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.
Presentation on how to maintain a multi-annual partnership with a private foundation centered around digital development in museums.
Museum Computer Network, 2 November 2016, The Sheraton, New Orleans.
All artworks by Jamie Seaboch / EyeQ Innovations CC BY-SA 4.0 - unless otherwise stated.
This document summarizes a presentation about how opening up museum collections digitally can inspire creativity and new learning. It discusses two case studies: Cool Constructions, a collaboration between citizens and SMK to beautify public spaces; and Wiki Labs, where people collaborate to enrich Wikipedia art entries using SMK images. The presentation argues that today learning happens everywhere, not just in institutions, and that open collections can support "maker culture" where people engage in hands-on creative learning. It describes an event called "Mix it up!" held at SMK to celebrate open collections, featuring a remix exhibition and workshops. Feedback showed the value of open collections in empowering new forms of learning and art, while also surfacing challenges in integrating
Best practice - Creative industries and responses to place and culture - Creative industries strategy and workspaces, Aberystwyth and Three Mills Island, Bromley By Bow, London, Mr David Clarke
The CURE Project is a 3.4 million euro, 3-year project funded by the INTERREG IVB NWE program to support creative industries in medium-sized European cities. The project aims to strengthen creative sectors and provide facilities to contribute to urban revitalization. It establishes "Creative Zones" through innovative measures including events, learning opportunities, collaboration spaces, and business support to stimulate networking. Examples from partner cities include a kiosk program in Colchester, design workshops in Brugge, and a co-working space in Hagen. The project seeks to enhance the value chain and foster alliances between creative entrepreneurs, industries, and communities.
A talk delivered by Brian Gambles at the Anybook Oxford Libraries Conference 2015 - Adapting for the Future: Developing Our Professions and Services, 21st July 2015.
Sharing is Caring. Societal impact of open collections? Merete Sanderhoff
油
Presentation for the seminar Open Collections, arranged by the Nationalmuseum in Stockholm, on the occasion of the launh of their Public Domain policy, 7 October 2016
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.
The document discusses communication challenges between users and developers and proposes using games and techniques from agile conferences to improve understanding. It describes games played at a conference to experience communication barriers like GeezerSlaw, which had customers and developers discuss a project without a shared language. Participants then debriefed on what they observed and learned. The document outlines additional techniques used in other games, like sign language and physical cues, and asks how these could apply to real projects. It concludes by having participants reflect on which techniques were easiest to use and how techniques could improve their own work.
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.
Entrepreneurial dimension of cultural and creative industries University Utr...Rene KOOYMAN
油
The document provides information about a summer course taking place in August 2013 at Utrecht University's School of the Arts. The course is called "Het Huis Utrecht" and will focus on management reports. The document gives details about the location, date, and topic for the summer course at Utrecht University.
Cultura, Linguagem, C坦Digo E Repert坦RioLuci Bonini
油
O documento discute a evolu巽達o da ind炭stria da m鱈dia ao longo dos s辿culos. Apresenta como as inova巽探es t辿cnicas como a m叩quina a vapor e a prensa rotativa no s辿culo XIX permitiram aumentar a produ巽達o de jornais. Tamb辿m descreve como a globaliza巽達o da comunica巽達o come巽ou no s辿culo XIX com o desenvolvimento das ag棚ncias internacionais e dos correspondentes. Finalmente, explica como avan巽os como o tel辿grafo, r叩dio e televis達o estabeleceram as bases para um sistema global de comunica巽達o e informa巽達o.
O documento discute o conceito de ind炭stria cultural. Afirma que a ind炭stria cultural transforma obras de arte em produtos de consumo visando lucro, alienando o p炭blico e eliminando a dimens達o cr鱈tica da arte. Tamb辿m discute como a ind炭stria cultural controla o tempo de lazer das pessoas para impedir que critiquem as condi巽探es de explora巽達o nas quais vivem.
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.
O documento discute os aspectos te坦ricos da ind炭stria cultural segundo a Escola de Frankfurt, incluindo como a ind炭stria cultural leva aliena巽達o e reifica巽達o das pessoas e promove a manipula巽達o do imagin叩rio atrav辿s da fantasia regressiva para estimular o consumo. Tamb辿m aborda temas como ideologia, estere坦tipos e fetiche da mercadoria.
This document provides an overview of trade unions, including:
- Definitions of a trade union and their key characteristics.
