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This manual has been designed and written with the purpose of introducing key concepts and areas of debate around the "creative economy", a valuable development opportunity that Latin America, the Caribbean and the world at large cannot afford to miss. The creative economy, which we call the "Orange Economy" in this book (you'll see why), encompasses the immense wealth of talent, intellectual property, interconnectedness, and, of course, cultural heritage of the Latin American and Caribbean region (and indeed, every region). At the end of this manual, you will have the knowledge base necessary to understand and explain what the Orange Economy is and why it is so important. You will also acquire the analytical tools needed to take better advantage of opportunities across the arts, heritage, media, and creative services.
The New York Times bestselling author of The Element gives readers an inspirational and practical guide to self-improvement, happiness, creativity, and personal transformation. You, Your Child, and School is forthcoming from Viking. Sir Ken Robinson’s TED talk video and groundbreaking book, The Element, introduced readers to a new concept of self-fulfillment through the convergence of natural talents and personal passions. The Element has inspired readers all over the world and has created for Robinson an intensely devoted following. Now comes the long-awaited companion, the practical guide that helps people find their own Element. Among the questions that this new book answers are: • How do I find out what my talents and passions are? • What if I love something I’m not good at? • What if I’m good at something I don’t love? • What if I can’t make a living from my Element? • How do I do help my children find their Element? Finding Your Element comes at a critical time as concerns about the economy, education and the environment continue to grow. The need to connect to our personal talents and passions has never been greater. As Robinson writes in his introduction, wherever you are, whatever you do, and no matter how old you are, if you’re searching for your Element, this book is for you.
The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to ‘becoming creative’ books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can – and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets.
"Moving from age-old warnings about the influence of the cultural industry to a tentative embrace of a global creative society, Terry Flew′s new book provides an excellent overview of this exciting field. Warmly recommended for students and policymakers alike." - Mark Deuze, Indiana University "A comprehensive text on the state of the art of the creative industries... a running commentary on the ebb and flow of both the academic debates (from cultural studies, cultural economics, organisational studies, economic geography and urban sociology) and the policy initiatives that seek to frame the field for outsiders. An ideal primer." - Andy C Pratt, King′s College London The rise of creative industries requires new thinking in communication, media and cultural studies, media and cultural policy, and the arts and information sectors. The Creative Industries sets the agenda for these debates, providing a richer understanding of the dynamics of cultural markets, creative labour, finance and risk, and how culture is distributed, marketed and creatively re-used through new media technologies. This book: Develops a global perspective on the creative industries and creative economy Draws insights from media and cultural studies, innovation economics, cultural policy studies, and economic and cultural geography Explores what it means for policy-makers when culture and creativity move from the margins to the centre of economic dynamics Makes extensive use of case studies in ways that are relevant not only to researchers and policy-makers, but also to the generation of students who will increasingly be establishing a ′portfolio career′ in the creative industries. International in coverage, The Creative Industries traces the historical and contemporary ideas that make the cultural economy more relevant that it has ever been. It is essential reading for students and academics in media, communication and cultural studies.
Laikwan Pang offers a complex critical analysis of creativity, creative industries, and the impact of Western copyright laws on creativity in China.
This book offers an original critical evaluation of how freelance careers can be established and sustained in the increasingly uncertain global creative economy. Developing from the author’s theoretical and empirical research at the nexus of precarious work and entrepreneurial learning, it provides an in-depth understanding of why and how creatives can learn to become entrepreneurial and how this relates to creative entrepreneurship. This book traces how arts work became creative labour and explores the contemporary organisation of artistic and creative practices to understand practical alternatives to the individualised careers we currently feel responsible for maintaining. Inspired particularly by the work of Raymond Williams, creative work is reconceptualised as practice-based collaborative learning encounters through which we might put shared feelings of precarity to work towards the production and practice of alternative possibilities. Accessible and concise, breaking down complex concepts through practical examples and linking the creative process to entrepreneurial learning, this book will be of interest to students, educators and researchers studying and working in the creative economy.
Interdisciplinary, internationally focused, policy-informed, and strategic, this book sets out agendas for advancing research into creative industries as a productive and innovative intervention in public policy. With contributions from leading scholars, policy and industry specialists, this Research Agenda will be a vital resource for students and academics working in the fields of communication, culture, film and media, geography, business and policy studies, and Internet and social media studies.
Creative Industry practices are increasingly manifested through hybrid models and methods and emerging sub-sectors. With ever finer dividing lines between form and content, product and service, participation and consumption, the distinctions between sectors are increasingly blurred, while new, convergent models emerge. Reflecting this fluid context, this book provides a new perspective on strategy in the Creative Industries. Based on extensive original research and live empirical data derived from case studies, interviews, and observations with creative managers, it reveals strategic decision-making by analysing business manoeuvres and stages of innovation in the Creative Industries. Through analysing the interactive features of aesthetically driven information assets, and how new user/consumer cultures are applied, it uncovers the principles that are transforming strategy in the Creative Industries. This innovative volume will be of significant interest to scholars, advanced students and practitioners in the Creative Industries as well as well as industry consultancies and practitioners.
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
Creativity is said to be the fuel of the contemporary economy. Dynamic industries such as film, music, television and design have changed the fortunes of entire cities, from Nashville to Los Angeles, Barcelona to Brisbane and beyond. Yet creativity remains mercurial – it is at the heart of industrial innovation and can attract investment, but it is also an intangible, personal quality and experience. What exactly constitutes creativity? Drawing on examples as diverse as postcard design, classical music, landscape art, tattooing, Aboriginal hip-hop, and rock sculpture, this book seeks to explore and redefine creativity as both economic and cultural phenomenon. Creativity also has a peculiar geography. Beyond Hollywood, creativity is evident in suburban, rural and remote places – a quotidian, vernacular, eclectic enterprise. In seeking to redefine the creative industries, this book brings together geographers, historians, sociologists, cultural studies scholars and media/communications experts to explore creativity in diverse places outside major cities. These are places that are physically and/or metaphorically remote, are small in population terms, or which because of old industrial legacies are assumed by others to be unsophisticated or marginal in an imaginary geography of creativity. This book reveals the richness and depth, the challenges and surprises of being creative beyond city limits. This book was originally published as a special issue of Australian Geographer.