WD 2015_Kortrijk Weide_Frans Van Den BosscheEls Brouwers
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Op 27 november 2015 organiseerde de VRP naar jaarlijkse gewoonte de Werelddag van de Stedenbouw. Dit jaar stond het congres in het teken van ruimte en economie met als titel 'It's the economy, darling'. Ruim 200 deelnemers woonden in de Budafabriek in Kortrijk tal van lezingen, workshops en terreinbezoeken bij die waren onderverdeeld in vier subthema's: 'Ruimtelijke verweving van economie en andere functies', 'Duurzame ruimte voor ondernemen', 'Retail en ruimte' en 'Incubatoren, spillovers & the next economy'.
Woensdag 22 mei 2013: Zakenlunch WTC•E Zakensociëteit en OKEA
2018Eindhoven|Brabant kandidaat Culturele Hoofdstad van Europa
Eindhoven is in de race om in 2018 Culturele Hoofdstad van Europa te worden en werkt hiervoor samen met Breda, Helmond, ’s-Hertogenbosch, Tilburg en de Provincie Noord-Brabant. Onder het motto Imagination designs Europe werkt 2018Eindhoven|Brabant aan nieuwe inzichten voor Europa met de verbeeldingskracht van kunst en cultuur.
Het jaarlijkse overzicht van Acquire Publising met innovaties in materialen en producten is weer uit.
En wel met de volgende Booosting bijdragen:
> Circulaire Top 40 samengesteld door Peter Fraanje
> Interview met oud-Booosting-voorzitter/architect Jouke Post
> Interview met gevelexpert Esther Hebly van DGMR, tevens oud-booosting-bestuurslid.
Veel leesplezier!
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
Woensdag 22 mei 2013: Zakenlunch WTC•E Zakensociëteit en OKEA
2018Eindhoven|Brabant kandidaat Culturele Hoofdstad van Europa
Eindhoven is in de race om in 2018 Culturele Hoofdstad van Europa te worden en werkt hiervoor samen met Breda, Helmond, ’s-Hertogenbosch, Tilburg en de Provincie Noord-Brabant. Onder het motto Imagination designs Europe werkt 2018Eindhoven|Brabant aan nieuwe inzichten voor Europa met de verbeeldingskracht van kunst en cultuur.
Het jaarlijkse overzicht van Acquire Publising met innovaties in materialen en producten is weer uit.
En wel met de volgende Booosting bijdragen:
> Circulaire Top 40 samengesteld door Peter Fraanje
> Interview met oud-Booosting-voorzitter/architect Jouke Post
> Interview met gevelexpert Esther Hebly van DGMR, tevens oud-booosting-bestuurslid.
Veel leesplezier!
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
This document discusses the UNCTAD Creative Economy Reports and their role in shaping a new sustainable development paradigm. It summarizes the achievements of the reports in highlighting creativity, knowledge, and access to information as drivers of economic growth. The document then outlines some of the challenges and opportunities posed by trends like sustainability, digitization, urbanization, and changing labor markets for the creative economy. It presents the 17 UN Sustainable Development Goals and explores how the expert forum will rank and select goals to analyze the consequences for the creative economy and ways it can contribute to achieving the goals.
The document discusses several topics related to the cultural and creative industries (CCIs). It notes that CCIs demonstrated resilience during the economic crisis by continuing to create jobs while employment fell in other sectors. The EU goals for cultural policy are outlined, including promoting cultural diversity, culture as a catalyst for creativity, and culture in international relations. The dimensions of national values according to Geert Hofstede are also presented, comparing scores for Great Britain and the Netherlands on indices like power distance, individualism, and uncertainty avoidance.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
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This document summarizes a presentation on teaching cultural entrepreneurship. It discusses the cultural and creative industries, which include goods and services that embody cultural expressions. It notes that these industries are dynamic and fast-growing, even during economic downtimes. They tend to have many small and medium-sized enterprises. The presentation addresses how to educate students for entrepreneurship in this environment, which values social capital, economic capital, and cultural capital. It notes key dilemmas in teaching students to work collaboratively, promote sustainability, take risks, develop intuition, and prepare for uncertainty. The goal is to educate the "entrepreneurial ant" for the changing landscape of cultural work.
