In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened up (...) the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold. (shrink)

Integrative systems biology is among the most innovative fields of contemporary science, bringing together scientists from a range of diverse backgrounds and disciplines to tackle biological complexity through computational and mathematical modeling. The result is a plethora of problem-solving techniques, theoretical perspectives, lab-structures and organizations, and identity labels that have made it difficult for commentators to pin down precisely what systems biology is, philosophically or sociologically. In this paper, through the ethnographic investigation of two ISB laboratories, we explore the particular (...) structural features of ISB thinking and organization and its relations to other disciplines that necessitate cognitive innovation at all levels from lab PI’s to individual researchers. We find that systems biologists face numerous constraints that make the production of models far from straight-forward, while at the same time they inhabit largely unstructured task environments in comparison to other fields. We refer to these environments as adaptive problem spaces. These environments they handle by relying substantially on the flexibility and affordances of model-based reasoning to integrate these various constraints and find novel adaptive solutions. Ultimately what is driving this innovation is a determination to construct new cognitive niches in the form of functional model building frameworks that integrate systems biology within the biological sciences. The result is an industry of diverse and different innovative practices and solutions to the problem of modeling complex, large-scale biological systems. (shrink)

Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing on (...) in-depth interviews with creative workers in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness. (shrink)

The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of (...) cumulative knowledge but through the creation of ideas, drawings, recipes, goods and services which pass through time, and which constitute heritages. Thus, creativity works on the basis of heritages: that is, past and accumulated creativity. The paper considers how the different types of heritage contribute to creative process. It concludes on the double-edged effect of heritages, which while bestowing competitive advantages and favouring the development of creativity, do orient development along a given path, promoting a certain kind of creativity that may lead to lock-in effects, and build obstacles in the way of development. (shrink)

Education is widely accepted as important source of future economic growth and is strongly supported by public sources. Most of this support is oriented toward traditional education and industries. However, several studies show importance of creativity education as important feature for innovation and future growth. However, public support of creative industries is relatively new and most of policy measures that have been implemented are still not fully evaluated and understood. There si a strong need to look much (...) more closer on way how public education influence creative industries and what policies could be placed to strengthen positive effects of this education also in the long run. This article represents an output of the research about the creative industries support policy in Slovakia in the field of education activities. It is containing basic literature overview comparing support policies for traditional sectors and the creative industries. We analyzed conceptual documents at the national level and basic strategic documents in the regions and selected cities of the country. We also realized several interviews in different creative economy industries. Generally, creative industries in Slovakia are much less in the centre of public support policy compare to traditional industry sectors. This is also the same in case of education. Despite of wide varietyof support tools used in the world, only few of them are applied in Slovakia. Interestingly, creative industries do not strongly require more creativity in education in schools. We found out the most important support in the field of education should not be related to creativity itself, but more on the complementary skills as ICT or entrepreneurship. We also found very limited role of universities and other public institutions in creative industries success stories. (shrink)

Individual creativity has been the focus of long-term research in creative industries. However, few studies have explored the impact on individual creativity from social factors. At the same time, the influence of individual creativity on the existence of subsequent factors in the creative industry is also worthy of further investigation. From a social standpoint, this research aims to explore how social norms affect individual creativity, and how individual creativity affects subsequent leadership. The present research takes creative (...) entrepreneurs in creative enterprises as the research objects, and the structural equation model is used to analyze the data obtained from 202 valid questionnaires. Besides, the mediating effect of individual creativity between social norms and individual leadership is verified. The results show that social norms can effectively promote the generation of individual creativity that has a positive impact on both transactional or transformational leadership. It is revealed that social norms are effective tools for enhancing creativity, answering the question of how creative ideas are transformed into creative work and leadership. Individual creativity plays a mediating role between social norms and individual leadership. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work placements as a (...) place in which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

