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Academic literature on the topic 'Creative citie'

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Published: 9 March 2023

Last updated: 10 March 2023

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Journal articles on the topic "Creative citie"

Lee, Chang Bin. "Creative economies, creative cities." International Journal of Cultural Policy 17, no. 3 (June 2011): 356–57. http://dx.doi.org/10.1080/10286632.2010.531718.

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Kolotouchkina, Olga. "Creatividad y la identidad cultural urbana: Experiencias destacadas en las ciudades contemporáneas. / Creativity and urban cultural identity: Best practices in contemporary cities." Revista Internacional de Cultura Visual 5, no. 1 (July 11, 2018): 1–8. http://dx.doi.org/10.37467/gka-revvisual.v5.1524.

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This research paper is a reflection on the role of innovation and creativity in the urban landscape. Based on the analysis of the prominence of cities in the context of globalisation and the essential role of culture for urban regeneration and competitive advantage, the paper illustrates a series of innovative urban cultural practices implemented in different cities around the world. The focus on iconic architecture, the creative transformation of urban spaces as well as the hosting of mega-events reaffirm the urban cultural identity on account of new urban narratives, innovative dynamics of cultural consumption and entertainment, creative talent attraction and boost to the creative industries. In addition, those innovative practices become the catalyst for citizen engagement and activism. El artículo ofrece una reflexión sobre el papel de la innovación y la creatividad en el entorno urbano. Partiendo del análisis del protagonismo de las ciudades en el contexto de la globalización y el papel esencial de la cultura para la competitividad y la regeneración urbana, se ilustra una serie de innovadoras prácticas culturales en diferentes ciudades alrededor del mundo. La apuesta por la arquitectura icónica, la transformación creativa del espacio urbano, así como la celebración de mega-eventos culturales reafirman la identidad cultural urbana a través de la creación de nuevas narrativas urbanas, innovadoras dinámicas de ocio y consumo cultural, la atracción del talento creativo y el estímulo a las industrias creativas. Por otro lado, estas prácticas innovadoras se convierten en el catalizador del activismo y la participación ciudadana.

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Leslie, Deborah. "Creative cities?" Geoforum 36, no. 4 (July 2005): 403–5. http://dx.doi.org/10.1016/j.geoforum.2005.02.001.

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Douglas, Rachel, and Anne Barrett. "Creative Cities Creating Connections: Fostering Cross-Age Interaction Through Leisure." Innovation in Aging 4, Supplement_1 (December 1, 2020): 438. http://dx.doi.org/10.1093/geroni/igaa057.1416.

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Abstract Older and younger people interact infrequently in most social realms – a pattern stemming from institutional, cultural, and spatial age segregation. Increasing cross-age interaction offers promise as a strategy for not only enhancing social connections but also reducing ageist attitudes. We argue that a social realm with untapped potential for creating these connections is leisure, particularly within creative cities. To explore this possibility, our study examines cross-age interactions in Key West, Florida – a leisure-oriented city that promotes creativity through its social and built environment. Using participant-observation and interview data (n=126) from 2017 to 2019, we examined leisure experiences of tourists and residents, aged 23 to 83. Findings indicate that creative cultural contexts can counter ageist attitudes by promoting cross-age interaction. Data analysis revealed three processes encouraging these shifts – promoting diversity and acceptance, enhancing older adults’ participation, and nurturing intergenerational bonds. Ongoing cross-age interactions were fostered through the island’s welcoming philosophy and encouragement of out-group acceptance and diversity. They were further fostered by the island’s wide array of leisure activities and proximity of shared spaces that enabled older adults to readily pursue leisure with younger people. Cross-age ties also were promoted by the island’s focus on family-friendly leisure experiences. Our research highlights the potential of creative cities to promote age integration, and reduce ageism, through its cultural practices within leisure spaces.

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De Miguel-Molina, María, Virginia Santamarina-Campos, Blanca De Miguel-Molina, and María del Val Segarra-Oña. "Creative cities and sustainable development: mural-based tourism as a local public strategy." Dirección y Organización, no. 51 (December 1, 2013): 31–36. http://dx.doi.org/10.37610/dyo.v0i50.429.

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Creative locations become a key element of public regeneration strategies and develop innovative services based on intellectual proper ty. Some communities that have chosen to develop their tourism potential through the use of murals have improved their local development in a sustainable way, thus meeting a need expressed by tourists to create a more active experience with an opportunity for the destination to embed experiences in the locality. In this study, which was carried out as part of an international cooperation research project with Uruguay, we have explored whether Uruguayan mural art may be a way for Uruguayan towns to develop sustainable, creative, mural-based tourism. We used a qualitative content analysis, through in-person interviews, and found that its potential has not been exploited due to the lack of an organized public strategy.Keywords: creative cities, mural art, local sustainable development, mural-based tourism.Ciudades creativas y desarrollo sostenible: turismo basado en el arte mural como estrategia pública localResumen: Las localidades creativas son un elemento clave para el impulso de estrategias de regeneración pública y de creación de servicios innovadores basados en la propiedad intelectual. Algunas comunidades que han optado por desarrollar su potencial turístico a través del arte mural han mejorado su desarrollo local de manera sostenible, uniendo la necesidad de los turistas de vivir una experiencia más activa con la oportunidad de incluir en esas experiencias a la localidad. En este estudio, llevado a cabo en el marco de un proyecto de investigación de cooperación internacional con Uruguay, analizamos si el arte muralista uruguayo podría ser una vía para las localidades uruguayas de desarrollar un turismo sostenible y creativo. Para ello hemos realizado un análisis cualitativo del contenido de diversas entrevistas observando que dicho potencial no ha sido explotado debido a la falta de una estrategia pública organizada.Palabras clave: ciudades creativas, arte mural, desarrollo local, turismo basado en el muralismo.