Tlcue duluth june 2015 Guillermo Olivarez ChiliRene KOOYMAN
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The Innovuss Program provided short-term professional training for cultural entrepreneurs in Valdivia, Chile. Over the course of 6 weeks, the program worked with 75 multidisciplinary entrepreneurs, providing workshops on design thinking, business models, marketing, pitching, and counseling. It also facilitated collaborative work between participants. The results included entrepreneurs improving their businesses by considering new factors, developing positive attitudes towards sharing experiences, and achieving a 75% success rate in obtaining public funding for cultural projects.
The document discusses the creative economy and cultural and creative industries. It notes that cultural and creative industries were resilient during the economic crisis by continuing to create jobs while other sectors lost them. It describes characteristics of creative products, including their cultural uniqueness and uncertain success. The document also provides examples of how abandoned areas have been revitalized by creative industries, including case studies of specific projects in Dublin, Germany, and Belgium. Finally, it outlines UNITAR's Creative Economy Initiative and its goals of facilitating dialogue, developing strategies, and providing training and resources to support creative entrepreneurship.
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
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The document discusses the entrepreneurial dimension of cultural and creative industries. It defines cultural and creative industries and notes that they are typically small businesses, with most having fewer than 10 employees. The industries contribute significantly to economies through jobs, revenue, and innovation. However, work in these fields is often uncertain, with many self-employed or freelance workers. The document also examines business models, labor characteristics, and products within cultural and creative industries. It notes the importance of government support and diverse funding sources for small businesses in these entrepreneurial fields.
This document discusses the intersection of art, economics, and cultural policy. It covers several key topics:
1. It defines cultural economics as the application of economic analysis to creative and performing arts, both public and private.
2. It explains different views of capitalism and how economies have evolved from an industrial focus to a knowledge and innovation focus.
3. It outlines Pierre Bourdieu's theory of cultural capital and how social class is stratified based on economic and cultural resources.
4. It discusses different economic philosophies like liberalism, social liberalism, and monetarism and their approaches to the role of markets, the state, and cultural policy.
The document discusses creative urban renewal projects in several medium-sized cities in Northwestern Europe. It aims to facilitate growth of the creative economy in former industrial and decayed urban areas. The projects bring together partners from Germany, Belgium, France, the Netherlands, and the UK to develop and test an innovative model called the Creative Zone Innovator to plan and develop creative zones. Examples of redevelopment projects transforming abandoned industrial sites into areas for creative industries are provided from cities like Essen, Dinslaken, Hagen, and Lille.
This document discusses strategies for urban renewal and area development using creative industries in times of economic crisis. It outlines how creative and cultural industries can drive economic growth and innovation. Small creative businesses and entrepreneurs are important for cultural networks and branding. Case studies show how cities are establishing creative zones to catalyze urban renewal by integrating cultural, social, economic and entrepreneurial development. These zones provide learning environments and cultural business models to stimulate continuous new ideas and alliances through convergence of art, technology and science.
This document discusses strategies for developing creative zones and industries in times of economic crisis. It argues that cultural and creative industries are key drivers of economic growth and innovation. It presents different models of entrepreneurship in the creative industries. The document also examines the urban dimension, noting how creative zones can integrate physical, social, infrastructure and conceptual development. Case studies are provided of creative zone projects in cities like Brugge, Colchester, Kettwig, and Lille that aim to spur economic and cultural value through networking alliances within a learning environment. The conclusion emphasizes the need to build trust through communication, support networks, and focusing on small initiatives over quick cash solutions to support sustainable urban renewal.
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rene kooyman
Introduction
Art and Economics 1
University of the Arts
Rene Kooyman
Sept 2013
It’s me !
• Electrician; high/low voltage (HTS Oudenoord)
• Utrechts Conservatorium (HKU)
• Master (Drs) Social Sciences: UU RUG
• Regional Development Office Sligo , Ireland
• Hoofd Onderzoek & Ontwikkeling LOKV
• European Commission Luxembourg: IPR
• DEA (post doc) Economie University Geneva
• Study Counselor Institute of Finance and Management
University Geneva
• Master Urban Area Development: HU
• Project Manager CURE
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rene kooyman
Algemene Economie
• Waarom Intro Eco ?