The aim of this article is to describe the general conditions for the development of creative industries in Podlaskie Voivodship from Poland. This region on the background of the country is characterized by the highest level of cultural diversity and multiculturalism policy. However, there are a number of barriers for the creative industries. First article discusses the regional characteristics and then the basic theoretical approaches and conclusions of the author’s own research. The following sections discuss the (...) conclusions and recommendations for regional policy and management of cultural sector entities that may be relevant also for other culturally diverse regions. (shrink)

Introduction. Non-institutional humanities, philosophical practice, and informal education are “a family like” phenomena that are outside the social institution of science and education and are adjacent to socio-cultural activities and social work. The purpose of the article is to outline the contours of the informal educational creative industry in the postmodern society, which combines non-institutional humanities, philosophical practice, and informal education. Methods. The author uses the methods of autobiographical reflection, comparative analysis, empirical observation and analysis of the primary sources (...) of non-institutional humanities. Scientific novelty of the research. The transition to nonmaterial work of the postmodern era is the reason for the relevance of the area under study. The growing demand of a contemporary for such issues as the meaning of life, happiness, the growth of the precariat, the ousting of philosophy from formal education constitute a new social reality that determines the novelty of the research in the informal educational creative industry. Results. The author classifies non-institutional humanities according to the spheres of its existence and the strategies of subject genesis presented in the teachings. The concept of dedifferentiation is considered as an explanation of the area under study in postmodernism. The specificity of the philosophical approach in the work of a practicing philosopher is considered. Conclusions. The author connects the prospects of the informal educational creative industry with institutionalization in the way of leisure, entertainment, and other personal services. The author makes conclusions about the differences between formal and informal education, and indicates the risks and opportunities for the development of the informal philosophical sector. (shrink)

Factors Which Influence the Growth of Creative Industries: Cross-section Analysis in China With the more and more important roles of creative economy, its research has become one of the major fields in economic development. The creative economy has the potential to generate income and jobs while promoting social inclusion, cultural diversity and human development. As a developing country, China is also in need of developing the creative economy to adjust the economic structure and realize the (...) sustainable development. In this paper, we examined the factors which influence the growth of creative industries in China through the cross-section analysis of 23 regional data in 2007. Four main factors were examined in this multi-regression model, that is, GDP per capita, the number of higher education institutions, the number of students enrolled in higher education institution and the number of patents.The statistical analysis found that the model's fit is quite good and 69% of dependent variable is explained by the model. Specifically, there are three sub-conclusions. Firstly, there is not a positive relationship between GDP per capita and dependent variable; on the contrary, there is a weak negative relationship in this model. We infer that it is because of the stage of economic development. China heavily depends on the development of the second industry in the process of industrializing. Secondly, there is no linear relationship, in this model, between the number of higher education institutions and the dependent variable. We infer that it is mainly due to the differences between the higher education institutions, such as scales and qualities, etc. Thirdly, there is enough evidence to conclude that the number of students enrolled in higher education institution and the dependent variable are linearly related; the number of patents and the ratio of creative industries are linearly related, as well. They represent the important roles of talents and technology in the development of creative industries. (shrink)

Industry sustainability plays a vital role in shaping the environment for cultural and creative business development. However, considering the influence of the external environment and random factors on the technical efficiency of cultural and creative industries with the inherent defects of the traditional data envelopment analysis model; this manuscript analyzed the operating efficiency of 56 cultural and creative enterprises using the three-stage DEA model from 2012 to 2018. An analysis of the results shows that differences in (...) efficiency exist between stage one and stage three DEA. Furthermore, the environmental elements and statistical noise measured by the stochastic frontier analysis in stage two reveal positive and negative influences on the creative cultural enterprises at different stages. As a result, the overall efficiency of the listed cultural and creative industries was revealed to be low in China. Finally, this study suggested effective countermeasures and recommendations for better-operating efficiency systems for cultural and creative enterprises. (shrink)

