadi identitas kota. Validasi data menggunakan triangulasi metode dan triangulasi sumber data. Triangulasi sebagai langkah pembuktian hasil temuan yang dijadikan novelty penelitian. Hasil penelitian menemukan kesimpulan rumusan konsep Anseun yang menjadi orisinalitas dari penelitian disertasi. Konsep Anseun adalah konsep terapan tiga jenjang (Antam, Seren, dan Unjal) yang semestinya dilakukan oleh pemerintah kota dalam mengadopsi maskot. Pola penerapan maskot yang unik ini sejalan dengan gambaran maskot yang bisa luwes diterapkan dalam berbagai media yang ada. Teknis tiga jenjang yang dibuat memiliki keterbukaan adanya kolaborasi antar elemen pemangku kepentingan kota dan terlepas dari tekanan politis dari pemangku kebijakan kota

Self-representation of Chinese Migrants Using Digital Storytelling for Social inclusion

Built upon previous digital literacy research, this study reveals opportunities for having a voice that the participatory practice of digital storytelling provides to Chinese international and internal migrants in Australia and China. It identifies potentialities and constraints for digital storytelling in forming and amplifying migrants’ individual voices. It argues that digital storytelling provides migrants with quality access to new media technologies and is useful as a research method for media production in the digital age

Creative industries in South Korea: the Korean wave

Treball Final de Grau en Administració d'Empreses. Codi: AE1049. Curs acadèmic: 2016/201

Incerteza e subjetividade no processo decisório de consumo/produção criativo : a (micro) economia criativa

Monografia (graduação)—Universidade de Brasília, Faculdade de Economia, Administração e Contabilidade, Departamento de Economia, 2015.Uma nova teoria microeconômica é necessária para estudar Economia Criativa. A atual teoria microeconômica que dá base às tomadas de decisão na Economia Criativa é a Teoria da Utilidade Esperada (TUE)(Blaug, 2001). A TUE em seus axiomas e teoremas considera apenas o lado racional da decisão humana e disso deriva o comportamento maximizado e racional dos agentes. Assim, apesar da TUE ser uma teoria acerca dos processos decisórios em contexto incerto, ao desconsiderar a subjetividade – e consequente incerteza – do agente, ela não consegue explicar certos paradoxos e outras peculiaridades do processo decisório, principalmente criativo. Assim, o principal argumento é o fato de que no estudo da Economia Criativa, relativa ao estudo econômico deatividades criativas - fruição e criação, tem como característica do agente a sua singularidade e subjetividade no momento de decidir (Potts, et al. 2014). Esta e outras características de Economia Criativa ajudam a construir um contexto de incerteza que causa ainda mais apelo à subjetividade no processo de tomada de decisão de consumo/produção criativo/artístico. Os argumentos são baseados em descobertas feitas por cientistas de diversas áreas, como as da Economia Criativa em si, mas também de vários outros campos de estudos, tais quais estudos sobre processos decisórios, incluindo também a Física Quântica, e Filosofia (Bohr, 1958)(Potts, et al. 2008)(Yukalov, et al. 2010).É neste contexto que a Teoria Quântica da Decisão (TQD) é apresentada.Como a estrutura matemática da TQD é a mesma usada como base para a compreensão da auto-organização em Sistemas Complexos Adaptativos (SCA), o próximo passo lógico é considerar estudos em Economia Criativa que considerem SCA. Somando-se as descobertas da TQD com o recente desenvolvimento dos estudos em Economia Criativa com perspectiva de SCA (Wen, et al. 2014)(Potts, et al. 2008),pelo menos alguma tentativa de explicar Economia Criativa como um SCA se faz necessária. ______________________________________________________________________ ABSTRACTA new microeconomic theory is needed in the field of study of Creative Economy. The current microeconomic theory used in Creative Economy is the Expected Utility Theory (EUT)(Blaug, 2001). The EUT only considers, in its axioms and theorems, the rational and of human decision making, thus, derive the maximizing and rational behavior of the agents. Therefore, despite the fact that the EUT is a theory developed to explain behavior under uncertainty, its lack of focus on the subjective – and consequent uncertain – aspect of human behavior, makes it difficult to explain some paradoxes and other peculiarities of the decision-making process, especially creative decision-making. Thus, the main argument is the fact that studies on Creative Economy, relative to the study of creative activities – fruition and creation, has as characteristic of the agent, the singularity and subjectivity in the moment of decision(Potts, et al. 2014). This and other characteristics of the Creative Economy help build a context of uncertainty that implies more subjectivity in the process of decision of creative production/consumption. The main line of argumentation are based in the discoveries made by scientists in diverse areas, such as Creative Economy itself, but also other varied field of studies, such as studies in decision-making process, containing discoveries in Quantum Physics, as well as Philosophy(Bohr, 1958) (Potts, et al. 2008) (Yukalov, et al. 2010). It is in this context that the Quantum Decision Theory (QDT) is presented. As the mathematical structure of QDT is the same used to model self-organizing behavior in Adaptive Complex Systems (ACS), the next logical step is to assess studies and researches in Creative Economy with this theoretical framework. Adding the discoveries of QDT to the recent development in Creative Economy (Wen, et al. 2014) (Potts, et al. 2008), at least some attempts to understand Creative Economy as ACS is necessary

Bases per a la renovació de l’espai comunicatiu valencià i la restitució del servei públic de radiotelevisió. Informe de la Comissió d’Experts en comunicació de les universitats valencianes (CECUV)

Informe encarregat pel Fòrum Social de l'Audiovisual Valenci