• Eerste jaars: VO / HBO examens
• Nadruk econo / Crea Indu ?
• Theoretische kennis / praktisch inzicht ?
Inhoud Programma 2013 - 2014
1. Tour d’horizon
2. De Heilige Drie-eenheid:
Kunst, de Staat en de Markt
4. De ondernemers dimensie
5. Waarom zijn kunstenaars arm?
6. Making Money
7. Art and the City
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rene kooyman
Per sessie
• Terugblik: so far…..
• Actualiteit: wazzup ??
User content: 0.5 points:
linkedin.com: HKU Intro Eco
• Topic van de dag
• Literatuur
• Vooruitblik: gim’my the future…
• Powerpoint: KE Web ,
www.slideshare.net
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rene kooyman
Programma 2013 - 2014
1. Intro: Tour d’horizon
– Wat is Economie?
– Handelskapitalisme, Industrieel kapitalisme,
Kenniseconomie
– Definitie/kenmerken Creatieve Economie
– Ondernemerschap
– (Business) Planning
– Verhouding Staat / Politiek / Markt
DWDD !!
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Europe in crisis ??
Maatschappelijke ontwikkelingen:
• Urbanisatie
• Van maak-industrie naar kennis
• Groei stokt; is afwezig
• Midden- en kleinbedrijf (MKB) van
strategische waarde
• De economische power van de Culturele en
Creatieve Industrie (CCIs)
• ‘Old School’ niet langer geldig: innovatie
The cultural and creative industries
• De ‘Cultuurindustrie' zijn die industrieën, worden
beschouwd als een specifiek culturele uitingen,
• ongeacht de commerciële waarde kunnen hebben.
Bijv: film, DVD and video, television and radio, video
games, new media, music, books and press, performing
arts, visual arts.
'Creatieve Industrieën' zijn die industrieën
die cultuur gebruiken als input,
maar waarvan resultaten vooral functioneel zijn,
Bijv.: architectuur, reclame en design en mode.
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Core creative arts
Literatuur
Muziek , Theater
Visual arts
Cultureel erfgoed
Other core cultural industries
Film
Museums, galleries,
bibliotheken
Wider cultural industries
Media/entertainment:
Publishing and print media
Television and radio
Sound recording
Video and computer games
Related industries:
Creatief/zakelijke
dienstverlening
Publiciteit
Architectuur
Design
Fashion
The concentric circles model of the CCIs
Creativiteits domeinen
Unctad
2010
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rene kooyman
Contribution Cultural/Creative sector
• UNCTAD: Creative Economy Report 2010
• EU: See EDCCI Page 102
De ‘nieuwe’ MKB definitie
Three criteria:
• Aantal stafleden
• Jaaromzet
of:
• Winst
• ????
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rene kooyman
Grootte in de sector
By sector across CCIs
eurokleis 2009
EDCCI: Page 64
CCIs : EU
Top
Regio’s
Leeuwarden Culturele
Hoofstad 2018
See EDCCI Page 102
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Aalborg School: 'learning economy' – cultuur als
publiek geheim (Bengt-Ã…ke Lundvall, et al.)
Nationale Innovatie systemen
Cultuur definieert de ‘publiek geheim’
‘verzwegen kennis’ , die niet ‘vervoerd’ kan
worden, niet te outsourcen, specifieke kennis
gekoppeld aan bron en locatie
Cultuur als bron van competitief voordeel (Michael
Porter, et al.)
Globalisering: maakt verplaatsing productie mogelijk
Culturele economie': moeilijk te imiteren competitief
voordeel (a niche market)
Culturele verschillen leveren onderscheidende
producten en diensten (internationale specialisatie)
Cultuur in hedendaagse economische
theorie
Wazzup ??
• Lit: Buunk: H1 (17p)
• UNCTAD (2010): Creative Economy Report
2010 (reader)
Volgende week:
• Kunst, de Staat en de Markt
• Derde dinsdag in September; actualiteit
• Lit: Buunk H5: 5.1 , 5.2 , 5.3 , 5.4 (26p)
• 50 Economics ideas (20/208p)
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That’s
the way
it’s done!
Rene Kooyman September 2013
http://cci.hku.nl/ http://cure-web.eu
rene.kooyman@ke.hku.nl
Introduction
Art and Economics