|In From the Margins addresses culture (which unlike education is difficult to harness to immediate economic returns) from a wider developmental point of view and offers the Council of Europe and its member states an opportunity to reflect on the importance they attach to culture from a new, integrated and comprehensive perspective. The report's central themes are two interlocking priorities: to bring the millions of dispossessed and disadvantaged Europeans in from the margins of society and cultural policy in from the margins of governance. A new alliance between culture and development should enable this change to occur.|
Instead of exploring the global/local logic of glocalization, this case study specifically concentrates on a form of local-to-local spatial dynamics. The spatial history of Hong Kong underground bandrooms is exploited to illustrate the translocal reproduction of spatiality. While the construction of this space was translocally inspired by music subculture from abroad, local spatiality absorbs transborder subcultural energies and re-channels them to become discursive resources for resisting local governmentality and the work- and-spend culture of transnational capitalistic discourse. Translocally inspired and locally accomplished, this underground site becomes a heterotopia in which very different spatial functions are set in juxtaposition. Beside inward heterotopian compression, it also connects outwardly to other translocal spaces of clubs, discos, hip-hop fashion shops and other localized spaces. This web of interconnected spaces provides and organizes the lifeworlds of a community of local graffitians, DJs and musicians, who mobilize transborder hip-hop and rock culture to construct and maintain a radically translocalized spatiality.
This article attempts to define and measure cultural industries in Sweden. It starts with a discussion of the definition and delineation of the term "cultural industries," arguing that a large range of goods and services can be considered culture industry products and that it is important to place the production and exchange of such products in the context of an industrial systems approach. The concept is then operationalized using Swedish data on employment and the activity of firms. The results suggest that the overall growth in both employment and the number of firms has been especially strong in the cultural industries. However, the number of active firms has been growing at a much faster pace than employment in these industries, indicating a quickly changing business environment. With regard to regional dimensions, Swedish cultural industries have a strong attraction to urban areas but an even stronger propensity to agglomerate. It is suggested that the spatial dynamics observed may be key to the development of the industries' competencies and success. In summary, the article presents the results of an extensive data analysis that found that cultural industries make an important contribution to the Swedish economy and labor market. It concludes by suggesting issues that need further quantitative and qualitative study.
I samfunnsdebatten hevdes det ofte at aviser, bøker og kringkasting, på samme måte som scenekunst, opera, ballett, teater og konsertvirkomhet, har kulturelle verdier ut over den verdi disse varene og tjenesene blir verdsatt til i markedet. Man kan derfor ikke legge vanlige økonomiske lønnsomhetsbetraktninger til grunn når man skal vurdere disse næringers samfunnsmessige betydning. I denne utredningen tas denne påstand opp til kritisk drøfting. Utredningen tar sikte på å vise at eksistensen av kulturelle verdier eller andre eksternaliteter i medienæringene og i de næringer som produserer scenekunst, bør analyseres og korrigeres for på noenlunde samme måte som eksistensen av eksternaliteter blir trukket inn i samfunnsøkonomiske analyser av andre næringer. Man kan si at samfunnsøkonomi gjelder i realiteten akkurat dette, at summen av markedets utallige avgjørelser, avgjørelser som presumptivt er privatøkonomisk lønnsomme, ikke nødvendigvis adderer seg opp til noe som er samfunnsøkonomisk lønnsomt eller optimalt. Spørsmålet er derfor heller hvorvidt de eksternaliteter vi vil stå overfor i medienæringene, de forhold som fører til at det er avvik mellom privatøkonomisk og samfunnsøkonomisk lønnsomhet i disse næringene, er forskjellige fra de eksternaliteter som kan forekomme i andre næringer. Det faglige spørsmål blir hvordan myndighetene bør vurdere og eventuelt korrigere for de eksternaliteter som gjør seg gjeldende for kultur- og medievirksomheten.
This article introduces a new form of collaborative web-based editing which has become increasingly popular in recent years. It involves web users as reporters and co- roducers for specialist news sites by allowing them to submit their own news reports and pointers to relevant articles elsewhere on the web, and sometimes even hands over editorial control to the online community altogether. Websites of this type move on from traditional journalistic gatekeeping approaches, where editors publish only what they regard as 'fit to print', to what is here termed gatewatching, where almost all incoming material is publicised, but with varying degrees of emphasis. Gatewatching sites frequently become major repositories of specialist information, turning into resource centre sites for their interest community, and are particularly common on the fringes of the open source software development movement. Some of these sites can be seen to directly apply open source ideals (direct involvement of the community, open access to all aspects of the development process) to the reporting of news, in effect making news itself an open source
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.
From cultural to creative industries An analysis of the implications of the “creative industries” approach to arts and media policy making in the United Kingdom
This article analyses the cultural policy implications in the United Kingdom of a shift in terminology from cultural to creative industries. It argues that the use of the term “creative industries” can only be understood in the context of information society policy. It draws its political and ideological power from the prestige and economic importance attached to concepts of innovation, information, information workers and the impact of information and communication technologies drawn from information society theory. This sustains the unjustified claim of the cultural sector as a key economic growth sector within the global economy and creates a coalition of disparate interests around the extension of intellectual property rights. In the final analysis, it legitimates a return to an artist‐centred, supply side defence of state cultural subsidies that is in contradiction to the other major aim of cultural policy – wider access.
This article analyses and contextualises a variety of relationships between the cultural industries and cultural policy. A principal aim is to examine policies explicitly formulated as cultural (or creative) industries policies. What lies behind such policies? How do they relate to other kinds of cultural policy, including those more oriented towards media, communications, arts and heritage? The first section asks how the cultural industries became such an important idea in cultural policy, when those industries had been largely invisible in traditional (arts‐ and heritage‐based) policy for many decades. What changed and what drove the major changes? In the second section, we look at a number of problems and conceptual tensions arising from the new importance of the cultural industries in contemporary public policy, including problems concerning definition and scope, and the accurate mapping of the sector, but also tensions surrounding the insertion of commercial and industrial culture into cultural policy regimes characterised by legacies of romanticism and idealism. We also look at problems surrounding the academic division of labour in this area of study. We conclude by summarising some of the main contemporary challenges facing cultural policy and cultural policy studies with regard to the cultural industries. The piece also serves to introduce the contributions to a special issue of International Journal of Cultural Policy on the cultural industries and cultural policy.
Framtidsbåten - med kreative næringer som last og destinasjon. En antologi over kunst- og kulturbasert næringsutvikling, kreative møteplasser og skapende arbeidsfellesskap
This thesis aims to analyse consumers’ motivation to contribute financially to a project that wants to create something new. An extensive literature and a desk research led to the development of 15 hypotheses. Ten direct effects on the intention to invest, as well as four mediating and one moderating effect were identified. A fictional exemplary crowdfunding project and an associated questionnaire were developed to test the conceptual model. The results of 196 respondents illustrated various values that drive the intention to invest in a crowdfunding project. Significant values were found within the value dimensions financial value, quality performance value, social value and emotional value. Furthermore a positive moderating effect of lead user characteristics on the intention driving value personal utility was found.
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