angewendete Filter: creative industries
A research published by British Arts Festivals Association confirms the measurable contribution made by arts festivals to the cultural and economic wealth of the nation.
Large economic and cultural gains will be made possible by digital content production and applications development according to a report released in May 2002 by the Acting Minister for Communications, Information Technology and the Arts, Senator Rod Kemp. The Stage One report on the Creative Industries Cluster Study provides preliminary analysis and mapping of the industries producing digital content and applications.
The report identifies the key enterprises, their location and the productivity drivers and barriers. It also finds that cluster approaches potentially offer a means of addressing barriers and market failures in digital content and applications industries. The clusters have the potential to improve the efficiency and international competitiveness of these industries.
The report identifies the key enterprises, their location and the productivity drivers and barriers. It also finds that cluster approaches potentially offer a means of addressing barriers and market failures in digital content and applications industries. The clusters have the potential to improve the efficiency and international competitiveness of these industries.
Cities of St Petersburg, Helsinki and Manchester initiated under the aegis of The Prince of Wales International Business Leaders Forum, the Partnership has been awarded a grant by the European Commission's Tacis Cross-Border Cooperation Programme.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
This paper is the final report of the first phase of the Creative Management project, which deals with one of the most challenging resource dilemmas facing Canadas not-for-profit arts and heritage sector how we can keep our current experienced managers and administrators in the sector and provide for their professional renewal, and how we can attract, develop and retain a new generation of committed managers to continue the work of our present leaders.
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
The topic I want to tackle within this paper is the question how arts managers can make use of the results of cultural economics.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
One of the most dynamic sectors of the labour market is the culture industries. Studies have shown that this sector has been expanding at a rate near to or beyond the overall growth of some national or regional economies and it is expected that employment rates will double in the next ten years. The fields which make up this sector, including everything from visual or performing arts to multimedia production, have been heralded as ones which can secure sustainable employment, reinforce endogenous regional potentials and shape the future through high levels of creativity and innovation via a market in which the majority of goods and services are non-substitutable.
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
FILM INDUSTRY BROADBAND RESOURCES ENTERPRISE (FIBRE) was formed in November 2000 by a number of key players in the post production industry, following a First past the Post forum in Sydney and Melbourne, hosted by the Minister for Communication, Information, Technology and the Arts, Senator Richard Alston. Each forum confirmed the difficulties faced by the industry in obtaining cost-effective broadband connectivity to suit the difficult and often unpredictable needs of post production.
The founding mission of FIBRE was to secure affordable broadband connectivity between companies and locations in Australia and with trading partners in key production locations around the world.
The founding mission of FIBRE was to secure affordable broadband connectivity between companies and locations in Australia and with trading partners in key production locations around the world.
"Cultural Industries and Technological Convergence" is the third course in the series on Redefining Cultural Identities and is going to held by the Inter-University Center for Post Graduate Studies (Dubrovnik) and the Institute for International Relations (Zagreb ) in Dubrovnik on 13 - 18 May 2002.
The course is planned to concentrate on cultural industries, aspects of technological convergence and on their influences on cultural consumption and cultural identities in the Southeastern European and Central European countries in transition.
The objective of the course is to provide an analytical insight into development of cultural industries, marketing and consumption of their products and use of related technologies. Possible influences on the processes of redefining of cultural identities in the Central and Southeast European post-socialist societies will be pointed out.
The course is planned to concentrate on cultural industries, aspects of technological convergence and on their influences on cultural consumption and cultural identities in the Southeastern European and Central European countries in transition.
The objective of the course is to provide an analytical insight into development of cultural industries, marketing and consumption of their products and use of related technologies. Possible influences on the processes of redefining of cultural identities in the Central and Southeast European post-socialist societies will be pointed out.
The Danish Ministry of Culture has allocated NyX DDK 3 million to create and maintain a network between art, art institutions and business - NyX will get the arts and business to play together.
Diese sog. "Creative Industries" sind alles andere als Industriebetriebe im herkömmlichen Sinne. Vielmehr geht um unzählige Klein- und Kleinstunternehmen - zumeist sogar Einzelkämpfer - die in Summe einen enorm großen und enorm heterogenen Tätigkeitssektor ergeben.
Geprägt ist dieser Sektor von Menschen, die für das normale Geschäftsleben zu künstlerisch und im tradierten Bild des Kunstschaffenden zu wirtschaftlich agieren. Sie sitzen sprichwörtlich zwischen den Stühlen. Bei den Kollegen aus der etablierten Wirtschaft gelten sie oft genug als Spinner, die gute Ideen und wenig Geld haben.
Geprägt ist dieser Sektor von Menschen, die für das normale Geschäftsleben zu künstlerisch und im tradierten Bild des Kunstschaffenden zu wirtschaftlich agieren. Sie sitzen sprichwörtlich zwischen den Stühlen. Bei den Kollegen aus der etablierten Wirtschaft gelten sie oft genug als Spinner, die gute Ideen und wenig Geld haben.