- A brief history of trade union movements starting in the late 18th century in Great Britain and spreading internationally in the 19th century.
- Theories that have been proposed to explain and justify trade union activities, such as those put forward by Hoxie, Marx, the Webbs, and Gandhi.
- Key milestones and periods in the growth of trade unions in India such as the Trade Unions Act of 1926 and increased growth after independence.
- Roles and functions of modern trade unions in promoting workers' interests and cooperating in production.
A ind炭stria cultural 辿 composta por empresas que produzem cultura visando lucro atrav辿s de meios como TV, r叩dio e entretenimento, manipulando a sociedade para aumentar o consumo e moldar h叩bitos. Ela domina a sociedade usando estere坦tipos para fazer as pessoas acreditarem em determinados modelos de vida, muitas vezes sem que percebam a manipula巽達o. No Brasil, devido desigualdade, a ind炭stria cultural n達o apresenta homogeneidade na sociedade de consumo.
The document discusses the definition, objectives, and functions of trade unions. It notes that trade unions are formed to regulate relations between workers and employers, and to impose conditions on businesses. Their key objectives are to improve wages and working conditions for employees through collective bargaining and other means. The functions of trade unions can be categorized as militant (fighting for workers' rights), fraternal (providing welfare benefits), political, and those related to participation in management issues.
ChIMERA International Conference and Investment Forum of Creative and Cultura...Informest
油
The Museum of Architecture and Design, established in 1972 and located at Fu転ine Castle in Ljubljana, is the national Slovene museum for architecture, town planning, industrial and graphic design, and photography.
Aims to revitalize the Textile & Clothing (T&C) sector through a new attention to creativity, personalised design, and artisan and small-scale production for territorially specific value chains in customer-driven business models
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
油
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 creative urban renewal and the role of cultural and creative industries (CCIs). It addresses several key points:
1. CCIs play an important role in urban renewal by revitalizing former industrial areas and contributing to social integration through cultural environments.
2. The labor market for CCIs is complex, with many workers in non-traditional employment arrangements like part-time, temporary, or freelance contracts.
3. CCI markets are volatile, unpredictable, and entrepreneurs have little pricing power as price takers.
4. An integrated approach to creative urban renewal considers physical, social, and infrastructure dimensions.
5. The CURE project promotes this approach through learning environments,
Bursting the Bubble: connecting with communities making culture on their own ...Tim Jones
油
際際滷s from a presentation I made to the annual Arts & Audiences conference of the Nordic States, which in 2014 had a focus on the role of digital in audience development for the arts.
From the programme: "Bursting the community arts bubble: connecting with communities making culture on their own terms. Is the game up for the traditional model of "community art" making (& funding)? This session offers a few provocations towards re-thinking our approaches to producing "community arts", in an era when the digital shift blurs the line between professional and amateur creative, but also creates new kinds of cultural disenfranchisement."
Creative Urban Renewal in Europe (CURE)Rene KOOYMAN
油
EU INTERREG IV Program. CURE develops innovative solutions to the question of how the creative economy can play an active role in urban renewal processes in medium-sized cities in NWE. In contrast to bigger cities and metropoles with growing development conditions, where the market mainly pushes the development of creative urban quarters, the development of creative zones in medium-sized cities has to be pushed by local authorities and other local players. An active intervention of key stakeholders in the form of an integrated approach is needed.
The document discusses the evolving roles of arts organizations and cultural managers. It argues that arts marketing should focus on "making more meaning" rather than "making more money" by engaging audiences with complex ideas and intellectual/spiritual stimulation. It also describes how arts organizations, artists' work, audiences, and cultural policies are changing, requiring arts managers to take on relationships management and ensure accessibility through online platforms and international collaborations. Mobility of artworks and artists is important for exposing different cultures and viewpoints.
This document discusses the changing concept of museums over time from antiquity to the present. It focuses on how museums are grappling with opening up their digital collections in the modern era. Key points discussed include:
- The role and audiences of museums have changed from antiquity to the present, shifting from research to prestige and national identity.
- In the contemporary era, demands are changing with new consumption patterns and the internet, requiring museums to share content more openly online.
- Major barriers to openness include fear of change, financial concerns, and legal issues around copyright and orphan works.
