angewendete Filter: creative industries
Indie game titles are reaping awards for creative achievements while gamification is proliferating across sectors. While the cultural sector often is traditionally a strong attraction for female professionals, games and the gaming industry are still considered a men's world. Aspects discussed in this second part of the study `Humans at Play´ are gender, AI and cross-innovation. It resonates with policy expressed in the 2023 Study of European video games sector and The state of the European game industry and how to unleash its full potential. (Hiltuten K. et al. 2024)
The games industry is increasingly becoming a recognised and important factor of the cultural economy. Unique in Europe, the first national survey of the industry in Bulgaria shows that this applies not only in terms of its economic outputs, but also regarding its spill-over effects on the wider cultural sector and beyond, for example in terms of employer attractiveness or future skills.
Cross-sector cooperation is becoming increasingly important for cultural professionals and creatives. Some Central and Northern European countries currently explore new ways to innovate society as well as their own work, and create new revenue streams.
SeriesCOVID 19
The pandemic has influenced the cultural and creative industries of most African countries. A look at current studies on the situation of the continent shows the extent of the consequences.
What are the convergences between the arts, the creative industries, and entrepreneurial activity? This question is the main focus of "Entrepreneurship in Culture and Creative Industries: Perspectives from Companies and Regions ". It is a timely and informative contribution to the field of arts management and administration from within the sector.
If leaders would approach emerging problems like designers, many products, services and procedures would become more functional, and would be able to create long lasting values for the organisation and society. For that reason we present a novel integrative education concept, the DIS.CO EXPERT leadership program. It is built on the interaction of different disciplines and the collaboration of different professions, and places business professionals into designer and artist roles, while designers and representatives of the creative disciplines are enforced to become leaders.
With revenues of US$2,250 billion, Cultural and Creative Industries (CCI) account for 3% of world GDP and employ 29.5 million people (1% of the worlds active population). This major contribution to the global economy is explained in a new study, jointly presented by the International Confederation of Societies of Authors and Composers (CISAC) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) at UNESCOs headquarters in Paris, France, and published by EY (formerly Ernst & Young).
Although already from 2013, this contribution hasn't lost any of it's relevance and can be transferred to a lot of countries at least in the western world. Nesta's Manifesto for the Creative Industries proposes ten system recommendations for a fresh policy that establishes the creative industries as a serious economic force throughout Europe and beyond.
The aim of this article is to address the importance of cross-sector collaboration within the creative industries. The paper contains research results about collaboration among two Amsterdam-based art factories. It discusses cross-sector collaboration, the paradox of collaboration and how public has an impact on this.
From 'Culture 2007-2013' to 'Creative Europe': new sectors, new focus, new mechanisms
With the last calls for Culture 2007-2013 closed, cultural and creative industry organisations are eagerly awaiting the launch the new framework programme for culture: 'Creative Europe'. This article gives an overview of this new programme, describes its funding priorities, and gives some pointers for organisations that already want to prepare for the next call.
Manuel Scheidegger and Janosch Asen are Berlin-based entrepreneurs who have developed a revolutionary technique that is changing the way people browse the web. Their recently developed tool allows people to creatively mix various web-sources into a single stream of animated content, which can then be shared with others to sit back and enjoy or actively browse. Viewers, for the first time, have the choice of leaning back and watching web-content mixed together like a movie, or they can dive inside and browse whatever catches their eye with a simple mouse-click. The two call this process "Creative Browsing". Their idea stems from a bold vision: a web rebuilt by people, where you dont surf with tabs or boring blue links, but through creative projects catered to your interests.
With the support of the Ministry of Culture, Interarts has recently launched a new resource dedicated to cultural industries; the FOMECC Website is aimed at providing information and useful tools to people and entities interested in the sector, particularly from Spain, Latin America and Africa. Available in Spanish, English and French, this new resource is developed in the framework of the Promotion of Cultural and Creative Industries (FOMECC) program which the foundation carries out in diverse countries in collaboration with local counterparts and the support of AECID.