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Podolskaya, Tatiana, Alexey Baranov, and Ludmila Tomashevskaya. "URBAN CREATIVE CLUSTERS AS A FACTOR OF GLOBAL ECONOMIC EFFICIENCY." EUrASEANs: journal on global socio-economic dynamics, no. 2(21) (April 4, 2020): 33–43. http://dx.doi.org/10.35678/2539-5645.2(21).2020.33-43.

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In the paper the authors analyze theoretical approaches to definition and classification of creative clusters, including used by the international economic organizations. The role and influence of creative economy for modern development of the urbanized cities is shown. In the paper the production factor which is basic for creation of added value in creative economy is designated. The authors show influence of the creative industries on development of world economy using of relevant analytical materials and statistical data. On the basis of the retrospective analysis from the Russian and foreign practice experience of creation and development of the creative cities is analyzed. Such mechanisms of change of the urbanized cities’ public space as a placemaking and redevelopment are described. In the study the comparative analysis of creative economy’s key indicators of the world capitals – leaders in development of the creative environment in dynamics is carried out. Analysis is based on the data of the Global Creativity Index and the interrelation of creativity level with urban saturation and competitiveness of the countries and cities.

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Evans, Graeme. "Creative Cities, Creative Spaces and Urban Policy." Urban Studies 46, no. 5-6 (May 2009): 1003–40. http://dx.doi.org/10.1177/0042098009103853.

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The paper presents the results of an international study of creative industry policies and strategies, based on a survey of public-sector creative city initiatives and plans and their underlying rationales. As well as this survey and an accompanying literature review, interviews were carried out with senior policy-makers and intermediaries from Europe, North America, Africa and south-east Asia. The paper considers the scope and scale of so-called new-industrial clusters in local cultural and creative quarters and sub-regional creative hubs, which are the subject of policy interventions and public—private investment. The semantic and symbolic expansion of the cultural industries and their concentration in once-declining urban and former industrial districts, to the creative industries, and now to the knowledge and experience economy, is revealed in economic, sectoral and spatial terms. Whilst policy convergence and emulation are evident, manifested by the promotion of creative spaces and industry clusters and versions of the digital media and science city, this is driven by a meta-analysis of growth in the new economy, but one that is being achieved by old industrial economic interventions and policy rationales. These are being used to justify the redevelopment of former and residual industrial zones, with cities utilising the creative quarter/knowledge hub as a panacea to implement broader city expansion and regeneration plans.

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Sobrino, Jaime. "Entre mitos y realidades: ciudades mexicanas que concentran clase creativa / Between myths and realities: Mexican cities that concentrate the creative class." Estudios Demográficos y Urbanos 31, no. 2 (May 1, 2016): 501. http://dx.doi.org/10.24201/edu.v31i2.1595.

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El propósito del presente documento consiste en realizar un estudio exploratorio sobre los atributos demográficos y económicos de las ciudades de México en donde se concentra la clase creativa, es decir, aquel segmento de la oferta ocupacional en el mercado urbano de trabajo que se compone por profesionistas, profesores universitarios, investigadores, trabajadores del arte, espectáculos y deportes. El término clase creativa fue propuesto por Richard Florida (2002), y a este segmento de la población ocupada se le ha dado una connotación de ventaja competitiva para la ciudad en donde reside, de tal manera que se ha tratado de comprobar la relación entre el desempeño económico local y la presencia de dicha clase. Aquí no se utiliza a la clase creativa como variable explicativa del comportamiento económico local. Más bien se busca aportar elementos sobre las características de las ciudades con mayor intensidad de clase creativa en su estructura ocupacional. Para alcanzar el propósito se realiza un modelo de regresión logística multivariada. Los resultados permiten concluir que las ciudades donde se concentraba la clase creativa en 2010 eran preferentemente capitales estatales y/o con baja participación de la producción manufacturera en su estructura económica. Asimismo, los ocupados en la clase creativa tuvieron mayor tasa de migración interna con respecto a la población ocupada total. Los lugares de origen y destino de la migración creativa fueron ciudades especializadas, ambas en este tipo de ocupados.AbstractThe purpose of this document is to conduct an exploratory study of the demographic and economic attributes of cities in Mexico where the creative class is concentrated, in other words, the sector of the urban labor market comprising professionals, university professors, researchers, and those engaged in the arts, entertainment and sports. The term “creative class” was coined by Richard Florida (2002) and this segment of the working population has been given a connotation of competitive advantage for the city where it lives. Accordingly, attempts have been made to test the link between local economic performance and the presence of the creative class. This study, however, does not use the creative class as an explanatory variable of local economic behavior. Instead, it seeks to shed light on the characteristics of the cities with the greatest intensity of the creative class in its occupational structure. To this end, a multivariate logistic regression model was designed. The results show that cities where the creative class was concentrated in 2010 were mainly state capitals and/or with a low share of manufacturing output in their economic structure. Likewise, those engaged in the creative class had a higher rate of internal migration with regard to the total working population. The places of origin and destination of creative migration were cities specializing in this type of employees.

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Malecki, Edward J. "Handbook of Creative Cities." Regional Studies 46, no. 8 (September 2012): 1102–3. http://dx.doi.org/10.1080/00343404.2012.709738.

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Hospers, Gert-Jan. "Creative cities in Europe." Intereconomics 38, no. 5 (September 2003): 260–69. http://dx.doi.org/10.1007/bf03031728.