- The document proposes thinking big but starting small by sharing content on platforms like Wikimedia to gain visibility, reuse
20180526 sam donvil_packed_public_domain_dayPACKED vzw
油
This document discusses the changing concept of museums over time from antiquity to the present. It addresses how museums are shifting from controlling access and quality to facilitating open access online as knowledge sources. Barriers to openness like fear of change, financial concerns, and legal issues are examined. The document promotes thinking big but starting small by opening digital collections without all the answers, and finding support through networks. Specific examples are given of opening data on Wikimedia platforms like Wikidata and Commons. The takeaway is that new ideas are built upon prior ideas of others.
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.
The document discusses communication challenges between users and developers and proposes using games and techniques from agile conferences to improve understanding. It describes games played at a conference to experience communication barriers like GeezerSlaw, which had customers and developers discuss a project without a shared language. Participants then debriefed on what they observed and learned. The document outlines additional techniques used in other games, like sign language and physical cues, and asks how these could apply to real projects. It concludes by having participants reflect on which techniques were easiest to use and how techniques could improve their own work.
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.
Entrepreneurial dimension of cultural and creative industries University Utr...Rene KOOYMAN
油
The document provides information about a summer course taking place in August 2013 at Utrecht University's School of the Arts. The course is called "Het Huis Utrecht" and will focus on management reports. The document gives details about the location, date, and topic for the summer course at Utrecht University.
Cultura, Linguagem, C坦Digo E Repert坦RioLuci Bonini
油
O documento discute a evolu巽達o da ind炭stria da m鱈dia ao longo dos s辿culos. Apresenta como as inova巽探es t辿cnicas como a m叩quina a vapor e a prensa rotativa no s辿culo XIX permitiram aumentar a produ巽達o de jornais. Tamb辿m descreve como a globaliza巽達o da comunica巽達o come巽ou no s辿culo XIX com o desenvolvimento das ag棚ncias internacionais e dos correspondentes. Finalmente, explica como avan巽os como o tel辿grafo, r叩dio e televis達o estabeleceram as bases para um sistema global de comunica巽達o e informa巽達o.
O documento discute o conceito de ind炭stria cultural. Afirma que a ind炭stria cultural transforma obras de arte em produtos de consumo visando lucro, alienando o p炭blico e eliminando a dimens達o cr鱈tica da arte. Tamb辿m discute como a ind炭stria cultural controla o tempo de lazer das pessoas para impedir que critiquem as condi巽探es de explora巽達o nas quais vivem.
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.
O documento discute os aspectos te坦ricos da ind炭stria cultural segundo a Escola de Frankfurt, incluindo como a ind炭stria cultural leva aliena巽達o e reifica巽達o das pessoas e promove a manipula巽達o do imagin叩rio atrav辿s da fantasia regressiva para estimular o consumo. Tamb辿m aborda temas como ideologia, estere坦tipos e fetiche da mercadoria.
This document provides an overview of trade unions, including:
- Definitions of a trade union and their key characteristics.
- A brief history of trade union movements starting in the late 18th century in Great Britain and spreading internationally in the 19th century.
- Theories that have been proposed to explain and justify trade union activities, such as those put forward by Hoxie, Marx, the Webbs, and Gandhi.
- Key milestones and periods in the growth of trade unions in India such as the Trade Unions Act of 1926 and increased growth after independence.
- Roles and functions of modern trade unions in promoting workers' interests and cooperating in production.
A ind炭stria cultural 辿 composta por empresas que produzem cultura visando lucro atrav辿s de meios como TV, r叩dio e entretenimento, manipulando a sociedade para aumentar o consumo e moldar h叩bitos. Ela domina a sociedade usando estere坦tipos para fazer as pessoas acreditarem em determinados modelos de vida, muitas vezes sem que percebam a manipula巽達o. No Brasil, devido desigualdade, a ind炭stria cultural n達o apresenta homogeneidade na sociedade de consumo.
The document discusses the definition, objectives, and functions of trade unions. It notes that trade unions are formed to regulate relations between workers and employers, and to impose conditions on businesses. Their key objectives are to improve wages and working conditions for employees through collective bargaining and other means. The functions of trade unions can be categorized as militant (fighting for workers' rights), fraternal (providing welfare benefits), political, and those related to participation in management issues.
ChIMERA International Conference and Investment Forum of Creative and Cultura...Informest
油
The Museum of Architecture and Design, established in 1972 and located at Fu転ine Castle in Ljubljana, is the national Slovene museum for architecture, town planning, industrial and graphic design, and photography.
