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The book aims to counter the normative functioning of creativity in contemporary capitalism with a plethora of alternatives to radical creative practices. In the first part, titled “Creative Capitalism”, five authors analyze the forms of contemporary capitalism: on the one hand, there are new ways of working which include flexibility, mobility, and especially precarity; on the other, there are new forms of recovery and accumulation. In the second part, titled “Multitudinous Creativities: Radicalities and Alterities”, the book reflects on more autonomous creative experiments in the world. The third part, titled "Creativity, New Technologies, and Networks", analyses the issues related to the work of creative capitalism and the possible resistance within the digital and collaborative platforms.
Bill Gates is not only the world's most successful capitalist; he's the world's biggest philanthropist. Gates has approached philanthropy the same way he revolutionized computer software: with a fierce ambition to change the rules of the game. That's why at last year's annual meeting of the World Economic Forum in Davos, Switzerland, Gates advocated a 'creative capitalism', in which big corporations should integrate doing good into their way of doing business. This controversial new idea is discussed and debated by the more than 40 contributors to this book, among them three Nobel laureates and two former U.S. cabinet secretaries. Edited by author and columnist Michael Kinsley, Creative Capitalism brings together some of the world's best minds to engage Gates's challenge. From Warren Buffet, who seconds Gates's analysis, to Lawrence Summers, who worries about the consequences of multiple corporate objectives, the essays cover a broad spectrum of opinion. Creative Capitalism is not just a book for philanthropists. It's a book that challenges the conventional wisdom about our economic system, a roadmap for the new global economy that is emerging as capitalism adapts itself once again to a changing world.
Bill Gates is not only the world's most successful capitalist; he's the world's biggest philanthropist. Gates has approached philanthropy the same way he revolutionized computer software: with a fierce ambition to change the rules of the game. That's why at last year's annual meeting of the World Economic Forum in Davos, Switzerland, Gates advocated a 'creative capitalism', in which big corporations should integrate doing good into their way of doing business. This controversial new idea is discussed and debated by the more than 40 contributors to this book, among them three Nobel laureates and two former U.S. cabinet secretaries. Edited by author and columnist Michael Kinsley, Creative Capitalismbrings together some of the world's best minds to engage Gates's challenge. From Warren Buffet, who seconds Gates's analysis, to Lawrence Summers, who worries about the consequences of multiple corporate objectives, the essays cover a broad spectrum of opinion. Creative Capitalismis not just a book for philanthropists. It's a book that challenges the conventional wisdom about our economic system, a roadmap for the new global economy that is emerging as capitalism adapts itself once again to a changing world.
This handbook is the first-of-its-kind comprehensive overview of fantasy outside the Anglo-American hegemony. While most academic studies of fantasy follow the well-trodden path of focusing on Tolkien, Rowling, and others, our collection spotlights rich and unique fantasy literatures in India, Australia, Italy, Greece, Poland, Russia, China, and many other areas of Europe, Asia, and the global South. The first part focuses on the theoretical aspects of fantasy, broadening and modifying existing definitions to accommodate the global reach of the genre. The second part contains essays illuminating specific cultures, countries, and religious or ethnic traditions. From Aboriginal myths to (self)-representation of Tibet, from the appropriation of the Polish Witcher by the American pop culture to modern Greek fantasy that does not rely on stories of Olympian deities, and from Israeli vampires to Talmudic sages, this collection is an indispensable reading for anyone interested in fantasy fiction and global literature.
Creativity is getting new attention in today’s America––along the way revealing fault lines in U.S. culture. Surveys show people overwhelmingly seeing creativity as both a desirable trait and a work enhancement, yet most say they just aren’t creative. Like beauty and wealth, creativity seems universally desired but insufficiently possessed. Businesses likewise see innovation as essential to productivity and growth, but can’t bring themselves to risk new ideas. Even as one’s "inner artist" is hyped by a booming self-help industry, creative education dwindles in U.S. schools. Anxious Creativity: When Imagination Fails examines this conceptual mess, while focusing on how America’s current edginess dampens creativity in everyone. Written in an engaging and accessible style, Anxious Creativity draws on current ideas in the social sciences, economics, and the arts. Discussion centers on the knotty problem of reconciling the expressive potential in all people with the nation’s tendency to reward only a few. Fortunately, there is some good news, as scientists, economists, and creative professionals have begun advocating new ways of sharing and collaboration. Building on these prospects, the book argues that America’s innovation crisis demands a rethinking of individualism, competition, and the ways creativity is rewarded.