El siguiente artículo toma como punto de partida al concepto de industria cultural desde sus principales exponentes, para exponer sus usos actuales. Este nació como concepto filosófico como parte de la obra de los autores representantes de la llamada Escuela de Frankfurt, Theodor Adorno y Max Horkheimer, con valiosos aportes de Walter Benjamin. En la actualidad ha mutado su definición, siendo utilizado de manera instrumentalpor parte del Estado y organismos internacionales, para definir al grupo de sectores de producción cultural y (...) simbólica de acuerdo a sus parámetros económicos. En este sentido, desde aquél concepto de industria cultural de los años cuarenta podremos ver que hay un recorrido en el cual se van transformando las posturas acerca de lo que el arte y la cultura posibilitan. La función social del arte va escondiéndose detrás de su inmersión cada vez más visible dentro de la producción mercantil, si bien en los últimos años la cultura aparece como motor de desarrollo económico e identitario. Esta transición será ilustrada con el caso argentino, dando cuenta de los cambios en el sector. The following article takes as its starting point the concept of Culture Industry from its leading exponents, and exposes its current uses. The Culture Industry began like a philosophical concept, as part of the work of the Frankfurt School authors, Theodor Adorno and Max Horkheimer, with contributions of Walter Benjamin. Nowadays, this concept definition has mutated, being used instrumentally by the state and international organizations, to define the cultural and symbolic production according to economic parameters. In this sense, paying attention to that idea of Culture Industry, we can see that there is a path in which the possibilities of meanings of art and culture are changing. The social function of art is subordinating behind the commodity production, although in recent years the culture appears as an engine of economic development and identity. This transition will be illustrated accounting for changes in the sector in the case of Argentina. (shrink)

Studio teaching is a long standing tradition and a signature pedagogy across a broad range of art and creative disciplines, from arts to architecture and design. However, the practice of studio tea...

The article examines examples of sociocultural practices in advertising and PR, music, cinema, gamification, tourism, and art. Analyzing the proposed topic, the dependence of transformation of sociocultural practices on technologization and informatization of society, on merging of different spheres of creative industries (on the example of advertising and content), and interdependence of society and the process of content creation were established. The sphere of “project activity” as a way of combining traditional and innovative foundations to improve and enrich (...) culture, effectively draw attention to social problems, and involve new people in the creative industry was considered separately. To carry out this research the author used the following methods: comparative-historical, hermeneutic method of generalization. At the end of the article, the author concludes that in the era of globalization with different topical problems in the creative sector of the economy there is a certain way out. This sector of the economy combines economy and culture, develops small and medium-sized businesses, reduces unemployment, and monetizes human ideas and creativity. Today sociocultural practices are required to be mobile, digitalized, merging different directions within the sphere, flexible, unique content, subordinated to economic indicators, and attracting attention to a particular event or problem. (shrink)

Many recent studies of technological change have focussed on the implementation of computer-based high technology systems. The research described here deals with the introduction of a new but ‘low’ technology into an ancient craft tradition in India. The paper describes a project to capture and archive aspects of the tacit knowledge content of the traditional cire perdue brass foundry (Dhokra) craft of Bikna village, near Bankura, West Bengal. The research involved collaboration between the Indian National Institute for Science, Technology and (...) Development Studies (NISTADS) and School of Art, Media and Design, University of Wales, Newport, UK in the context of the EU-India Cross-Cultural Innovation Network Project. NISTADS were proposing to introduce a new fuel-efficient furnace technology in place of the traditional form used in Bikna. It was expected that the introduction of the new furnace would catalyse major changes in the entire dhokra craft at Bikna. What was not anticipated, however, was the speed and extent of this change, to the extent that the old traditional way of doing things was changed within the space of a few months. A Multimedia record of the craft and the process was developed. These technologies make it possible to develop adequate representations of skilled performance mediated by the craftsman him- or herself. Particularly valuable in this respect is the capacity of multimedia systems to use a full range of modalities of description, including video, sound, still image, conventional text and technical diagrams. This enables the presentation of very complex information in a variety of formats and contexts. The context and process of developing this knowledge archive are described. (shrink)