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Dissertations / Theses on the topic "Creative citie"

PRUVOT, SEGOLENE JEANNE MARIE RENELLE VICTORINE. "Can participative arts help deliver (more) socially just creative cities?" Doctoral thesis, Università degli Studi di Milano-Bicocca, 2020. http://hdl.handle.net/10281/262326.

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Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.
Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.

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Oliveira, Carla Isabe Pinto. "Creative cities: the potencial of Portuguese Cities." Master's thesis, Faculdade de Economia da Universidade do Porto, 2011. http://hdl.handle.net/10216/57357.

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Oliveira, Carla Isabe Pinto. "Creative cities: the potencial of Portuguese Cities." Dissertação, Faculdade de Economia da Universidade do Porto, 2011. http://hdl.handle.net/10216/57357.

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Leach, Heather. "Those inner cities : a fictional and critical exploration of urban change." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247318.

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Armellin, Paolo <1992&gt. "Creative cities and city branding: the case study of London." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12496.

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This dissertation is a study of cities. It is a study that aims to define which are the factors that are necessary to make a city attractive, both for tourists and residences. It is a study about creativity, meaning the capacity of people of conceiving new ideas and create something new. It is a study about innovation, a fundamental factor for a city that wants to grow in the future. It is a study about people, which are considered the heart of a place. Finally, it is a study about brand and how this concept can be applied to a product called city. The objective of this work is in fact that of putting together two topics that are intertwined: creative cities and city branding.

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Paz, Mendes de Oliveira Lígia Isabel. ""Creative Cities". O papel da Cultura nos processos de transformação urbana." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285429.

