“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.

The Three Bigs – ‘Everyone’ ‘Everything’ ‘Everywhere’

The three bigs – ‘Everyone’ ‘Everything’ ‘Everywhere’

Social systems have Heisenberg principles all over the place, for we cannot predict the future without changing it.

(Kenneth Boulding, 1981: 44)

Conceptual Community-Formation

We want to take account of the distribution of the creative industries idea and its implementation as much as its origin. We think its underlying potential emerges as much in the process of diffusion and adaptation to new circumstances as it does in resolving some of the arguments and hostilities that beset the concept.

The geographer Russell Prince (2010: 121) has observed that:

The rapid diffusion of creative industries policy is the result of so many policymakers, activists, council and government officers, cultural entrepreneurs, researchers, and academics from so many places being able ...

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