This article explores how the emergence of creative AI technologies transforms creative workers’ self-apprehension in the context of critical theory and labor studies. The distinguishing contribution of this study resides in its focus on how CI laborers’ creativity perception and reception are affected by AI technologies’ intrusion into the creative domain. Creative AI technologies are expected to present new expressive capacities to creative workers and cost-cutting advantages for CIs’ production that put a lot of (...) class='Hi'>creative jobs at risk. Findings show that creatives perceive the adaptation of AI technologies as both an opportunity for their creative process and a requirement of their active presence in the market survival as a matter of technocratic rule. We critically analyze creative labor’s novel mods engaged with updated technology and present reflections on the favorable co-creation conditions to flourish an understanding of socially intelligible technology and thereby a creative livelihood against technocracy. (shrink)

In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may (...) be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

With the economy deindustrialized and the working class decentralized, a call for alternative horizons for resistance: the university and the art world. What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative (...) labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of “modulation” as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

Rising global food prices have driven 44 million additional people into extreme poverty—and malnutrition—in developing countries since June 2010. Partners in Food Solutions , a nonprofit social enterprise affiliated with General Mills, is proposed as the conduit for food industry managers, engineers, and scientists to initially advise small‐ and medium‐sized African mills and food processors—and later other developing countries—on improving supply chain management by addressing manufacturing problems, developing products, improving packaging, extending product shelf, and finding new product markets. In this (...) article, the “creative capitalism” model of sustainability and social and environmental responsibility is applied to the food manufacturing industry's efforts supporting PFS. Furthermore, the evolution of the sustainable business model developed by PFS is thoroughly described, explained, and analyzed as a generic model of social enterprise to be “scaled up” by the global food manufacturing industry. A summary of salient points conclude the article. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as (...) a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

This article considers the potential for a researcher to use their own creative practice as a method of data collection. Much of the published material in this field focuses on more theoretical positions, with limited use being made of specific PhDs that illustrate the context in which practice was undertaken by the researcher. It explores strategies for data collection and researcher motivation during what the author identifies as "researcher practice." This is achieved through the use of three PhD case (...) studies. Methods of data collection focus on: the use of output from practice for quantitative data collection, the use of output from practice for qualitative data collection, and the use of output from practice for data translation. The article discusses the methodologies employed in the case studies to identify themes which enable the definition of a generic researcher practitioner methodology. It notes the significance of creative practice in support of data collection and the differences between researcher practice and commercial practice, and emphasises the contribution of researcher practice towards personal motivation. (shrink)

Universities and Innovation Economies examines the rise and fall of the mass university and post-industrial society, considering how we might revitalize economic and intellectual creativity. Looking to a much more inventive social and economic paradigm to drive long-term growth, the author argues for a smaller, leaner, more effective university model - one capable of delivering a greater degree of high-level discovery and creative power.

What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept (...) of "modulation" as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

Studies of non-standard, project-based forms of work prevalent in the creative industries have typically theorized the relational dynamics of work as a competitive process of social capital accumulation involving an individualistic, self-enterprising, zero-sum, and winner-takes-all struggle for favourable social network-positioning. Problematizing this prevailing conceptualization, our empirical case study draws on fifty in-depth interviews and two focus groups with creative workers in Ghana to show how relations of mutual aid, including elaborate efforts to live harmoniously with others, are (...) intricately intertwined with economic practices of getting by and getting ahead. Our analysis abductively mobilizes insights from Afro-communitarian ethics to theorize the mutual aid we observed as a complex socio-economic practice of relational resource redistribution contingent on degrees of social proximity. In applying “a theory from the South” to foreground the role of moral obligations, social harmony, and hands-on practices of mutual aid in non-standard forms of work, we contribute a “decolonial critique” of relationality of relevance to scholars of creative work and business ethicists. (shrink)