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A tese de doutoramento apresentada ao longo das páginas seguintes analisa como a transformação da base económica da cidade de Barcelona teve um impacto transformador na sua configuração física e, por conseguinte, do seu espaço público. Este fenómeno encontra-se vinculado a processos de Regeneração Urbana, comuns a dinâmicas ocorrentes noutras cidades. Consideramos importante a análise destes processos, ao permitir-nos relacionar as premissas económicas e políticas com os resultados sobre o território. Para além deste interesse geral, o caso de Barcelona possui características especificas que a fazem sobressair com relação às operações conduzidas noutras cidades, merecendo assim o empenho desta investigação. Assumindo a caracterização de Barcelona enquanto uma cidade criativa, concentramo-nos no processo de desindustrialização e da posterior reindustrializaçào do bairro do Poblenou através do projeto 22@,noqualseverificaa passagem das antigas indústrias para as indústrias vinculadas ao conhecimento, onde a cultura ocupa um lugar preponderante. Utilizámos uma metodologia inovadora, consistindo na aplicação de uma análise multi-escalar, no espaço e no tempo, e incidindo sobre o âmbito das políticas económicas e do terntório no Poblenou. De forma a contextualizar a nossa análise, examinámos primeiramente a evolução geral das políticas culturais nas cidades, de forma a articularmos o conceito de "creative cities" com os processos de Regeneração Urbana. Em seguida, observamos o vínculo entre a evolução dos usos com o território físico do Poblenou, assim como o avanço das políticas culturais em Barcelona. Finalmente, aprofundámos o estudo sobre o projeto 22@Barcelona no seu âmbito geral e, em especial, avaliamos o espaço público adjacente ao edificado das novas alividadcs produtivas criath'as. Este é exemplarmente representado pela intervenção de Palo Alto, dado o seu processo de transformação físico, produtivo o cultural. Desta aplicação do Poblenou, destacamos elementos de continuidade e de ruptura. Dos primeiros, a integração do território físico, relativamente ao conjunto da cidade; a continuidade da sua conceptualização enquanto um distrito industrial, inclusivamente adaptando o edificado da primeira industrializaçào para novos usos e valorizado enquanto património; a tentativa de manter a população residente, c a Instauração de novas infraestruturas físicas e sociais, que asseguram uma equivalência ao conjunto da cidade. Consideramos a configuração global do espaço público projetada pelo 22@ como qualitativamente positiva, fomentando a sua integraçao na cidade e a sua coesão urbana. Por outro lado, verificamos uma ruptura no ambiente construído: notoriamente no plano vertical, a tentativa de introduzir novos elementos diferenciadores na paisagem urbana resulta numa imagem trivial e na própria banalização dos recursos culturais. Sobre a ambiguidade destes resultados, valorizamos a integração do desenho destes novos espaços públicos do Poblenou numa continuidade histórica e territorial do conjunto da cidade, destacando-se este domínio de excelência representativo da Barcelona atual.
This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barcelona had a transformative impact on its physical configuration, and therefore on its public space. This phenomenon is linked to urban regeneration processes, common to the dynamics that occur in other cities. We believe it is important to analyse such processes, as they allow us to relate the economic and political assumptions with the results in the territory. Beyond this general interest, the specific characteristics of Barcelona make it stand out in relation to the operations in other cities, therefore ensuring the commitment of this research. By characterizing Barcelona as a creative city, we then analyse the deindustrialization and subsequent re-industrialization of the Poblenou derived of the 22@ plnn, which transforms the old manufacturing industries in knowledgerelated industries, where culture is predominant. We use an innovative methodology, consisting of implementing a multi-scale analysis in space, and time, focusing on both economic and territorial policies in Poblenou. To contextualize this analysis, we first examine the general evolution of cities' cultural policies, in order to articulate the concept of “creative cities” with the process ot urban regeneration. Then, we look at the linkage between the uses evolution of the physical territory of Poblenou, and the progress of cultu.ral policies in Barcelona. Finally, we deepen the study of the 22@Barcelona project in its general context and, in particular, we evaluate the public space adjacent to buildings used for creating new productive activities. We analyse the intervention in Palo Alto by considering it esp«ially characteristic of this physical, productive and cultural transformation processes. This appreciation of Poblenou includes elements of continuity and rupture. On the first onc, wc observe the integration of its physical territory, in relation to the whole city; the continuity of its conceptualization as an industrial district, including the :ldaptation of the first industrialization buildings to new uses and valued an heritage; the attempt to keep the resident population; and finally, by the introduction of new physical and social infrastructures, providing an equivalence within the city. We consider the overall configuration of the public space designed for 22@ as qualitatively positive, by encouraging its integration in the city and its urban cohesion. But we also identify a break in the built environment: especially in the vertical plane, the intent of introducing new differentiators in the urban landscape results in a mundane image and on a cultural resources trivialization. On the ambiguity of these results, we highlight the value and integration and of these Poblenou's newly designed public spaces in the historical and territorial continuity of the whole city, emphasizing this aspect of excellence and as a representative of the contemporary Barcelona.
La tesi doctoral presentada a les pàgines següents examina rom la transformació de la base econòmica de la ciutat de Barcelona va tenir un impacte transformador en la seva configuració física i per tant el seu espai públic. Aquest fenomen està lligat a processos de regeneració urbana. comuns a les dinàmiques que ocorren en altres ciutats. Considerem que és important analitzar aquests processos doncs permeten que ens relacionar els supòsits econòmics i polítics amb els resultats sobre el territori. Més enllà d'aquest interès general. el cas de Barcelona té característiques especifiques que fan que es destaqui en relació amb les operacions desenvolupades en altres ciutats, que garanteix el compromís d'aquesta investigació. Caracteritzant Barcelona com a ciutat creativa, ens permet concentrar-nos en la desindustrialització i la posterior re-industrialització del barri del Poblenou gràcies al projecte 22@, trobant-hi el pas de les velles indústries a les indústries relacionades amb el coneixement,. on la cultura és predominant. Utilitzem una metodologia innovadora que consisteix en l'aplicació d'una anàlisi multi-escala, en l'espai i en el temps, i incideix en l'àmbit de les polítiques econòmiques i territorials al Poblenou. Per tal de contextualitzar l'anàlisi, examinem primer l'evolució general de les polítiques culturals a les ciutats, per tal d'articular el concepte de "ciutats creatives" amb els processos de regeneració urbana. Després observem el vincle entre l'evolució dels usos del territori físic del Poblenou, així com l'avanç de les polítiques culturals a Barcelona. Finalment, aprofundim l'estudi del projecte 22 @ Barcelona en el seu context general i, en particular, avaluem l'espai públic adjacent als edificis destinats a les noves activitats productives creadores. Això es mostra a tall d'exemple per la intervenció a Palo Alto, donada el seu procés de transformació física, productiva i cultural. D'aquesta apreciació del Poblenou, en destaquem els elements de continuïtat i ruptura. Els primers, la integració del territori físic, en relació a tota la ciutat; la continuïtat de la seva conceptualització com un districte industrial, incloent-hi l'adaptació dels edificis de la primera industrialització als nous usos i valorats com a patrimoni; tractant de mantenir a la població resident, i la introducció de nova infraestructura física i social, que proporcionen una equivalència amb tota la ciutat. Considerem que la configuració global de l'espai públic dissenyat per al 22@ és qualitativament positiva, fomentant la seva integració a les ciutat i la seva cohesió urbana. D'altra banda, comprovem una ruptura en l'entorn construït: sobretot en el pla vertical, l'intent d'introduir nous elements diferenciadors en els resultats paisatge urbà en una imatge trivial i, també, una trivialització dels recursos culturals. Sobre l'ambigüitat d'aquests resultats, valorem la integració del disseny d'aquests nous espais públics del Poblenou en una continuïtat històrica i territorial de tota la ciutat, destacant aquest aspecte d'excel.lència i representatiu de l'actual Barcelona.
La tesis doctoral presentada en las páginas siguientes examina cómo la transformación de la base económica de la ciudad de Barcelona tuvo un impacto transformador en su configuración física y por consiguiente su espacio público. Este fenómeno está ligado a procesos de regeneración urbana, comunes a las dinámicas que ocurren en otras ciudades. Consideramos que es importante analizar estos procesos pues nos permiten relacionar los supuestos económicos y políticos ron los resultados sobre el territorio. Más allá de este interés general, el caso de Barcelona tiene características específicas que hacen que destaque en relación con las operaciones desarrolladas en otras ciudades y que garantiza el compromiso de esta investigación. Caracterizando Barcelona como ciudad creativa, nos permite analizar la desindustrializadón y la posterior re-industrialización del Poblenou gracias al proyecto 22@, transformando las viejas industrias fabriles en las industrias relacionadas con el conocimiento, donde la cultura es predominante. Utilizamos una metodología innovadora consistente en la aplicación de un análisis multi-escala, en el espacio y en el tiempo, que incide en el ámbito de las políticas económicas y territoriales en el Poblenou. Para contextualizar el análisis, examinamos primero la evolución general de las políticas culturales en las ciudades, para articular el concepto de “ciudades creativas” con los procesos de regeneración urbana. Después, observamos el vínculo entre la evolución de los usos del territorio físico del Poblenou, así como el avance de las políticas culturales en Barcelona. Finalmente, profundizamos el estudio del proyecto 22@ Barcelona en su contexto general y, en particular, evaluamos el espacio público adyacente a los edificios destinados a las nuevas actividades productivas creadoras. Esto se muestra, a modo de ejemplo, en la intervención en Palo Alto, dado su proceso de transformación física, productiva y cultural. De esta apreciación del Poblenou, destacamos los elementos de continuidad y ruptura. Los primeros, la integración del territorio físico, en relación a toda la ciudad; la continuidad de su conceptualización como un distrito industrial, incluyendo la adaptación de los edificios de la primera industrialización a los nuevos usos y valorados como patrimonio; tratando de mantener a la población residente y la introducción de nueva infraestructura física y social, que proporcionan una equivalencia con toda la ciudad. Consideramos que la configuración global del espacio público diseñado para el 22@ es cualitativamente positiva, fomentando su integración en la ciudad y su cohesión urbana. Por otra parte, comprobamos una ruptura en el entorno construido: sobre todo en el plano vertical, con el intento de introducir nuevos elementos diferenciadores en el paisaje urbano que se traduce en una imagen trivial y, también, una trivialización de los recursos culturales. Sobre la ambigüedad de estos resultados, valoramos la integración del diseño de estos nuevos espacios públicos de Poblenou en una continuidad histórica y territorial de toda la ciudad, destacando este aspecto de excelencia y representativo de la actual Barcelona.

