This is a collection of works prepared by the participants of the 2011 Summer School "Creative Industries and a Creative Economy: Developing Academic and Applied Interdisciplinary Research and Projects" - fellows of the Oxford Russia Fund and project experts. Texts gathered together here will be of interest and useful to anyone who would like to become further acquainted with the theories and practices of creative industries and the creative economy, and will help paint a clearer picture of what is happening both within Russia and abroad.
Purpose – The purpose of this paper is to introduce findings of comparative analysis and various models based on cultural heritage resources to foster regional development.
Design/methodology/approach – Comparison of operational schemes, market positions and branding of three successful cultural heritage centers in Germany, Great Britain and Russia demonstrates a variety of regional development models based on cultural resources and tourism development, and reveals their advantages and disadvantages.
Findings – The paper evidences the potential of cultural resources and the tourism sector as drivers for regional development, and helps formulate basic recommendations for the Russian situation requiring elaboration of adequate financial and social instruments.
Originality/value – The paper provides a complex analysis of different operational models in three European countries with regard to specific national situations and specificity of heritage operational management.
The author considers the distinctive features of human factor in the innovation process management at industrial enterprises. He focuses on the cognitive and functional competences of a successful innovation manager. The basis of modern economy is involving creative activity in economic usage. Today in the struggle for the consumer acquisition of competitive advantages is impossible without building up the innovation environment at the enterprise, the essence of which lies in the commercialization of innovation activity.
This article examines the ways that novelty can operate as an emancipatory thrust within the creative field today. For this purpose, it first discusses how novelty is understood by creative economy rhetoric and demonstrates the ways that this understanding is incorporated in the actual production of works associated with the field. Whereas creative economy increasingly embraces the ‘poetics of the open work’ and recognizes the creative capacities of the audiences, it regards innovation as a quality that principally advances forms of competitive advantage. This emphasis on ‘openness’ often comes to mask the twofold exploitation of the audience- based labour and the (self-) exploitation of the creative worker. It will be argued that within the creative field today, novelty can operate as a force of emancipation only when it is articulated within emancipatory frameworks of respective value systems.
In this introduction we explore how creativity, loosely referring to activities around the visual arts, music, design, film, and performance, is mobilized by states and governments as a “resource” for 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. Drawing on the chapters in this volume, this introduction questions this discourse, exploring how political shifts and theoretical frameworks related to creative economy in different parts of the world at a time when the creative industries become more and more “industrialized.” We present the interdisciplinary contributions of volume that navigate a variety of geographical contexts, ranging from the United Kingdom, France and Russia to Greece, Argentina, and Italy, and explore issues around art biennials, museums, DIY cultures, technologies, creative writing, copyright laws, ideological formations, craft production, and creative co-ops.
This report presented by the Institute for Statistical Studies and Economics of Knowledge of the National Research University Higher School of Economics (HSE ISSEK) is dedicated to the statistical measurement of the creative economy of Moscow.
This publication gives a first ever classification of Moscow’s creative industries – sectors of the economy where the major part of gross value added is generated out of creative activity and intellectual property rights management, and provides a description of approaches to calculating key indicators of their economic and territorial development. Original assessments of creative employment and foreign trade of creative goods on the basis of official data sources, as well as infographic profiles of selected creative industries, are provided.
The report will be of practical interest to representatives of public authorities, managers and employees of companies, educational institutions, research institutes, experts and all involved in the creative economy agenda.
It is substantiated that creativity is a key competence in the transition from a commodity to an innovative economy. It is shown that intellectual property (IP) becomes the basis of the capitalization of creative potential. It is concluded that Russia's regions are not involved in the commercialization of IP rights. Breaking down barriers and dampening negative trends requires legal support and the advance of IP training programmes at regional universities.