IBUg 2011 the festival of urban culture in Germany goes into its sixth edition this year. From 26 August on more than 50 artists will transform a former textile combine in the West Saxon city of Meerane during a week-long creative phase into a work of art by graffiti, street art, urban art installations and performances. Also this year, many national and international artists like Ta55o, Tshunc, Flamat, Andy K, Jens Besser, Wurstbande, Atem, Hifi (all Germany), Chromeo (Switzerland), Ruskig (Sweden), Emilone (Austria), Faunagraphic und Rocket (Great Britain), Pixelpancho (Italy) Eon 75 and Subone (USA), Rallitox and Eme (Spain), Amin and Marchal Shaka (France), Enes (Netherlands) and many more have announced to IBUg.
Europe needs a Warhol Economy instead of a war economy said European Commissioner for Trade, Karel De Gucht, at the opening of the ENCATC-UA debate on managing the impact of the financial crisis in Europe.
Organised by ENCATC, the leading European Network in Cultural Management and Cultural Policy Education, in close partnership with the University of Antwerp, the European debate Opportunities of crisis: Managing the impact of the financial crisis in Europe, designing innovative strategies and forecasting possible futures took place in Brussels on the 7th of July 2011. The purpose of this event was to debate what the crisis ultimately means for policy-makers, leaders and managers in the cultural sector, and how cultural organisations can best adapt in this new changing environment.
The 15th annual network meeting of Arts Management Network will be in Tallinn, Estonia, from June 15th to 19th. As an open part of this visit, we organise a round table discussion about Cultural Districts and Entrepreneurship on Friday 17th June, at 4 pm in the Telliskivi District. Please feel invited to join the round table and the following dinner in order to share ideas and contacts! The aim of the Round Table is to share and change ideas about cultural districts and hubs; how are they useful? What are the expectations of city developers and politicians and how are cultural districts sustainable?
Culture permeates political, economic and social life across Oceania. Because indigenous peoples and practices have predominated across this region for hundreds and, in some places, thousands of years, culture is lived and directly influences the values, decisions and hopes of Pacific Island peoples.
IPR2 has published a working paper on Mapping the Cultural and Creative Sectors in the EU and China as part of an action plan to bring the cultural and creative industries (CCIs) together to exchange information and experiences on the functioning of both markets, and to help to shape policy and legislation.
CCIs are important drivers of innovation in other industries and societies and this is a first step to better recognise the potential value of such IP rights and to seek opportunities for increased commercial exchange between Europe and China.
This working paper aims to initiate and help develop a strategic exchange platform: It identifies the key stakeholders in the cultural and creative sectors in the EU and China and maps the different activities they cover.
We can no longer put off re-thinking the economic structures that have been producing, financing and funding culture up until now. Many of the old models have become anachronistic and detrimental to civil society. The aim of this document is to promote innovative strategies to defend and extend the sphere in which human creativity and knowledge can prosper freely and sustainably.
The FCForum brings together key organisations and active voices in the spheres of free/libre culture and knowledge. It responds to the need for an international arena in which to put together and coordinate a global framework for action.
Standing up to the powerful lobbies of the copyright industries, the FCForum is a space for creating tools and strengthening civil society in regards to the creation and distribution of art, culture and knowledge in the digital age.
I will soon be teaching a new course called Arts Entrepreneurship here at Drexel. I've been preparing for this on and off since last summer. In addition to reviewing literature and current thinking on the topic I have been looking at offerings in various higher education locations, especially those with a music focus.
There appears to be some confusion regarding just what arts entrepreneurship means. Some researchers have been able to identify 2 distinct tracks, or types of entrepreneurship. One relates to enhanced student preparation for careers or potential careers after graduation. The other mirrors "true" entrepreneurship, the creation of new ventures and enterprises. It appears to me that too much emphasis is being placed on the former definition here, not the latter.
The Creative City Network of Canada (CCNC) released a toolkit on public art today. The Public Art Toolkit was developed to assist local governments, arts, cultural and heritage organizations with the management of public art. The Toolkit is intended as a how-to guide when planning a public art program or evaluating an existing one, and contains resources for the management of public art projects.