Aims to revitalize the Textile & Clothing (T&C) sector through a new attention to creativity, personalised design, and artisan and small-scale production for territorially specific value chains in customer-driven business models
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
油
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 creative urban renewal and the role of cultural and creative industries (CCIs). It addresses several key points:
1. CCIs play an important role in urban renewal by revitalizing former industrial areas and contributing to social integration through cultural environments.
2. The labor market for CCIs is complex, with many workers in non-traditional employment arrangements like part-time, temporary, or freelance contracts.
3. CCI markets are volatile, unpredictable, and entrepreneurs have little pricing power as price takers.
4. An integrated approach to creative urban renewal considers physical, social, and infrastructure dimensions.
5. The CURE project promotes this approach through learning environments,
Bursting the Bubble: connecting with communities making culture on their own ...Tim Jones
油
際際滷s from a presentation I made to the annual Arts & Audiences conference of the Nordic States, which in 2014 had a focus on the role of digital in audience development for the arts.
From the programme: "Bursting the community arts bubble: connecting with communities making culture on their own terms. Is the game up for the traditional model of "community art" making (& funding)? This session offers a few provocations towards re-thinking our approaches to producing "community arts", in an era when the digital shift blurs the line between professional and amateur creative, but also creates new kinds of cultural disenfranchisement."
Creative Urban Renewal in Europe (CURE)Rene KOOYMAN
油
EU INTERREG IV Program. CURE develops innovative solutions to the question of how the creative economy can play an active role in urban renewal processes in medium-sized cities in NWE. In contrast to bigger cities and metropoles with growing development conditions, where the market mainly pushes the development of creative urban quarters, the development of creative zones in medium-sized cities has to be pushed by local authorities and other local players. An active intervention of key stakeholders in the form of an integrated approach is needed.
The document discusses the evolving roles of arts organizations and cultural managers. It argues that arts marketing should focus on "making more meaning" rather than "making more money" by engaging audiences with complex ideas and intellectual/spiritual stimulation. It also describes how arts organizations, artists' work, audiences, and cultural policies are changing, requiring arts managers to take on relationships management and ensure accessibility through online platforms and international collaborations. Mobility of artworks and artists is important for exposing different cultures and viewpoints.
This document discusses the changing concept of museums over time from antiquity to the present. It focuses on how museums are grappling with opening up their digital collections in the modern era. Key points discussed include:
- The role and audiences of museums have changed from antiquity to the present, shifting from research to prestige and national identity.
- In the contemporary era, demands are changing with new consumption patterns and the internet, requiring museums to share content more openly online.
- Major barriers to openness include fear of change, financial concerns, and legal issues around copyright and orphan works.
- The document proposes thinking big but starting small by sharing content on platforms like Wikimedia to gain visibility, reuse
20180526 sam donvil_packed_public_domain_dayPACKED vzw
油
This document discusses the changing concept of museums over time from antiquity to the present. It addresses how museums are shifting from controlling access and quality to facilitating open access online as knowledge sources. Barriers to openness like fear of change, financial concerns, and legal issues are examined. The document promotes thinking big but starting small by opening digital collections without all the answers, and finding support through networks. Specific examples are given of opening data on Wikimedia platforms like Wikidata and Commons. The takeaway is that new ideas are built upon prior ideas of others.
The document discusses the creative economy and its opportunities for Waunakee. It defines the creative economy as involving creative industries, workforce and communities. Creative industries include performing arts, film/TV, design, publishing and visual arts. Wisconsin has over 12,000 creative businesses employing 49,000 people. The creative economy strengthens communities, engages residents, and leverages public and private revenue. It provides local jobs that cannot be outsourced. Examples of creative economy development in Wisconsin are provided.
The document discusses the creative economy and its opportunities for Waunakee. It defines the creative economy as involving creative industries, workforce and communities. Creative industries include performing arts, film/TV, design, publishing and visual arts. Wisconsin has over 12,000 creative businesses employing 49,000 people. The creative economy strengthens communities, engages residents, and leverages public and private revenue. It provides local jobs that cannot be outsourced. Examples of creative economy development in Wisconsin are provided.
On 21 February 2020, meemoo and the Royal Library of Belgium organised a special study day in Brussels in celebration of Public Domain Day. Sam Donvil (meemoo) introduced the basic principles of the public domain and its significance to heritage institutions. He also gave an overview of authors that fell into the public domain in 2020, some examples of possibilities with public domain works all over the world and illustrated concrete actions taken by meemoo, a.o. concerning the oeuvre of James Ensor. Then, two other speakers from Vlaamse Kunstcollectie and KU Leuven took the floor. Sam Donvil continued with some guidelines for institutions that want to bring collections into the public domain, and a few words on Open Access in Belgium. To conclude, the results of the Wiki Loves Heritage photography competition were announced.
