Creative Economy and Culture: Challenges, Changes and Futures for the Creative Industries
Publication Year: 2015
“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 ...
- Front Matter
- Back Matter
- Subject Index
Part I: The Challenge
- Chapter 1: Economy + Culture + Technology = Newness
- Chapter 2: The Big Picture – Spheres Enveloping Spheres
- Chapter 3: The Three Bigs – ‘Everyone’ ‘Everything’ ‘Everywhere’
- Chapter 4: The Creative Industries ‘Moment’
- Chapter 5: Back to First Principles
- Chapter 6: Creative Industries to Creative Economy
Part II: Forces and Dynamics of Change: The Three Bigs in Action
- Chapter 7: Technology
- Chapter 8: Economy (1) Makers
- Chapter 9: Economy (2) Scenes
- Chapter 10: Geography (1) – BRICS
- Chapter 11: Geography (2) – MINT, etc.
Part III: Future-Forming (with Three Buts)
SAGE was founded in 1965 by Sara Miller McCune to support the dissemination of usable knowledge by publishing innovative and high-quality research and teaching content. Today, we publish more than 850 journals, including those of more than 300 learned societies, more than 800 new books per year, and a growing range of library products including archives, data, case studies, reports, and video. SAGE remains majority-owned by our founder, and after Sara's lifetime will become owned by a charitable trust that secures our continued independence.
Los Angeles | London | New Delhi | Singapore | Washington DC
© John Hartley, Wen Wen and Henry Siling Li 2015
First published 2015
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers.
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Editor: Chris Rojek
Assistant editor: Gemma Shields
Production editor: Katherine Haw
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Frontispiece: Global Media Culture[Page v]
The Shakespeare Duck: Globe Theatre Shop, London.[Page vi]
List of Figures[Page ix]
- 1.1 Culture and technology, exhibit A: ‘TV happiness shared by all the family!’ 1951 advertisement (Time Magazine) 12
- 1.2 Culture and technology, exhibit B: ‘Over 100,000 people live in tiny “cubicle apartments” in the city [Hong Kong] … Residents go about their lives in these confined spaces, sleeping in one corner, eating in another, storing their belongings in a third, and perhaps watching a TV that's found in a fourth’ 13
- 2.1 The Earth System: the geosphere and biosphere combined 17
- 2.2 Preserved for posterity: V.I. Vernadsky's grave in Moscow – protected by a perspex box 19
- 2.3 A conjectural diagram showing the growth of human knowledge, correlated with changes in media technologies (x axis) and successive economic epochs (y axis) 21
- 6.1 Four phases of the creative industries – from industry clusters and services to creative citizens and cities 70
- 6.2 Urban semiosis: cities as incubators of social network markets 78
- 7.1 Jiaoshou's mask and his online avatar 90
- 7.2 Cover pages of Jiaoshou Weekly94
- 7.3 The tombstone of Toulushe (Disclosure Agency) 95
- 8.1 Growth of Maker Faires 108
- 12.1 ‘Ceci tuera cela’: illustration for Hugo's Notre Dame de Paris170
- 12.2 Control: not the opposite of chaos but a position of ‘liquidity’ or ‘antichaos’ in a ‘poised system’ 176
- 12.3 Order, chaos, poise and policy 178 [Page x]
- 13.1 Paul Baran's 1964 diagram 182
- 13.2 Total household stocks of home appliances and electronics in China, 2011 193
- 14.1 Tavi Gevinson at Makers: Women Who Make America, New York 227
About the Authors
We would like to acknowledge the Australian Research Council, which supported much of the research on which this book is based, especially:
- John Hartley received an Australian Research Council Federation Fellowship, The Uses of Multimedia: Citizen Consumers, Creative Participation and Innovation in Australian Digital Content (FF0561981), 2005–10.
- Part of the research was conducted at the Australian Research Council Centre of Excellence for Creative Industries and Innovation (SR0590002), 2005–13 (Cultural Science programme).
The views expressed herein are those of the authors and not necessarily those of the Australian Research Council.
We are grateful to the Faculty of Humanities at Curtin University, which supported Wen Wen to make an extended visit to Western Australia in order to facilitate the preparation of this book. Similarly, we are grateful to the Institute for Cultural Industries (SICI), Shenzen University and especially to Professor Li Fengliang, for supporting John Hartley and Henry Siling Li to visit Shenzhen. Curtin University Centre for Culture and Technology (CCAT) supported Hartley and Li during the course of the research on which the book is based, and enabled us to get on with writing it up.
We are grateful to our colleagues at SAGE Publications, especially Chris Rojek, who commissioned the title, Gemma Shields and Delayna Spencer, our editors, and Katherine Haw, our production editor.
Parts of Chapters 4 and 5 are adapted and updated from John Hartley's introduction to Lucy Montgomery (2010), China's Creative Industries: Copyright, Social Network Markets and the Business of Culture in a Digital Age. Cheltenham: Edward Elgar. The idea of ‘urban semiosis’ was trialled in Hartley's ‘Urban Semiosis: Creative Industries and the Clash of Systems’, [Page 232]International Journal of Cultural Studies, 18(1), 2015. Parts of Chapter 7 are adapted from Li, Henry Siling (2012) Seriously playful: The uses of networked spoof videos in China, PhD thesis, Queensland University of Technology. Parts of Chapters 8 and 9 are adapted from Wen, Wen (2012) Scenes, quarters and clusters: New experiments in the formation and governance of creative places in China, PhD thesis, Queensland University of Technology.
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