International Journal of Cultural and Creative Industries Management of ICT-based Creative Industries: Has the Medium Muddled the Message (original) (raw)
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A framework for the transformation of the incumbent creative industries in a digital age
IFKAD - International Forum on Knowledge Asset Dynamics - 10th Edition, 2015
Purpose -New business models emerged within the creative industries when advances in information and communication technologies (ICTs) altered the patterns of cultural consumption worldwide. Digital technologies altered the way creative products were created, produced, reproduced, distributed, and commercialised at national and international levels. In the face of the continual emergence of digital disruptions, the traditional, existing sector is failing to rapidly enough adapt. The purpose of the paper is to provide a better understanding of an emerging framework for the transformation of incumbent cultural and creative enterprises in a digital age, called The AmbITion Approach.
A framework for the transformation of the creative industries in a digital age
The creative industries sector faces a constantly changing context characterised by the speed of the development and deployment of digital information systems and Information Communications Technologies (ICT) on a global scale. This continuous digital disruption has had significant impact on the whole value chain of the sector: creation and production; discovery and distribution; and consumption of cultural goods and services. As a result, creative enterprises must evolve business and operational models and practices to be sustainable. Enterprises of all scales, type, and operational model are affected, and all sectors face ongoing digital disruption. Management consultancy practitioners and business strategy academics have called for new strategy development frameworks and toolkits, fit for a continuously changing world. This thesis investigates a novel approach to organisational change appropriate to the digital age, in the context of the creative sector in Scotland. A set of concepts, methods, tools, and processes to generate theoretical learning and practical knowing was created to support enterprises to digitally adapt through undertaking journeys of change and organisational development. The framework is called The AmbITion Approach. It was developed by blending participatory action research (PAR) methods and modern management consultancy, design, and creative practices. Empirical work also introduced to the framework Coghlan and Rashford’s change categories. These enabled the definition and description of the extent to which organisations developed: whether they experienced first order (change), second order (adaptation) or third order (transformation) change. Digital research tools for inquiry were tested by a pilot study, and then embedded in a longitudinal study over two years of twenty- one participant organisations from Scotland’s creative sector. The author applied and investigated the novel approach in a national digital development programme for Scotland’s creative industries. The programme was designed and delivered by the author and ran nationally between 2012-14. Detailed grounded thematic analysis of the data corpus was undertaken, along with analysis of rich media case studies produced by the organisations about their change journeys. The results of studies on participants, and validation criteria applied to the results, demonstrated that the framework triggers second (adaptation) and third order change (transformation) in creative industry enterprises. The AmbITion Approach framework is suitable for the continuing landscape of digital disruption within the creative sector. The thesis contributes to practice the concepts, methods, tools, and processes of The AmbITion Approach, which have been empirically tested in the field, and validated as a new framework for business transformation in a digital age. The thesis contributes to knowledge a theoretical and conceptual framework with a specific set of constructs and criteria that define first, second, and third order change in creative enterprises, and a robust research and action framework for the analysis of the quality, validity and change achieved by action research based development programmes. The thesis additionally contributes to the practice of research, adding to our understanding of the value of PAR and design thinking approaches and creative practices as methods for change.
The quest for non-technological innovation in creative industries
Non-technological innovation is an essential asset for firms in the creative industries to survive and succeed in an increasingly competitive market. However, research on disruptive non-technological innovation is insufficiently documented, leading to questions about the role and relationship between the main non-technological innovations: business model innovation (BMI) and management innovation (MI). Greater understanding of the advantages of each innovation positioning and their significance for innovation performance is critical for cultural industries where unpredictability and the accelerating pace of change pervade the innovation decisions. Drawing on four exemplary cases of archaeological firms in Spain, this paper explores the innovation process dynamics found in such cases. The study argues that, in order to cope with the changing dynamics of their activity, creative firms need disruptive business model innovation and, at the same time, a portfolio of complementary organiz...