Whilst the field of contemporary art has been impeded until recently by Saudi Arabia’s blasphemy laws and heavy censorship, the last decade has seen a rapid growth of art networks and institutions. Incidents such as the conviction of internationally lauded artist and curator Ashraf Fayadh in 2015 on charges of apostasy show that Islamic authorities still claim to define what is acceptable and not acceptable in the field of cultural production, but several renowned Saudi artists have started to question the (...) hegemony of the Islamic field. This article discusses these processes in the context of radical economic reform led by the Saudi crown prince Mohammed bin Salman. Why do state actors see an investment in art and creativity as a necessity for economic renewal? What role does contemporary art play in strategies to rebrand the negative image of Saudi Arabia? How do artists relate to Islamic narratives and material culture to claim authority in Islamic debates and provide legitimacy for their concerns? By focusing on the interactions between economic reform and new spaces of Islamic critique, the paper aims to shed light on the way in which the drive for economic transformation is remapping the social boundaries between Islamic authorities, the creative economy and the state. (shrink)

Ethics and business -- Culture, business and ethics in a globalising world -- Moral development, moral positioning and decision-making -- Ethical dilemmas and decision-making (models) -- Professional ethics -- Organisational ethics -- Corporate social responsibility -- Sustainability and business -- Business and human rights -- Responsible entrepreneurship and innovation -- Information technology and business.

(1993). Evolutionary learning for a post‐industrial society: Knowledge, creativity & social ecology. World Futures: Vol. 36, Evolutionary Consciousness, pp. 181-202.

Large language models (LLMs) are revolutionizing several areas of Artificial Intelligence. One of the most remarkable applications is creative writing, e.g., poetry or storytelling: the generated outputs are often of astonishing quality. However, a natural question arises: can LLMs be really considered creative? In this article, we first analyze the development of LLMs under the lens of creativity theories, investigating the key open questions and challenges. In particular, we focus our discussion on the dimensions of value, novelty, and (...) surprise as proposed by Margaret Boden in her work. Then, we consider different classic perspectives, namely product, process, press, and person. We discuss a set of “easy” and “hard” problems in machine creativity, presenting them in relation to LLMs. Finally, we examine the societal impact of these technologies with a particular focus on the creative industries, analyzing the opportunities offered, the challenges arising from them, and the potential associated risks, from both legal and ethical points of view. (shrink)

Introducing the first macro-sociological perspective on the concept of creativity this book includes a review of ten domains which have studied creativity. It also explores the results of a six-year on-going research project comparing students' ideas on creativity with employers' and industry professionals' views.

The current literature in artificial intelligence and robotics awareness focused on the dark side of AIRA. Accordingly, this study sheds light on the positive effect of AIRA on employee creativity by exploring how and when hotel employees may take proactive behavior facing the threat of AI and robotics to further stimulate creativity. Based on the work adjustment theory and the locus of control theory, this study constructs a moderating multiple mediation model to explain the influence of AIRA on employee creativity, (...) in which active learning and task crafting are used as mediating variables, and locus of control is used as moderating variable. Data collected from 264 employees in a Chinese hotel are used for empirical analysis. Results show that AIRA indirectly positively affects employee creativity via active learning and task crafting and Locus of control not only moderates the mediating effect of active learning between the relationship of AIRA and employee creativity but also moderates the mediating effect of task crafting between the relationship of AIRA and employee creativity. The theoretical and practical implications are discussed. (shrink)