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Vai, Elena <1970&gt. "INCORPOREAL CITIES. Dalle città creative al commoning design delle comunità progettanti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9633/1/Vai_Elena_tesi.pdf.

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L’ambito della ricerca si riferisce al tempo, ai processi, alle pratiche e agli strumenti del design, espressi negli eventi progettati quali agenti di trasformazione nella relazione tra individuo, comunità e territorio. Il contesto è la città contemporanea entrata in un processo di mutazione continua, complice la crisi economico-finanziaria del 2007, e trasformata dagli effetti delle tecnologie abilitanti digitali, una condizione oggi amplificata dall’epidemia da Coronavirus. La grande crisi del capitalismo finanziario ha privato le pubbliche amministrazioni delle risorse e delle politiche di sostegno alla trasformazione urbana top down, mentre le tecnologie abilitanti hanno accelerato e reso inabili i tradizionali processi di relazione tra soggetti. La crisi attuale sta incentivando la migrazione dei comportamenti sociali dall’ambiente naturale verso l’ambiente virtuale, sostituendo l’esperienza fisica nello spazio-tempo della città con l’esperienza digitale, a vantaggio dell’incorporeità. I segnali deboli testimoni di questo processo di trasformazione sono l’emergere di piattaforme interattive che abilitano modelli in co-design di sviluppo, produzione, distribuzione e comunicazione, grazie a software open-source e licenze creative commons che incentivano processi di coinvolgimento bottom up. Queste modalità per creare e collaborare si fondano su metodologie mutuate dal design, su pratiche diffuse quali crowdsourcing e crowdfunding, su azioni informali ed eventi temporanei che contano sulle tecnologie abilitanti e sulla partecipazione di comunità di interesse. La ricerca si è sviluppata a partire da un regesto di casi internazionali per contestualizzarsi nell’esperienza delle grandi città italiane e infine passare alla applicazione sul campo nella città di Bologna, dove ho praticato l’esperienza di ricerca field in Bologna Design Week. L’ipotesi dimostrata è che gli eventi progettati possano essere uno strumento di riattivazione culturale e di cura delle comunità; una strategia di orientamento delle identità mutanti nella città contemporanea; un insieme di pratiche reiterabili di commoning design, creatività, tecnologie digitali e storytelling.
The research topic refers to time, processes, practices and tools of design, expressed in the designed events as agents of trans-formation in relation to the individual, the community and the territory. The context is the contemporary city affected by a process of continuous mutation, due to the economic and financial crisis since 2007 onward, and transformed by the effects of digital enabling technologies, whose changing condition has now ampli-fied by the Coronavirus epidemic. The great crisis of financial capitalism has deprived public administrations of resources and policies to support top-down urban transformation, while enabling technologies have accelerated and disabled the traditional processes of relationships between subjects. The current crisis is encouraging the migration of social behaviors from the natural environment to the virtual environment, replacing the physical space-time experience of the city within the digital experience, at the advantage of incorporeal. The weak signs witnessing this transformation process are the emergence of interactive platforms that enable co-design models for development, production, distribution, communication. Thanks to open-source software and creative commons licenses, they encourage bottom-up engagement processes. These techniques to create and collaborate are based on methodologies bor-rowed from design; on widespread practices such as crowdsourcing and crowdfunding; on informal actions and temporary events that rely on enabling technologies and the participation of communities of interest. The research developed from a record of international cases; up to contextualize the experience of large Italian cities. It finally moves on, assuming the city of Bologna as application field, where I experience the research topic through Bologna Design Week. The demonstrated hypothesis is that the designed events can be assumed as a tool for cultural reactivation and community care; as a strategy for orienteering changing identities in the contemporary city; as a set of repeatable practices of commoning design, creativity, digital technologies and storytelling.

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Wen, Wen. "Scenes, quarters and clusters : new experiments in the formation and governance of creative places in China." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/52840/1/Wen_Wen_Thesis.pdf.