Where the art is: defining and managing creativity in new media SMEs
Creativity and innovation …, 2002
This paper examines the definition and management of creativity in the 'creative industries'. Initially the paper sets out the economic and cultural context for the emergence of the creative industries, before going on to argue that there are gaps in our understanding of the role of creativity and particularly the management of creativity within these industries. Based on research undertaken with new media SMEs in the North West of England, the paper then explores the ways in which creativity is defined and managed within this sub-sector. It is shown that the meanings attached to creativity are variable and contested and that the precise definition and management of creativity is strongly determined by the internal workplace culture, and the external social and economic conditions within which firms operate. It is further suggested that while creativity is often seen as a 'must have' attribute for new media firms it may also, conversely, be considered a barrier to commercial success. The paper concludes that if we are to understand work and production in the creative industries, and offer institutional support for firms to develop and sustain creativity for competitive advantage, it may be necessary to develop a more detailed understanding of the role of creativity and creative management as both a general and specific, socially embedded process.
Reflections on a Governance Model for Creative Industries
Diagnosen und Handlungsoptionen, 2009
We are witnessing the industrialization of culture on a global scale -entering a time when the creative arts skills will be right at the centre of wealth creation, and thus of business, and thus of governance. Simon Evans, speech delivered at the Creative Clusters Conference 2007 1 A INTRODUCTION: THE CREATIVE ECONOMY
The evolving Creative Industries: From original assumptions to contemporary interpretations
2003
This is a set of thoughts about where Creative Industries has gone as a research and policy idea since its inception in 1997. I would like to thank and acknowledge all those people who are working in this area here at QUT and elsewhere in the city and broader, because I have certainly learnt a lot of what I am going to talk about today from them, and from the collaborative research and learning environment that we have got here. I am going to talk a little about the origins, then talk about the idea of creative industries, its wide dissemination in different parts around the world and thirdly I am going to look at where the research and policy agenda is heading six years on from its inception. 1.0 Origins The term in only really six years old. It was developed for the first time by the Creative Industries Taskforce in the UK in 1997. The incoming Blair Government developed a task force of interdepartmental and industry representation to develop this idea. The inception was 1997, their first report was delivered in 1998 and then a revision/update of that report in 2001. The definition which many of you will be well familiar with: 'activities which have their origin in individual creativity skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property'-is a definition of the creative industries which has remained remarkably accepted as the idea has developed and disseminated around the world. There were thirteen industry sectors and what's impressive I suppose about this definition, is that it is so ambitious, it runs the risk of being so broad as to be incoherent while insisting that there is a connection between these thirteen sectors, and that the connection is that they all have their origin in individual skill, creativity and talent. They all have the potential for wealth and job creation through the exploitation of intellectual property. So does that definition connect all those in a productive and coherent way? What about the ambitiousness of this definition? The Department of Culture, Media and Sport template, this definition and this aggregation of these 13 sectors is worth thinking a little bit about. When Blair came in, he restructured the Department of Heritage to a Department of Culture, Media and Sport and this was seen as very much a sign of change after the long duree, the long period in power of the Conservatives in the UK under Margaret Thatcher and John Major. Keep in mind that the definition is very much about the national, rather than the sub-national, that is the regional, or the super-national. It's very much a national definition, it's about national branding. The third point is that it was a branding exercise of what was already was well-established. It's not first and foremost a brought to you by CORE View metadata, citation and similar papers at core.ac.uk
Technovation, 2010
The challenge of governance in the creative and cultural industries
This paper will take the opportunity to reflect upon the question of cultural policy in the 21st Century. It highlights the factors, thus far overlooked, that will need to be taken into account. It argues that the old models of cultural policy making will no longer work, or are not fit for purpose, due to the changing nature of culture and the cultural economy. The paper will map out these changes needed as a prelude to rethinking cultural policy making.
Theorising creative industry management: rebooting the woolly mammoth
Management Decision, 2015
The overarching intent for this special issue was to showcase research and thinking which highlights the challenges and paradoxes of 'mainstream' management and its applicability (or otherwise) to 'managing' the creative industries. This was an interesting challenge given the stated aim of Management Decision is to '…stimulate the interests of business scholars, leaders, and professional managers around the world', an audience surely interested in management theory and practice, rather than creativity per se. As a consequence, the articles included in this volume focus on observations that take place within the creative industries using the language and conventions of management research and theory. In practical terms, the intention of the editorial team is to avoid the risk of 'telling' creative managers how to do their job, instead helping to identify where management theory may assist the process. Where research is concerned, the objective is to add to advances in current management knowledge and, just as importantly, to identify gaps where management scholars and practitioners might learn from successes, experiences and failures in the management of the Creative Industries. As a case in point, we pose the following question: