Creative industries and bit bang – how value is created in the digital age (original) (raw)
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Newly emerging business models in the creative industries in the wake of increasing digitalisation
Zenodo (CERN European Organization for Nuclear Research), 2022
Version history table Version Date Modification reason Modifier(s) v.01 13.10.2021 The first draft circulated and revised within UTARTU Eneli Kindsiko (UTARTU), Ragne Kõuts-Klemm (UTARTU), Helen Eenmaa (UTARTU), Ingmar Pastak (UTARTU) v.02 20.04.2022 The second draft circulated and revised within UTARTU Helen Eenmaa (UTARTU) v.03 23.05.2022 Preliminary draft sent to peerreviewers Bartolomeo Meletti (UoG) v.04 10.06.2022 The third draft circulated and revised within UTARTU in response to comments from peer-reviewers Eneli Kindsiko (UTARTU), Ragne Kõuts-Klemm (UTARTU) v.05 16.06.2022 Full draft sent to peer-reviewers Helen Eenmaa (UTARTU) Legal Disclaimer The information in this document is provided "as is", and no guarantee or warranty is given that the information is fit for any particular purpose. The above referenced consortium members shall have no liability for damages of any kind including without limitation direct, special, indirect, or consequential damages that may result from the use of these materials subject to any liability which is mandatory due to applicable law.
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.
Value Construction in the Creative Economy. Negotiating Innovation and Transformation., 2020
As a mainstream construct the 'creative economy' has become part of the daily vernacular of the policy and praxis of economies, cities and regions, the workplace, and even society. The drive to become creative is to adopt a productionist lens in which the primary objective is to harness-or more literally, to convert-cultural capital for economic (capital) gain. Reducing complex aspects of the creative economy into simple, economic configurations is to at once restrict the focus of analysis to fewer mainstream activities and, in doing so, to restrict our understanding of this complex but important area of economic and social activity, producing a definitional and operational deficit. In this chapter, the imperative for policy and academia to prioritise new ways of thinking about what value means in the context of creative and cultural industries opens up new sectors and areas of social activity. When the experiences and techniques of other disciplines are brought into the frame, new approaches to enriching the evidence base follow. In this chapter and in a firm rebuttal of the productionist lens, the creative economy is framed through 'performing' in a way that views creativity through creative actions, rather than creative labels, leading to performance as doing, an art form, expression, power, process, and experience.
BUSINESS MODELS FOR THE CREATIVE INDUSTRIES: A LITERATURE REVIEW
Quaderno DEM, 2019
The topic of cultural and creative industries has been strongly debated by economics and business scholars over the last two decades. At the same time, the Business Model tool was developed. Assuming that both of the topics have created enormous debates among scholars and practitioners, the definition of cultural industries is shifting to the wider definition of creative industries. Such extension is meant to comprehend all of those industries and all of those sectors that are including dynamics of generation and exploitation of intellectual property. Such approach led to the embracing of a wide range of industries that were rarely associated to the cultural and creative domains in the past. Furthermore, the Business model has shifted from being an architecture specifically designed to serve the e-business, to a flexible yet hard to define “good-for-all” method to better understand and/or improve any kind of business. Surprisingly, studies on the Business model specifically applied to the Creative industries appeared to be fragmented. The present study aimed to briefly review the Business Models literature applied to the Creative industries, in order to measure how much the tool has been studied within the CCIs and through which lens and objectives. Additional goals have been the analysis of the subsectors within the creative industries that had already been treated from scholars prior, highlighting the ones that should be analyzed further in the future.
Creative Industries: A Typology of Change
Creative industries experience a variety of changes, which are driven by differing forces. However this variety may be understood by considering two dimensions: semiotic codes; the signifiers of symbolic value that consumers derive from products, and material base; the formats, fabrics, and physical human activities underpinning these products. We characterize four types of change, based on high and low change combinations with semiotic codes and material base: Preserve, Ideate, Transform and Recreate. This framework is applied to a range of creative industries, from mature sectors like museums, architecture and fashion, through the many transitions of film production, to contemporary digital advertising and online content creation. We show how each of the change types appear to have different drivers related to public policy, demand, technology and globalization, offering an alternative classification framework to guide creative industries scholars, practitioners, and policy makers.
Frontiers of Creative Industries: Exploring Structural and Categorical Dynamics
Research in the Sociology of Organizations, 2018
Creative industries seek to generate and capture economic value from individuals' creative input and cultural expression. They involve every aspect of our society, from the psychology of creativity, to management organization and practices to laws and public policy (Jones, Lorenzen & Sapsed, 2015). Given the breadth of theoretical perspectives, and also diverse range of empirical phenomena that comprise the creative industries, both scholars and practitioners have enumerated lists of what is or is not a creative industry in their struggle to define the term. Jones and colleagues (2015) offer an integrative perspective on how to reclassify creative industries based on rates of change in semiotic codes and the technical material base of the industry. Scholars and practitioners, however, do agree upon creative industries as a globally important area for both cultural expression and economic vitality of industrialized and emerging nations (Nathan et al., 2015). Creative industries anchor our cultural experience and order our economic lives. They offer products and services that range from prosaic to the sublime and shape what we consume every day, including advertising, art, architecture, music, fashion and wine. Because creative industries are essential to the
Conclusion: Value Constructs for the Creative Economy
2020
Reflecting on how thinking on the creative economy can be affected by the richness of different examples of value accumulated in this book, the chapter reiterates that we can no longer continue to rely on an axiomatic model, which positions economic value exclusively at the centre of the creative economy. There are inherent pitfalls in doing so and by way of alternative, an action-based framework for conceptualising value construction is outlined, which provides a richer understanding, and which is argued to be integral to processes and interactions, through performance as -doing, -art form, -process, and -power. Framing the different viewpoints of the creative economy through performance uncovers new vocabulary, which is outlined and examined: seeing, revealing, reinforcing, connecting, belonging, accumulating, resonating, expanding, sustaining, and converging.