The document discusses Italy's cultural and creative industries sector. It defines three subsectors: creative industries, core cultural industries, and heritage industries. Creative industries such as design develop services for other sectors and convey content across the economy. Cultural industries produce goods that directly enter the market. Heritage industries involve the conservation and promotion of historical and artistic heritage through museums, libraries, and sites. The document provides statistics on businesses, employment, and value added in each subsector and discusses how cultural content can converge with other industries through innovation.
The document discusses the entrepreneurial dimension of cultural and creative industries, especially small and medium enterprises. It notes that CCIs have specific characteristics including their size, labor markets, products, and challenges accessing financing. The document recommends that EU policies recognize the unique nature of CCIs and support them through initiatives like a pan-European investment fund, tax incentives, entrepreneurship training, and harmonizing education standards across countries.
This document discusses the trend of culture quarters, where artistic and cultural activations are being used to revitalize unused spaces and attract people. It provides examples like Gap Filler in Christchurch, New Zealand, which activated vacant earthquake-damaged sites with creative projects. Another example is Rote Fabrik in Zurich, Switzerland, a former silk factory converted to long-term artist studios and cultural events. Developers in Hong Kong also used public art displays in a new shopping mall. Museums are finding ways to strengthen their brands by opening satellite locations, like the Louvre Museum satellite in Lens, France, which has attracted 750,000 visitors.
Collaboration with local production sector,油spin-offs and the creative econom...OECD CFE
油
13th Annual Meeting of the OECD LEED Forum on Partnerships and Local Development INCREASING PRODUCTIVITY, JOB CREATION AND INCLUSION FROM THE BOTTOM-UP 10th-11th April 2017 | Prague, Czech Republic
Idea Generation - Brands and Partnership Creds - 2011Hector Proud
油
Idea Generation provides concise summaries of 3 sentences or less:
Idea Generation is a consultancy that specializes in cultural campaigns and partnerships for brands. They have a network of contacts across various cultural sectors and have delivered over 1,500 campaigns. Their services include idea generation, digital and social strategy, cultural events, and connecting brands to their cultural network through experiential campaigns.
The document discusses strategies for growing and sustaining artist and maker neighborhoods, known as "makerhoods." It describes characteristics of makerhoods, such as densities of creative enterprises and affordable workspace. It also notes challenges like preserving affordable space and examples from cities like Somerville, Burlington, and Providence. Somerville adopted new zoning for fabrication districts while Burlington aims to balance development and community. Providence's AS220 sustains its community through engagement, programs, and access to resources.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
油
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
油
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.
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.
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.
When selecting a certified roofer, consider their reputation, experience, and...zacharyintegritycrr
油
In conclusion, hiring certified roofers and general contractor south east ensures quality and compliance with industry standards. It is crucial to make informed decisions based on qualifications, services offered, and reputation.
Professional website design company is an investment in growth.
Enhances UX, SEO, and mobile performance.
Establishes credibility and competitive advantage.
Unit 4 of Purbanchal University BBA 5th Semester students as per their syllabus of "CO-353 Entrepreneurship". Helpful for Students of Nepal studying in Purbanchal University for their subject. Actual lectures and examples given by the lecturer himself. Very elaborative and easy to understand for students.
"The Timeless Romance of Rose Flowers: A Symbol of Love and PassionAlluAravind9
油
The rose was always considered the epitome of romance: deep love, passion, and strong feelings that we send to those we cherish. Such velvety petals, such an enthralling perfume, such beauty! A means of declaring affection for the last but some thousand years, the rose is a perennial symbol. The passionate love is represented by red, admiration by pink, and purity by white. Romantic gifts: bouquets, poetic mentions, permanence in keepsakesa rose is the last word in romance! It conveys warmth, devotion, and love everlasting.
Tim Gibson | The Financial Maestro and Wealth SpecialistsTimothy Gibson
油
Tim Gibson | The Financial Maestro.pdf: Orchestrating your financial success through expert strategies for wealth building, risk mitigation, and long-term security.