Purpose of the article The paper is seeking the mutual links between creativity, innovation and tourism in the rural areas. Creativity and innovation are often associated with cities, because the potential of creative industries and people is concentrated in cities. Is this assumption correct? Using examples from practice, this paper explains that creativity in tourism may be associated with the rural areas. Methodology/methods The contribution is linked with theoretical basis of creative economy under the research assignment APVV-0101-10 (...) Creative economy - national economic and regional conditions and incentives. Therefore, it is based on analysis and comparison of views on possibilities for attracting the creative class to rural areas on one hand, and for development of creative activities within rural tourism on the other hand. Scientific aim The aim of the paper is to confirm the existence of real link between creativity, tourism and rural areas. Findings In the first part of the contribution, the basic terms as creativity, creative industry and creative class are explained and possibilities for their localization in rural areas are examined. Studies confirm that rural areas can become attractive environment for creative class despite problems like spatial diffusion of local resources and capacities and limited accessibility of capital. High-quality environment, attractive natural, cultural and historical potential and convenient infrastructure belong among the reasons for localization of creative class in rural areas. The same attributes are important for tourists who decide where to spend their free time. Conclusions Consequently, the support for development of rural tourism is understood in the paper as an instrument to improve the quality of places as well as to attract creative class and creative industries to rural municipalities. In the second part, the emphasis is put on definition of creative tourism as a creative industry based on creative activities. Examples of well-developed creative tourism in Europe are also given in this part, namely thematic routes connecting rural and urban municipalities, presenting them under certain theme issuing from local or regional culture and traditions. (shrink)

The aim of the paper is to analyse and evaluate the situation in the field of creative economy in the Slovak Republic on the level NUTS 3. The analysis is based on the Euro-creative index calculation for year 2009. Based on the discussion of the research results, the weaknesses of the calculation and current state of the Slovak creative economy were identified. Conclusions include the proposal of activities how to attract and maintain the talented, creative people, (...) so-called creative class in the regions. In the theoretical part of the paper, we characterise the creative economy and its importance in the current global world based on knowledge of the most famous experts dealing with the issue of creative economy and its measurement. In the research part of the paper, based on the analysis results (Euro-creative index calculation), we characterise the current position of creative economy in Slovak regions, the regional disparities among Slovak regions in context of creative economy and the possibilities for increasing the exploitation of creative potential in the Slovak regions. (shrink)

Nowadays, creativity has become one of the most important determinants of the development of modern economy. In it lies the potential for economic success not only of entire regions, but above all of business entities. Although creativity is difficult to define, it more frequently becomes the subject of scholarly considerations. In this study, an attempt was made to explore the climate for creativity because it determines the development of creativity and creative attitudes in creative sectors. The main research (...) goal was to show the importance and pattern of the determinants creating a climate conducive to creativity and its impact on the development of creative industries. The method of the study was a critical analysis of the source literature and the author’s own research. The aim of the work became the basis for formulating the following research hypothesis: recognising the components constituting a pattern of the climate conducive to creativity in the city will enable better development of entities included in the creative sector. In order to achieve the set goal and verify the research hypothesis, quantitative and qualitative research was carried out among representatives of creative professions employed in the creative sectors. (shrink)

The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for older (...) people which may be the subject of further in-depth research. These examples exist in: documents and strategic programs, the activities of network organizations and the activities of urban cultural and artistic institutions. (shrink)

This paper considers the claims representatives of the ‘creativity movement’ make in regards to change and the future. This will particularly focus on the role that the arts are supposed to play in responding to industrial imperatives for the 21st century. It is argued that the compressed vision of the future offered by creativity experts succumbs to the nihilism so often described by Nietzsche. The second part of the paper draws on Stanley Cavell's chapter ‘Philosophy the Day After Tomorrow’ to (...) consider a future oriented arts education that may not fall victim to nihilism. (shrink)

At the current stage, the cultural and creative industry, as an emerging economic form, is increasingly becoming an important engine driving socio-economic development. Cultural and creative products are not only the material embodiments of cultural resources but also innovative expressions of cultural values. This paper explores innovative pathways for the design of cultural and creative products from the perspective of sustainable development based on traditional philosophy. By combining elements of traditional philosophy with modern design concepts, the design (...) of cultural and creative products can achieve an organic fusion of cultural heritage and innovation, creating products that possess both rich cultural depth and meet contemporary aesthetic and functional demands. This paper analyzes the application of traditional philosophy in the design of cultural and creative products, emphasizing the deepening of cultural connotations, the stimulation of design innovation, and the construction of brand identity. Furthermore, in conjunction with the concept of sustainable development, it proposes specific strategies for the design of cultural and creative products in terms of material ecological sustainability and cultural diversity. (shrink)

