Suchergebnisse

Chapter 1: Introduction -- Chapter 2: Film making as a creative ecosystem: The case of Soho in London -- Chapter 3: The performing arts ecosystem in Abu Dhabi: Sustainability, resilience, and local capacity building -- Chapter 4: From Strangers to a Designer Community: An Ecosystem Perspective of Creative Hub formation in Taipei City -- Chapter 5: Understanding the role of creative networks for cultural and creative industries: The case of Creative Cardiff -- Chapter 6: SESC: A Brazilian music ecosystem orchestrator -- Chapter 7: Bristol's Film and Television Industries: An Incremental Ecosystem -- Chapter 8: From metaphor to measurement of popular music ecosystems: Putting diversities at the heart of resilience -- Chapter 9: Relative Values in the multidimensional impact in arts: the case of Contact Theatre -- Chapter 10: The Global Creativity Index: National Creativity Ecosystems and their Relationship to Economic Development and Inequality -- Chapter 11: Why a better understanding of the ecosystems of cultural production could have a major impact on public policy -- Chapter 12: Exploring the Productivity Drivers in Zimbabwe's Creative and Cultural Industries: Towards Resilient Creative Ecosystems -- Chapter 13: In denial, artists in the UK creative economy: A focus on artist-led businesses -- Chapter 14: Networks for inclusion -- Chapter 15: Keeping to the Margins: Understanding the role of symbolic violence and institutional fields in creative ecosystems.

This book develops important new insights into the conditions that enable effective collaborations between arts and humanities researchers and SMEs in the creative economy. Drawing on the work of Creativeworks London, an AHRC-funded Knowledge Exchange Hub for the Creative Economy, this is an in-depth study of how co-created and collaborative research projects work on the ground and will be of immense value to all these audiences. Chapters by researchers and practitioners examine a range of collaborative research projects supported by Creativeworks London's vouchers, which cover a large number of creative industry sectors and academic disciplines. The book identifies key learning from these projects that has wider relevance for academics, funders, policy makers, and SMEs in the creative economy. Morag Shiach is Professor of Cultural history at Queen Mary University of London, UK, where she is also Director of Creativeworks London and Vice-Principal for Humanities and Social Sciences. Her publications include Modernism, Labour and Selfhood in British Literature and Culture; Feminism and Cultural Studies; Hélène Cixous: A Politics of Writing; and Discourse on Popular Culture. Dr. Virani obtained his PhD from King's College London, UK. He is a full time researcher for Creativeworks London research project at Queen Mary University of London, UK. His research interests include the role of knowledge in the cultural economy, artistic knowledge within locally bounded artistic communities, and new work spaces in the creative and cultural economy

The aim of this paper is to explore the debate about defining a small firm, or a small and medium-sized enterprise (SME), and examining the relevance of this concern to the creative industries and creative businesses. The first part of this paper navigates this formation, and the positioning of the idea of small business within economic and political thought. The second part explores how the concept of small business is operationalized as SMEs, and the challenges of classification and empirical definition. The final part reflects on the implications for the understanding and usage of the term 'creative SME'. ; The aim of this paper is to explore the debate about defining a small firm, or a small and medium-sized enterprise (SME), and examining the relevance of this concern to the creative industries and creative businesses. The first part of this paper navigates this formation, and the positioning of the idea of small business within economic and political thought. The second part explores how the concept of small business is operationalized as SMEs, and the challenges of classification and empirical definition. The final part reflects on the implications for the understanding and usage of the term 'creative SME'. ; Arts and Humanities Research Council (AHRC)

Intro -- Contents -- Notes on Contributors -- List of Figures -- List of Tables -- 1 Introduction -- Creative Hubs in Question: Space, Place and Work in the Creative Economy -- Creative Hubs View Through 3 Lenses -- Political Discourse -- Economic Discourse -- Social/Cultural Discourse -- If Creative Hubs Are the Answer, What Was the Question? -- Introducing the Collection -- Bibliography -- Part I Looking Inside the Cluster -- 2 Herding Cats: Co-work, Creativity and Precarity in Inner Sydney -- The Co-work Spectrum -- Passion Projects, Precarity and the Promise of Co-work -- The Right to the Metropolitan Workplace -- Conclusion -- References -- 3 Curating Strangers -- Introduction -- The Rise of Shared Workspaces -- Co-working Spaces as Creative Hubs -- Organising Distributed Creativity or How to Curate a Co-working Space -- Practices of Social Curation in Creative Hubs -- Assembling and Arranging -- Selecting -- Caring -- Mediating -- Meaning Making and Translating -- Exhibiting and Displaying -- Conclusion -- References -- 4 Creative Hubs, Cultural Work and Affective Economies: Exploring 'Unspeakable' Experiences for Young Cultural Workers -- Introduction -- Hubs and Cultural Work -- The Sample -- The (Psychosocial) Benefits of Working in Creative Hubs -- The Economic Benefits of Hubs -- Social Benefits -- Creative Hubs and Affective Pressures -- Narratives of Failure and Shame -- Compulsory Sociality -- Enthusiasm and the Disavowal of Critique -- Conclusion -- References -- 5 Hubs vs Networks in the Creative Economy: Towards a 'Collaborative Individualism' -- Introduction -- Not for the Shy: Networking in the Creative Industries -- From Networking to Coworking -- Creative Hubs as Heterotopic Spaces -- Exploring 'Collaborative Individualism' -- Conclusion -- References.