Today, when it seems like everything has been privatized, when austerity is too often seen as an economic or political problem that can be solved through better policy, and when the idea of moral values has been commandeered by the right, how can we re-imagine the forces used as weapons against community, solidarity, ecology and life itself? In this stirring call to arms, Max Haiven argues that capitalism has colonized how we all imagine and express what is valuable. Looking at the decline of the public sphere, the corporatization of education, the privatization of creativity, and the power of finance capital in opposition to the power of the imagination and the growth of contemporary social movements, Haiven provides a powerful argument for creating an anti-capitalist commons. Capitalism is not in crisis, it is the crisis, and moving beyond it is the only key to survival. Crucial reading for all those questioning the imposition of austerity and hoping for a fairer future beyond it.
This is a major work by three international scholars at the cutting edge of new research that investigates the emerging set of complex relationships between creativity, design, research, higher education and knowledge capitalism. It highlights the role of the creative and expressive arts, of performance, of aesthetics in general, and the significant role of design as an underlying infrastructure for the creative economy. This book tracks the most recent mutation of these serial shifts - from postindustrial economy to the information economy to the digital economy to the knowledge economy to the 'creative economy' - to summarize the underlying and essential trends in knowledge capitalism and to investigate post-market notions of open source public space. The book hypothesizes that creative economy might constitute an enlargement of its predecessors that not only democratizes creativity and relativizes intellectual property law, but also emphasizes the social conditions of creative work. It documents how these profound shifts have brought to the forefront forms of knowledge production based on the commons and driven by ideas, not profitability per se; and have given rise to the notion of not just 'knowledge management' but the design of 'creative institutions' embodying new patterns of work.
This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games - the origin of all cultural activity, the dialectic chaos-order, axial civilizations - the germ of our time, and the struggle between generations - a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken. Juan A. Roche Cárcel is a professor of sociology of culture and the arts at the University of Alicante (Spain). He is the author of numerous books and articles on culture and arts and president of the committee for the sociology of emotions at the Spanish Federation of Sociology (FES).
Creativity loosely refers to activities in the visual arts, music, design, film and performance that are primarily intended to produce forms of affect and social meaning. Yet, over the last few decades, creativity has also been explicitly mobilized by governments around the world as a ‘resource’ for achieving economic growth. The creative economy discourse emphasizes individuality, innovation, self-fulfillment, career advancement and the idea of leading exciting lives as remedies to social alienation. This book critically assesses that discourse, and explores how political shifts and new theoretical frameworks are affecting the creative economy in various parts of the world at a time when creative industries are becoming increasingly ‘industrialized.’ Further, it highlights how work inequalities, oligopolistic strategies, competitive logics and unsustainable models are inherent weaknesses of the industrial model of creativity. The interdisciplinary contributions presented here address the operationalization of creative practices in a variety of geographical contexts, ranging from the UK, France and Russia, to Greece, Argentina and Italy, and examine issues concerning art biennials, museums, DIY cultures, technologies, creative writing, copyright laws, ideological formations, craft production and creative co-ops.
The condition of precariousness not only provides insights into a segment of the world of work or of a particular subject group, but is also a standpoint for an overview of the condition of the social on a global scale. Because precariousness is multidimensional and polysemantic, it traverses contemporary society and multiple contexts, from industrial to class, gender, family relations as well as political participation, citizenship and migration. This book maps the differences and similarities in the ways precariousness and insecurity in employment and beyond unfold and are subjectively experienced in regions and sectors that are confronted with different labour histories, legislations and economic priorities. Establishing a constructive dialogue amongst different global regions and across disciplines, the chapters explore the shift from precariousness to precariat and collective subjects as it is being articulated in the current global crisis. This edited collection aims to continue a process of mapping experiences by means of ethnographies, fieldwork, interviews, content analysis, where the precarious define their condition and explain how they try to withdraw from, cope with or embrace it. This is valuable reading for students and academics interested in geography, sociology, economics and labour studies.