The article deals with the concepts and problems of creative society. The author analyses the postmodern, post-industrial, post-rational, post-democratic, post-economic, post-capitalistic distinctiveness of creative society. According to the author, creative society has characteristics such as "outstanding-ness", creative living, and casual work relations. The paper deals with the creative aspects of entertainment and with the role of technologies in creative society. The author presents the sketches of creative ecology and creative ethics, the difficulties (...) of empirically researching creativity and potential creative indexes as well as the problems regarding their evaluation. The research appeals to different approaches of creative society as well as methods used in different fields of the humanities. The author presents the key scholars of creative society and possible avenues of research emerging from this new subject. (shrink)

Creative Management and Innovation Nowadays, entrepreneurship is determined how fast innovations or creativity can be incorporated into company activities. Creativity is mean constantly aspiring process of innovation and progress. Creativity and innovation management these days are important keys to any effort how to be success in business world. Forces of creativity in company or in entrepreneurship should be able to provide innovation and contribute to solve problems. The new idea are often accepted as the main activity of creative (...) management and the vision, strategy, goals or ideas are understands like equipment of creativity. Implementation of new ideas - innovation is the main activity of creative management. Visions, strategies, objectives and ideas are seen as tools of creativity.Because of differences in innovation process between EU and USA, innovation processes in EU are directly supported via framework programs. Currently FP7 is active, but new process for innovation called Horizon 2020 is under preparation. Last FP7 program is oriented for cooperation between science oriented organizations and SME, while future Horizon 2020 will be oriented for excellence science, competitive industries and better human society.In paper are presented real examples of companies/projects within the EU, including Slovakia. Three types of projects are compared. While project SAFER is supported by EU FP7, project Volvo Vision 2020 and Logomotion project are not supported and are commercial projects. Slovak project is supported by private investor. All projects are different, but have common line - to manage innovation process and implement it in real life. To manage innovation teams located around the world required creative concept in management. (shrink)

Speaking generically of crafts from an economic point of view means referring to a field that encompasses different sectors and professions, an agglomeration of very different activities in terms of economic structure, performance and needs. This paper, however, aims to analyse only some of the artisan worlds, i.e. traditional trades, art & crafts which, even if manifesting themselves today in new ways, interest us more than others because of the genius loci they have subsumed. This is because this is the (...) main feature that allows us to count on their survival in a present and in a future in which even large industries are looking with great interest at limited and customized production, and where not only major companies but also local and regional entities are rediscovering activities closely related to the “sense of place”, such as crafts, and including them in their identity branding policies. After an introductory look at the role of craftsmanship today in the “creative economy”, the paper describes the problems facing this productive and cultural sector today and outlines the challenges for the near future. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration between government and (...) industry. However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

How can digitised assets of Galleries, Libraries, Archives and Museums be reused to unlock new value? What are the implications of viewing large-scale cultural heritage data as an economic resource, to build new products and services upon? Drawing upon valuation studies, we reflect on both the theory and practicalities of using mass-digitised heritage content as an economic driver, stressing the need to consider the complexity of commercial-based outcomes within the context of cultural and creative industries. However, we also (...) problematise the act of considering such heritage content as a resource to be exploited for economic growth, in order to inform how we consider, develop, deliver and value mass-digitisation. Our research will be of interest to those wishing to understand a rapidly changing research and innovation landscape, those considering how to engage memory institutions in data-driven activities and those critically evaluating years of mass-digitisation across the heritage sector. (shrink)

The article confronts Cornelius Castoriadis's philosophy of 'the imaginary institution of society' with issues of innovation in a knowledge society and outlines a new notion of innovation as creative organization. It will take a critical approach to innovation from a historical perspective of postwar systems theory and introduce Castoriadis's philosophy as an interesting option in this regard. It proceeds in four parts: (a) First, it debates the limits of the commonplace metaphor of diffusion and adoption in today's debate on (...) innovation. (b) Second, it will present aspects of Castoriadis's thought as an alternative, in particular his debate on imagination and the proto-institution of legein/teukhein — ordered action. (c) On this background it will treat a case from the Danish innovation industry, the firm Zentropa WorkZ's programme of 'Dramatic Innovation' as an interesting example of an innovation format addressing creativity. (d) In conclusion, it will briefly debate creative knowledge formation in a knowledge society by pondering relations between innovation and current science. (shrink)

