Glad to hear we can blame Lou for the dot-com bust as well as the credit crunch. Yes, the question of value is more philosophical than empirical. And many problems could have been avoided if this simple truth — that we all value things differently — had been understood. But this is actually a question of economics.
Hey, but I absolutely love your three characters. And I have an idea that you could use — create inspirational, motivational wallpapers with your three characters and their quotes. The 21st Century Creative Foundation Course. Additional menu Twitter Facebook Medium iTunes In the last post we looked at the converging economic forces that make creativity a hot property in the 21st century.
These changes have given rise to the idea of the creative economy. The Creative Economy One of the books that inspired me to specialise in consulting in the creative sector was The Creative Economy by John Howkins, in which he identifies creativity as central to the emerging 21st century global economy. John Howkins, The Creative Economy So the physical components of a DVD, laptop or Picasso are of trivial value compared to the intellectual property value of the film, design or art they embody.
Richard Florida, The Rise of the Creative Class The key difference is that in the creative economy it is not enough to store, process or analyse information — it must be creatively transformed into something new and valuable. The Creative Class There are other ways of defining the creative economy. Brave New World or Castles in the Air? So how can we navigate this uncertain future? Comments Interesting point about the volatility of creative products. I never thought of that before. Thanks Dee, good suggestions.
Posts like these are excellent vindication for members of the creative class. Great site, guys! Good luck! View a selection of re-publishable facts, figures, statistics and infographics from across the Creative Industries.
Browse a variety of business resources, ranging from tax advice to bookkeeping tips. Curated by Moore Kingston Smith. Get our free monthly newsletter. Thank you! You are now subscribed to our newsletter. Something went wrong while submitting the form. Creative Industries Council. More info. Accept All Cookies. Cookies Preferences. Cookies used to deliver advertising that is more relevant to you and your interests.
Cookies allowing the website to remember choices you make such as your user name, language, or the region you are in. Cookies helping understand how this website performs, how visitors interact with the site, and whether there may be technical issues. Creative industries growth surge continues Creative industries continued to power the growth of the UK's workforce last year, adding new posts at twice the rate of the rest of the economy, according to official data.
Popular Facts and Figures. PVC is not the only organization to define a quality job. Another leader in promoting quality jobs was the Hitachi Foundation, with its program Good Companies Work. The nearly Pioneer Employers profiled are mostly in the manufacturing and healthcare industries, although four are in the culinary arts.
They do so by strengthening the mechanisms within their control through targeted employment practices and policies, strategic deployment of human resources, revamped production and service models, and management follow-through. These four companies, operating in the highly competitive, low-margin retail space, manage to deliver good customer service and strong investor returns while also providing quality jobs. Defining quality jobs for the creative economy. While many experts and organizations are tackling the challenge of creating quality jobs in the 21st century, few of those active on the quality jobs issue take into account the growing creative economy and its likely impact on the job market.
A premise of many discussions about quality jobs is that, in the past, the manufacturing economy offered respectable, fulfilling jobs that paid a living wage and, in the present, the service economy offers low-paying jobs that do not garner the same level of respect and fulfillment as the manufacturing jobs of yore.
This premise naturally leads to two objectives: How do we boost manufacturing, and how do we turn service jobs into higher quality jobs? Whether a fallacy exists in the underlying premise is a debate for another place and time. Little research addresses whether jobs at Creative Businesses are quality jobs and, if they are not, how to turn jobs at Creative Businesses into higher quality jobs.
When defining a quality job, several factors applicable to many workers in the creative economy are not addressed. Many creatives pursue individual artistic practices outside of the role where they earn a living.
So having a flexible work schedule and independent work environment is critical. Similarly, having a job that allows a person to exercise his or her creativity may outweigh, in part, certain of the PCV factors. Some creatives find intangible benefits to exercising their creativity that are not captured in the PCV definition.
Self-employment and freelancing are widespread in the creative economy. Intangible benefits tied to exercising creativity, benefit portability, flexibility, and independence are not adequately reflected in the PCV and similar definitions. In its entirety, the project will consist of several appointments, each one on a different key topic and taking place in a different European capital, ideally drawing out a full cycle of proactive reflection that covers a wide spectrum of innovative, policy-relevant issues calling for attention, fresh ideas, and joint commitment from institutions, stakeholders and communities worldwide.
The scope of the project therefore cuts across different policy areas and communities: culture, research, education, innovation, with a special focus on younger generations in view of the future on which and for which it is built. The first Platform, devoted to the relationship between heritage and social innovation, took place in Dublin in April It experienced a broad level of participation and generated many valuable insights.
This first event confirmed the hypothesis that the idea of a solution-oriented initiative may be useful and timely. Now is the moment to proceed further. The second area on which the project focuses is the digital sphere, which is currently a frontier for research, experimentation and development of new models and practices in the heritage field.
But this relationship goes far beyond the digitisation of heritage, or the potential of new digital platforms for expanding our capacity to experience heritage. It offers the possibility to reconstruct and re-live what had been lost, or more generally to boost the sensory and emotional impact of heritage-related experiences, and our capacity to connect experience and data, so as to allow a more profound, moving, and motivating approach.
The connection between heritage and the digital sphere may be regarded as a frontier of innovation, which can attract new generations of creators and technologists into a field where Europe has, and can further reinforce, a distinctive positioning and a recognized leadership at the global level.
This can pave the way for new jobs, companies, and forms of cultural, social and economic value for local communities, while at the same time reinforcing and rejuvenating the relationship between heritage and European territories. The digital sphere may be a powerful accelerator of change, which fully harnesses the potential of heritage as a source of cultural, social and economic value.
However, for this to happen the right conditions have to be created. The digital revolution is very recent, and we still have to learn how to establish the right dialogue between the quickly changing hi-tech landscape where new technologies and tools keep on flowing in, and the heritage world that is accustomed to think in terms of historical time and long durations.
The digital sphere may be a catalyst that offers the possibility to re-define and even to re-purpose our relationship to heritage, to turn it into an organic, living reality that seamlessly connects to our processes of thought and imagination.
This powerful synthesis requires a clear frame of mind and carefully chosen fields of experimentation and practice. Europe must be prepared to tackle this demanding challenge, and this Platform aims at providing very concrete insights and ideas on how to achieve this. For this Platform, three areas were identified that span some of the key issues that mark the complex relationship between heritage and the digital sphere:.
0コメント