Timothy Gibson | Security of Financial WealthTimothy Gibson
油
Protecting and growing wealth through strategic investment, tax optimization, and risk management, Timothy Gibson ensures long-term financial security and multi-generational prosperity for entrepreneurs and investors.
Course content for BBA 5th Semester Students in Purbanchal University of Nepal in Subject "Entrepreneurship". Very Elaborative and descriptive for the convenience of students.
17. Talking about cities
Demographics: aging population
Mobility: multicultural societies
Changing consumer patterns
The networks: a connected society
Abandoned
Industrial
area's
Revitalisation
18. The CURE Partners
CURE-WEB.EU
cre8te, Edinburgh
Colchester Borough Council
Grundst端cksgesellsch Kettwig
Stadt Hagen (Lead Partner)
Stadt Dinslaken
Stad Brugge
Lille M辿tropole
Dublin: Temple Bar (observer)
Utrecht University of the Arts
(academic partner)
19. Creative Urban Renewal (CURE)
Aims to facilitate triggered growth of the
creative economy in decayed urban areas in
medium-sized cities in Northwest-Europe
Very different situations:
Tourism/heritage (Edinburgh, Brugge)
Abandoned industrial sites: Essen Kettwig
(scheidshce Hallen), coal-mining areas
Dinslaken, former textile industry
Elbershallen, social-economical problem
areas (Hagen, Lille)
33. Scheidtsche Hallen Kettwig
Former Spinning Mill; family business
Closed in 1974
Public planning completed 2011
Housing area sold to an investor
Partial demolition, reconstruction and
restauration
10.000 m2 for Creative Industries
Flow of Diversity / Business Modelling
36. Kreativ Quartier Lohberg Dinslaken
Coal mine closed in 2005
Total 40 ha with 11 heritage buildings
City Council and Investment Company
develop a partner-based concept
Principles of sustainability and economic
feasibility
Combine renewable energy and Creative
Industries
Idea meets Market: Learning Lab, Creative
Value Chain
http://www.kreativquartier-lohberg.de/
39. Cultural Factory Elbershallen
Hagen
Former Textile Industry redeveloped
since 2000
Public private partnership: City of Hagen
4.5 ha : first businesses commercially
driven; now diversified; daycare centre,
bowling alley, supermarket; and Creative
Industries (music school, dance studio,
Theater an der Volme)
Diversity: different audiences
43. Lille Metropole
Textile crisis 1970; regional
unemployment, poverty
Trans-national initiative; concentrating
on the image
Requalification of derelict areas into AV
Cultural and Creative Incubator
4 dimensions:
LL, CVC, FOD, CBM
45. Creative Value Chain: Screenworks Film Collective
Creative desks program: incubator (CBM),
Non-profit coworking and learning space (LL) for
independent workers, freelancers, start-ups, and the
local community
Collaboration with private sector and academia
Creative Edinburgh
CURE-WEB.EU
46. ICE ICE Store: Creative Outlet
Store
CURE-WEB.EU
ICE Store:
ICE Store is a new way of
doing business. It is a not for
profit social enterprise
consisting of a retail store
selling the work of
independent artists and
designers from Scotland.
Everything in ICE Store is
handmade giving special
meaning to all of our
products.
ICE Store for Creatives:
Picture this: a city centre
location to showcase your
work, a place where you will
have an audience of thousands
and the support to take your
talents to the wider world. A
dream? ICE Store makes this a
reality!
ICE Store for Customers:
Dont you hate it when you cant
get that unique dress or
necklace that suits you and the
occasion perfectly? Or when
finding the perfect gift for a
friend becomes an impossible
task? ICE Store makes it easy!
48. Brugge design met wortels
Design with roots
CURE-WEB.EU
Contemporary design meets old handcraft
techniques
Run workshops on knitting, making jewels
with wax, old fabrics
51. Do we need a theoretical framework?
Concepts are an abstraction of reality
We cannot communicate without using
concepts about the reality
Creates a certain unity in objects
described and definitions
Offers a self-audit facility to ensure
cohesion and appropriate
conceptualisation for conclusions.
54. How is it done?
1. Identify your fundamentals: basic
dimensions (learning lab, creative
value chain, flow of diversity,
business modeling
2. Define the Core Values
3. Identify and select Sub-values
4. Specify and select Indicators
55. The Toolkit
Take Time: Urban Area Development
is not done on a short-term strategy
Persist: hold on to your perspective
Spread the word: communications is
key-factor
Build alliances: define, discuss and re-
define your projects
Learn when you move along......