Industry 4.0, which is at the core of the Fourth Industrial Revolution, posits the challenge of humanizing it. Drawing upon Catholic Social Teaching (CST), this article offers a set of ethical and spiritual criteria for such humanization. The starting point is a positive attitude of CST toward technology, admiring it not only for its usefulness, but also as an expression of human creativity, ingenuity, and beauty. This entails a transcendent sense leading to praise the Creator. At the same time, CST (...) warns that technology involves the risk of fostering a techno-centered worldview and calls for a humanistic-centered worldview. Other ethical criteria regard conducting technological developments with ethical guidelines, minimizing inside effects of technological implementations, managing technology for the common good, and introducing technology into the production process in respect of human dignity and favoring human flourishing. (shrink)

It is increasingly argued that polymathy—vocational and avocational pursuits in multiple domains—is deeply associated with creativity and innovation, and that its development enables the creation of important bridges between otherwise fragmented, dispersed sets of knowledge. Nevertheless, the dominant culture in both industry and academia is still that of narrow specialization. In this paper, we argue that in the context of COVID-19 crisis, with its wicked and transdisciplinary nature, the disciplinary approach of specialization is ill-suited to solve our increasingly complex problems, (...) and that polymathic thinking can be a crucial asset in this regard. Drawing on different literature strands, we first examine the interplay between polymathy and other well-developed constructs in personality and temperament research. We then advance theoretical predictions regarding the relationship between trait polymathy and resilience in the COVID-19 crisis. After that, we discuss learnable strategies that can be used in complex, uncertain and adverse situations, which are associated with development of a more polymathic set of knowledge. Later, we discuss how it may be possible to better capitalize on the key features of polymathic thinking at the societal level. Finally, we conclude with a reflection on the adequacy of our current institutions for dealing with complex problems, and we underscore the crucial role of polymathic thinking in an increasingly complex and interrelated world. (shrink)

Digital technological innovation is reshaping the pattern of industrial development. Due to the shortage of digital talents and the frequent mobility of these people, the competition for talents will be very fierce for organizations to realize digital transformation. The digitization transformation of China’s service industry is far ahead of that of industry and agriculture. It is of great significance to study the organizational management and talent management of service enterprises to reduce the negative impact of insufficient talent reserve and meet (...) the needs of digital development. Based on 378 valid questionnaires from China’s service industry, this paper applied polynomial regression and a response surface model to analyze the impact of two kinds of person-environment fit on work engagement and individual creativity. The results show that: under the combination of high morality and high talent, work engagement and individual creativity are the highest; individual creativity is stronger under the condition of high morality and low talent than under low morality and high talent; and work engagement mediates the influence of morality and talent on individual creativity. The research reveals the internal mechanism by which morality and talent cooperatively promote individual creativity, which provides theoretical guidance for management practice of service firms to improve individual creativity in the process of digital transformation. (shrink)

Recently, heated discussions about artificial intelligence, creativity, and work have re-emerged. Despite the dominant focus on the novelty of this entanglement, it is rich with history. In this paper, I will first introduce creativity as a historical and socio-culturally embedded concept, looking at how and why we have invented creativity in the guises we have. The focus will mostly be on the political and ideological backdrop of these historical processes–for instance how creativity was repeatedly cast as the positive counterimage of (...) (industrial and bureaucratic) alienated labour, and hence stood in a complex relationship to automation, robotization, and so on. Based on this I will then discuss a series of scenarios that are related to the (perhaps) forthcoming automation of creativity, more specifically four ways in which automation might in different ways impact (the fields of) creative practices and labour. (shrink)