The authors examine the relationship between investment behavior of individual investors on crowdfunding platforms and the fundraising outcomes in crowdfunded ventures. They focus on investment characteristics of a network of co-investors in a focal venture on its crowdfunding growth at three stages - early, middle, and late. Using data on crowdfunding of music artists’ ventures, they find that in addition to the factors identified in previous research, network characteristics such as the cliquishness of co-investors as well as the breadth of their co-investments in other artists play a significant role in determining the growth of investments in crowdfunded music ventures. Authors also show that this role is particularly important in the late phase, as compared to the early phase, of investment growth.
This study provides a theoretical framework and empirical evidence regarding the impact of the online community on platform performance. It is theorized that online platforms, such as Kickstarter, consist not of a single community but rather a hierarchy of multiple, partially competing communities. The proposed framework allows to identify such communities’ changes and, consequently, to better identify pivotal members of online communities and predict their lifetime value as potential backers.
The document demonstrates the growth of the different community types and estimates their different impacts on crowdfunding performance over time. Interestingly, it is found that some communities, despite high participation rates, had negative impacts on crowdfunding campaign success. It is discussed managerial and practical implications of our theory and findings.
The article departs from empirical studies of two competitive firms in an organisationally thin region in Norway. The main question in the article is how these firms have achieved global competitiveness. The article focuses its inquiry on how the firms organise their innovation activity, giving special attention to the firms’ organisational learning and absorptive capacity. It is found that find that workplace learning enables the firms to utilise knowledge in uncommon ways. The learning rests on specific organisational traits in the firms, such as broad participation, long-term on-the-job training, the use of practice-based knowledge in innovation projects, and links to national and global knowledge sources. The characteristics of thin regions indicate that these traits make up a generally applicable strategy in such regions.
Conocimiento y valoración del « crowdfunding » en Comunicación: La visión de profesionales y futuros periodistas
Based on online sociological surveys, this article explores the knowledge and experience of crowdfunding of Andalusian journalists and students of journalism. The results show that, although journalists and journalism students are familiar with the phenomenon of crowdfunding, there are training gaps and few of them have direct experience as initiators or funders of projects. However, the perception of the potential of this approach for innovation and entrepreneurship in journalism is positive, except for those issues related to the financial independence and viability in the medium-term of the projects which have been started. The use of students and journalists in the sample, moreover, allows to outline the first prospective view of crowdfunding.
The concept of scene has long been used by musicians and music journalists to describe the clusters of musicians, promoters and fans, etc., who grow up around particular genres of music. Typically, this everyday usage of scene has referred to a particular local setting, usually a city or district, where a particular style of music has either originated, or has been appropriated and locally adapted. Examples here would include Chicago blues, New Orleans jazz and Nashville Country music, as well as numerous lesser known instances of local musical innovation and production.
Since the early 1990s, the concept of scene has also begun to acquire currency as an academic model of analysis. Scene’s significance in this respect has resulted partly from the criticism and rejection of prior theoretical frameworks used in research on music, and the local, notably subcultural theory (see, for example, Clarke, 1981; Bennett, 1999), and also due to the influential work on ‘‘art worlds’’ and cultural industries (Becker, 1982). Peterson and Bennett (2004) observe as an academic research model that the concept of scene can usefully be subdivided into three categories: local (Cohen, 1991; Shank, 1994), trans-local (Kruse, 1993; Hodkinson, 2002) and virtual (Kibby, 2000; Bennett, 2002). The purpose of this paper is to assess the different ways that scene has been conceptualised in academic research as a means of understanding music as a ‘resource’ in contemporary everyday life.
The concepts and roles of new, modern festivals of today are the most striking and the most visible within the field of culture. Alongside their popularity and multiple set of new “voices”, there come politics, money and business. Traditionally, this combination of thought and ideology would eventually escalate into a conflict of interests. Through empirical examples the author of this paper will give an outline of how such a conflict emerges by using the “model of conflict” by Eric Brahm. He will outline categories of agents within the field of festivals.
Context, cohesion and community: Characteristics of festival audience members’ strong experiences with music
This article reports the results of a study of volunteers' continuance commitment and reasons to quit at a festival. The study of 221 volunteers at a large jazz festival in Norway indicated that both motivational factors and factors related to the festival context were important in explaining volunteers' continuance commitment. Furthermore, about 30% of the volunteers had considered quitting as a volunteer. Reasons why they had considered quitting as volunteers at the festival were also identified.
"The most ambitious, thoughtful and internationally aware assessment to date of the creative economy. Defining creativity as the production of newness in complex, adaptive systems, the authors make the case that together the creative economy, along with other cultural outputs, represent a planet-wide innovation capability which marks an epochal turn in human affairs."
– Ian Hargreaves, CBE, Professor of Digital Economy, Cardiff University
Creativity, new ideas and innovation - and with them the growth of knowledge - have spilled out of the lab, studio and factory into the street, scene, and social media. Now, everyday life is productive, everyone is creative, and new ideas can come from anywhere around the world.
Instead of confining cultural expression to talented artists and expert professionals, this book investigates creative new ideas from everyone. Instead of confining the ‘creative industries’ to one sector of the economy and one type of productivity, this book extends the idea of creative innovation to everything. Instead of confining the growth of knowledge to wealthy countries or markets, this book looks for it in developing and emergent countries, everywhere.
The productivity of creativity can now be seen as a global phenomenon. It demands a systems-based and dynamic mode of explanation. Creative Economy and Culture pursues the conceptual, historical, practical, critical and educational issues and implications. It looks at conceptual challenges, the forces and dynamics of change, and prospects for the future of creative work at planetary scale.
It is essential reading for upper level students and researchers of the creative and cultural industries across media and cultural studies, communication and sociology.
This report compares the size and growth of the EU’s creative industries on a consistent basis.
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