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This thesis examines the formation and governance patterns of the social and spatial concentration of creative people and creative business in cities. It develops a typology for creative places, adding the terms 'scene' and 'quarter' to 'clusters', to fill in the literature gap of partial emphasis on the 'creative clusters' model as an organising mechanism for regional and urban policy. In this framework, a cluster is the gathering of firms with a core focus on economic benefits; a quarter is the urban milieu usually driven by a growth coalition consisting of local government, real estate agents and residential communities; and a scene is the spontaneous assembly of artists, performers and fans with distinct cultural forms. The framework is applied to China, specifically to Hangzhou – a second-tier city in central eastern China that is ambitious to become a 'national cultural and creative industries centre'. The thesis selects three cases – Ideal & Silian 166 Creative Industries Park, White-horse Lake Eco-creative City and LOFT49 Creative Industries Park – to represent scene, quarter and cluster respectively. Drawing on in-depth interviews with initiators, managers and creative professionals of these places, together with extensive documentary analysis, the thesis investigates the composition of actors, characteristics of the locality and the diversity of activities. The findings illustrate that, in China, planning and government intervention is the key to the governance of creative space; spontaneous development processes exist, but these need a more tolerant environment, a greater diversity of cultural forms and more time to develop. Moreover, the main business development model is still real estate based: this model needs to incorporate more mature business models and an enhanced IP protection system. The thesis makes a contribution to literature on economic and cultural geography, urban planning and creative industries theory. It advocates greater attention to self-management, collaborative governance mechanisms and business strategies for scenes, quarters and clusters. As intersections exist in the terms discussed, a mixed toolkit of the three models is required to advance the creative city discourse in China.

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Gathen, Constanze. "Benefits of Networks within Cultural and Creative IndustriesThe Case of the UNESCO Creative Cities Network with a Particular Focus on Gastronomy." Thesis, Mittuniversitetet, Avdelningen för ekonomivetenskap och juridik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-28212.

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Ndhlovu, Raymond. "The impact of the cultural and creative industries on the economic growth and development of small cities and towns - guidelines for creating a regional cultural policy." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/61524.

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The arts and cultural sector has come under even more financial strain than it previously was, as it has to compete with other sectors of the economy for the very limited public funding that is available. It is in this context that the economic impact, and the role, of the arts and cultural sector towards advancing economic growth and development, needs be examined. This thesis investigates the potential for the positive impact of the cultural and creative industries (CCIs) on growth and development of small cities and towns. Furthermore, it also provides guidelines for the development of regional cultural policy in small cities and towns. The CCIs have also been touted as a catalyst for economic growth and economic development, hence the global rise in their interest. For example, the CCIs have been used to redevelop and revive urban areas that have been rundown. CCIs, however, tend to develop in clusters, and additionally, they cluster around large cities. However, the lack of reliance of some CCIs on long supply chains or high-technology inputs may make them suitable candidates for investment in small cities and towns. Additionally, the link that small cities and towns have with rural and isolated areas makes them potential engines for driving growth, development, as well as employment creation for these areas, given their decline as a result of the transition from the traditional agricultural economy, to the knowledge economy. As CCIs have the propensity to drive government’s macroeconomic objectives such as efficiency, equity, economic growth and job creation, it is necessary to develop cultural policy that regards this. The tendency of CCIs to cluster and develop around large cities inevitably means that very little research into cultural policy directed towards regions without large cities and towns has been done. By the same token, very little research has also been conducted on how to craft cultural policy for such areas. In order then, for cultural policy for regions without large cities and towns to be developed, it is necessary to investigate, and provide, guidelines on, how to develop cultural policy for such regions. As a case study, the Sarah Baartman District Municipality (SBDM) in the Eastern Cape was chosen. The SBDM has no large cities and towns, but the District Municipality has identified the CCIs as a potential growth sector, and is in the process of developing a regional cultural policy. The area also includes Grahamstown, which not only hosts the National Arts Festival, which is the largest arts event of its type in Africa, but is also piloting the “Creative City” project in South Africa. An audit and mapping study was conducted on the CCIs in the SBDM; this was based on a national mapping study commissioned by the Department of Arts and Culture. Further internet searches, as well as consultations with the provincial and regional Department of Arts of Culture, coupled with snowball sampling, also aided in the identification of CCIs, and consequently, the “creative hotspots” within the SBDM. Two random samples of stakeholders were chosen; the CCI owners and practitioners, as well as key stakeholders such as government officials, and interviews conducted with both groups, in order to get a first-hand perspective on the operations, activities, challenges, and opportunities that are faced by the CCIs. The study found that there were at least 441 CCIs in the SBDM, with two local municipalities (Dr. Beyers Naude and Makana) hosting the largest share of these (145 and 113 CCIs in each local municipality respectively), which indicates some support for the ‘clustering’ theory. It was also found that the local municipalities that had the largest number of CCIs also experienced better socio-economic welfare. Furthermore, based on the UNESCO Framework for Cultural Statistics (FCS) domains, the Visual Arts and Crafts; Information, Books and Press; and, Cultural Heritage domains were the largest domains represented in the SBDM. It was concluded that cultural policy that is developed, ought to take advantage of, and build on, these existing clusters, as well as the domains that are most prevalent in the region. To demonstrate the impact of cultural festivals on growth and development, a socio-economic impact study was undertaken at the 2016 National Arts Festival (NAF) in Grahamstown. Face to interviews, as well as self-completion questionnaires were used, with respondents at different venues, attending a variety of shows, and across a range of demographics, being interviewed, in order to get a representative sample of Festival attendees. It was found that the economic impact of the 2016 NAF on the city of Grahamstown was R94.4 million. Over and above the economic value of the NAF, it was also found that there were nonmarket benefits (social and intrinsic values) of the NAF, that included audience development, education of the arts and culture, social cohesion, and community development. The inability to directly track and measure social and intrinsic values proved to be a challenge. The study concluded that in order for successful cultural policy to be developed in regions without large cities and towns, it is first necessary to carry out a study to identify what resources are present, and where they are. Locating resources enables cluster identification - as clusters encourage comparative and competitive advantage, it is worthwhile to invest in areas where there are clusters. Therefore, in the allocation of scarce public funds, cultural policy needs to guide investment in to areas where established clusters indicate existing comparative advantage. In terms of equity and transformation, it is also necessary to evaluate labour markets and ownership patterns when developing cultural policy. Beyond the analysis of physical and human resources, the study also found that a crucial step towards developing successful cultural policy is identification of opportunities and challenges faced by the practitioners themselves; the policy ought to capitalise on the opportunities, whilst attempting to correct the challenges faced. Also of importance is aligning the proposed policy and its objectives with regional, provincial and national aims and objectives. Finally, it is important to include a monitoring and evaluation tool that will evaluate the performance of the policy against its stated aims and objectives.

