This chapter argues for en engagement with the actions, performances and practices of the experiencing subjects that "make place" in the experience economy
For more than a decade, we’ve been waging a war on our kids in the name of the 20th Century’s model of “copyright law.” In this, the last of his books about copyright, Lawrence Lessig maps both a way back to the 19thcentury, and to the promise of the 21st. Our past teaches us about the value in “remix.” We need to relearn the lesson. The present teaches us about the potential in a new “hybrid economy” — one where commercial entities leverage value from sharing economies. That future will benefit both commerce and community. If the lawyers could get out of the way, it could be a future we could celebrate.
What happens to democracy and free speech if people use the Internet to listen and speak only to the like-minded? What is the benefit of the Internet's unlimited choices if citizens narrowly filter the information they receive? Cass Sunstein first asked these questions in 2001's Republic.com. Now, in Republic.com 2.0, Sunstein thoroughly rethinks the critical relationship between democracy and the Internet in a world where partisan Weblogs have emerged as a significant political force.
Med bakgrunn i at Norsk kulturindeks 2011 nå gir et kvantitativt mål på kulturbruk og kulturaktivitet i norske kommuner, utforsker notatet om vi kan finne noen sammenhenger mellom kulturnivået og hvor attraktive kommuner og regioner er for tilflytting. Når vi også korrigerer for andre faktorer som også påvirker flytting, viser ingen av analysene at kultur har noen signifikant påvirkning på nettoflyttingen. Sett i lys av rådende oppfatninger i norsk regionalpolitikk, mener vi at dette er oppsiktsvekkende: At kommuner med mye kultur ikke er mer attraktive som bosted enn kommuner med lite kultur.
This article develops a critique of the recently popularized concepts of the ‘creative class’ and ‘creative cities’. The geographic reach and policy salience of these discourses is explained not in terms of their intrinsic merits, which can be challenged on a number of grounds, but as a function of the profoundly neoliberalized urban landscapes across which they have been traveling. For all their performative display of liberal cultural innovation, creativity strategies barely disrupt extant urban-policy orthodoxies, based on interlocal competition, place marketing, property- and market-led development, gentrification and normalized socio-spatial inequality. More than this, these increasingly prevalent strategies extend and recodify entrenched tendencies in neoliberal urban politics, seductively repackaging them in the soft-focus terms of cultural policy. This has the effect of elevating creativity to the status of a new urban imperative — defining new sites, validating new strategies, placing new subjects and establishing new stakes in the realm of competitive interurban relations.
In today’s information economy, knowledge and creativity are fast becoming powerful engines driving economic growth. This will have profound implications for trade and development. For advanced industrial economies, the information economy is already a leading edge from which national wealth flows and a key to improving competitiveness. Globally, creative industries are estimated to account for more than 7 per cent of the world’s gross domestic product and are forecast to grow, on average, by 10 per cent a year. While the economic and employment-generating potential of these industries is vast and many developing and transition countries have great potential in this area, most are still marginal players, despite their rich cultural heritage and an inexhaustible pool of talent. That position reflects a combination of domestic policy weaknesses and global systemic biases. Ongoing research by the UNCTAD secretariat has emphasized the potential of these industries in developing countries. Creativity, more than labour and capital, or even traditional technologies, is deeply embedded in every country’s cultural context. Excellence in artistic expression, abundance of talent, and openness to new influences and experimentation are not the privilege of rich countries. With effective nurturing, these sources of creativity canopen up new opportunities for developing countries to increase their shares of world trade and to “leap-frog” into new areas of wealth creation.
An increasingly important fraction of contemporary economic activity is devoted to the production of cultural outputs, i.e. goods and services with high levels of aesthetic or semiotic content. This kind of economic activity is especially, and increasingly, associated with a number of large cities scattered over the globe. A conceptual account of this phenomenon is provided on the basis of an exploration of the character of place-specific forms of culture generation and the agglomerative tendencies of many kinds of cultural products industries. The empirical cases of Los Angeles and Paris are briefly discussed. The dynamics of production, distribution and location of major cultural products industries are also examined. The paper ends with a brief allusion to the modalities of spatial differentiation of culture in contemporary capitalism and to a prospective cultural politics.
The Immersive Internet: Reflections on the Entangling of the Virtual with Society, Politics and the Economy
The internet has begun to develop into a much more immersive and multi-dimensional space. Three dimensional spaces and sites of interaction have not just gripped our attention but have begun to weave or be woven into the fabric of our professional and social lives. The Immersive Internet – including social media, augmented reality, virtual worlds, online games, 3D internet and beyond – is still nascent, but is moving towards a future where communications technologies and virtual spaces offer immersive experiences persuasive enough to blur the lines between the virtual and the physical. It is this emerging Immersive Internet that is the focus of this book of short thought pieces – postcards from the metaverse – by some of the leading thinkers in the field. The book questions what a more immersive and intimate internet might mean for society and for each of us.
This chapter explores the way in which the creation of films and TV programs is achieved by bringing together people with a very diverse range of skills, knowledge, and occupations into a project-based production process.
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