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Books on the topic "Creative citie"

Kong, Lily, and Justin O'Connor, eds. Creative Economies, Creative Cities. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9949-6.

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Lily, Kong, and O'Connor Justin, eds. Creative economies, creative cities: Asian-European perspectives. Dordrecht: Springer, 2009.

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Gerhard, Ulrike, Michael Hoelscher, and David Wilson, eds. Inequalities in Creative Cities. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95115-4.

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Handbook of creative cities. Cheltenham, UK: Edward Elgar Pub., 2011.

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Westbury, Marcus. Creating cities. Melbourne, Australia: Niche Press, 2015.

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Krätke, Stefan. The Creative Capital of Cities. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342277.

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Wu, Weiping. Dynamic cities and creative clusters. [Washington, D.C: World Bank, 2005.

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Coletta, Claudio, Leighton Evans, Liam Heaphy, and Rob Kitchin, eds. Creating Smart Cities. Abingdon, Oxon ; New York, NY : Routledge, 2019. |Series: Regions and cities ; volume 131: Routledge, 2018. http://dx.doi.org/10.4324/9781351182409.

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Acri, Marco, and Saša Dobričić. Creative cities: Which (historic) urban landscape. Milano: Mimesis, 2018.

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Cairo Lab for Urban Studies, Training, and Environmental Research and American University in Cairo, eds. Creative cities: Re-framing downtown Cairo. Cairo, Egypt]: Cluster, 2015.

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Book chapters on the topic "Creative citie"

Moore-Cherry, Niamh. "Creative Cities." In Theme Cities: Solutions for Urban Problems, 359–79. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9655-2_10.

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Asahi, Toshiyuki, Hisashi Noda, Daigo Taguchi, and Kazuhiro Ishihara. "Creative Contents Community." In Digital Cities, 416–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-46422-0_33.

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Chong, Keng Hua, and Mihye Cho. "Introduction." In Creative Ageing Cities, 1–16. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-1.

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Cho, Mihye, and Keng Hua Chong. "Conclusion." In Creative Ageing Cities, 205–11. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-10.

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Chong, Keng Hua. "Reclamation of urban voids and the return of the “kampung spirit” in Singapore’s public housing." In Creative Ageing Cities, 19–46. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-2.

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Wong, Sweet Fun. "A case study in re-imagining healthy communities." In Creative Ageing Cities, 47–60. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-3.

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Kang, Min Jay. "Regenerating public life for ageing communities through the choreography of place-ballets and the weaving of memory tapestries." In Creative Ageing Cities, 63–92. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-4.

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Kim, Jiyoun, and Mihye Cho. "Fostering government–citizen collaboration and inter-generational cooperation." In Creative Ageing Cities, 95–117. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-5.

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Kwok, Jackie Yan Chi. "Participatory action research." In Creative Ageing Cities, 121–44. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-6.

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Wong, Robert Kin Ming, Crystal Man Chong Ho, and Gwyneth Wing Lam Chan. "A participatory design experience with older people." In Creative Ageing Cities, 145–58. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge advances in regional economics, science and policy; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781315558684-7.

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Conference papers on the topic "Creative citie"

GARCÍA GARCÍA, Francisco, and Francisco José GIL RUIZ. "EL USO RETÓRICO EN EL PERFIL DE TWITTER DEL AYUNTAMIENTO DE MADRID." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00014.

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MAÑAS-VINIEGRA, Luis. "EFECTOS DE LA REALIDAD AUMENTADA EN EL TURISMO DE RUINAS HISTÓRICAS." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00029.

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ESTÉVEZ MARTÍN, Ana, and Belén RAMÍREZ BARREDO. "SMARTCITY: LA INTELIGENCIA ARTIFICIAL EN LA CIUDAD DEL FUTURO: ESTUDIO DEL CASO AMAZON GO." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00010.

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A. FARINA, Marcella. "E-SERVICE-LEARNING AND TEACHER EDUCATION: A CASE STUDY OF EXPERIMENTAL EDUCATION." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00011.

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GABARDA BALAGUER, José Esteban. "UNA GOBERNANZA INNOVADORA PARA LA CIUDAD DE HOY." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00012.

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GARCÍA CARRIZO, Jennifer. "SUSTAINABLE OUTDOOR ADVERTISING IN THE CONTEMPORARY CITY." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00013.

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Alain, Lineth, and Antonio Medina. "Ciudades creativas inclusivas. Propuesta de digitalización de la lengua de signos y su percepción científica." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00001.

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Álvarez-Ruiz, Antón. "DESARROLLO E IMPORTANCIA DE LAS POLÍTICAS DE COMUNICACIÓN PÚBLICA EN LA REHABILITACIÓN DEL CENTRO HISTÓRICO DE LA CIUDAD DE PEREIRA (EJE CAFETERO COLOMBIANO)." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00002.

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Alves, Pedro. "STRATEGIES FOR SUSTAINABLE DEVELOPMENT OF THE UNESCO CREATIVE CITIES: CONCLUSIONS FROM THE XI UCCN ANNUAL MEETING (2017)." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00003.

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ARMIROLA GARCÉS, Ledy Paola. "COMPRENSIÓN DE LAS REPRESENTACIONES SOCIALES DEL MEDIO AMBIENTE: CASO COMUNIDAD DE CRESPO, CARTAGENA, COLOMBIA." In 6 Conference Creatives Cities. Madrid: ICONO 14 Editorial, 2018. http://dx.doi.org/10.7195/piccc.00004.

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Reports on the topic "Creative citie"

Susantono, Bambang, and Robert Guild, eds. Creating Livable Asian Cities. Asian Development Bank, April 2021. http://dx.doi.org/10.22617/sgp210110.

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This book explores how Asia’s fast-growing cities can fulfil their potential as engines of economic prosperity and provide a livable environment for all citizens. But for this to happen, major challenges that reduce urban communities’ quality of life and economic opportunities must be addressed. These include poor planning, a lack of affordable housing, inequalities, pollution, climate vulnerabilities, and urban infrastructure deficits. The book’s 19 articles unwrap these challenges and present solutions focused on smart and inclusive planning, sustainable transport and energy, innovative financing, and resilience and rejuvenation.

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Costa, Pedro, and Miguel Magalhães. On ‘Creative Cities’ governance models: a comparative approach. DINÂMIA'CET-IUL, 2006. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2006.54.

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Rato, Berta, Ana Roldão, and Oliver Mühlhan. A typology of creative cities in the world - lessons learned. DINÂMIA'CET-IUL, 2009. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2009.82.

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Costa, Pedro, João Seixas, and Ana Roldão. From ‘Creative Cities’ to ‘Urban Creativity’? Space, Creativity and Governance in the Contemporary City. DINÂMIA'CET-IUL, 2009. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2009.80.

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Goya, Daniel. Marshallian and Jacobian Externalities in Creative Industries. Inter-American Development Bank, January 2022. http://dx.doi.org/10.18235/0003992.

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Marshallian externalities are the benefits obtained by a sector due to geographical agglomeration, and Jacobian effects are spillovers related to the novel combinations that can occur in cities with diversified economic activities. This paper argues that most of the quantitative literature on creative industries is asking whether they are a source of Marshallian or Jacobian effects, inasmuch as a stronger creative sector is a direction of diversification that is likely to have positive spillovers to the rest of the economy. Exploring both questions under a common framework, the results are consistent with the existence of Marshallian but not of Jacobian effects, which calls to caution when making policy suggestions regarding the sector. The degree of specialization in creative sectors is associated with higher sales and a higher number of rms in those sectors, albeit at a decreasing rate. A similar relationship is found for specialization in creative occupations and the incomes of those workers. Though there is no evidence of spillovers from creative industries in general to the rest of the economy, analyses at a more disaggregated level could produce different results and useful insights for policy.

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Campi, Mercedes, Marco Dueñas, and Tommaso Ciarli. Open configuration options Do Creative Industries Enhance Employment Growth? Regional Evidence from Colombia. Inter-American Development Bank, February 2022. http://dx.doi.org/10.18235/0003993.

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Creative industries are considered highly innovative and productive, constituting an important driver of economic change. For high-income countries, several studies discuss the positive spillovers of creative industries for the local economy, for instance by attracting creative workers, which can benet entrepreneurs and workers in other industries. Like many other activities, creative industries are likely to dier in low- and middle-income countries compared to high-income countries. Moreover, the existing evidence is based on correlations between variables likely to be endogenous. This paper contributes to the literature on the role of creative industries in driving economic change in two main ways. First, we make a rst attempt to control for endogeneity and identify the impact of creative industries on local economies. Second, we report evidence for a middle-income country. Using granular employment data, we study the agglomeration patterns of creative industries across Colombian cities between 2008 and 2017. Exploiting the co-location of creative industries with other industries, we estimate the relation between employment growth in creative and non-creative industries in the same city. Using a shift-share instrumental variable approach, we estimate the multiplier eect of employment growth in creative industries on the employment growth in the rest of the economy. Creative industries represented between 2.7 and 3.3 percent of Colombian employment in 2008 and 2017. We nd that creative industries agglomerate mainly in three large cities (Bogota, Medelln, and Cartagena) and in a few smaller cities. Such agglomeration is positively related to an increase in the employment of non-creative services industries. For a positive causal relation to materialize, creative industries should have a larger size or be more connected to other economic sectors. However, after controlling for endogeneity, we nd no signicant impact of an increase of creative industries employment on employment growth in other industries.

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Salavisa, Isabel, Cristina Latoeira, and Ana Roldão. The role of creative industries and governance for cities’ competitiveness: the case of Lisbon and Barcelona. DINÂMIA'CET-IUL, 2009. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2009.81.

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Cunningham, Stuart, Marion McCutcheon, Mark Ryan, Susan Kerrigan, Phillip McIntyre, and Greg Hearn. ‘Creative Hotspots’ in the regions: Key thematic insights and findings from across Australia. Queensland University of Technology, 2022. http://dx.doi.org/10.5204/rep.eprints.227753.

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Description The Creative Hotspots project, or as it was officially titled Australian Cultural and Creative Activity: A Population and Hotspot Analysis, was an expansive, four-year project funded by an Australian Research Council Linkage grant (LP160101724). This comprehensive national study investigated the contemporary dynamics of cultural and creative activity in largely regional and non-capital cities and towns across Australia before the outbreak of COVID-19 in March 2020. In total, the project conducted fieldwork in 17 creative and cultural hotspots across five states: Queensland, New South Wales, Victoria, Western Australia, and South Australia, examining what makes each hotspot “hot”, identifying the dynamics that underpinned their high concentrations of creative and cultural employment and activity. This White Paper outlines the project's findings and outcomes.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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