Relevant bibliographies by topics / Cultural creative

Academic literature on the topic 'Cultural creative'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Cultural creative"

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Zheng, Da. "Creative Re-creation in Cultural Migration." Metacritic Journal for Comparative Studies and Theory 3, no. 1 (July 15, 2017): 26–43. http://dx.doi.org/10.24193/mjcst.2017.3.02.

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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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Baker, Sarah, Andy Bennett, and Shane Homan. "Cultural Precincts, Creative Spaces." Space and Culture 12, no. 2 (July 22, 2008): 148–65. http://dx.doi.org/10.1177/1206331208314615.

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Matadamas Torres, Lorenzo Alejandro, Juan Regino Maldonado, Blasa Celerina Cruz Cabrera, Maricela Castillo Leal, and Veronica Hernández Mendoza. "La economía creativa en México: caso Oaxaca / The creative economy in Mexico: Oaxaca’s case." Revista Internacional de Cultura Visual 5, no. 2 (December 14, 2018): 89–99. http://dx.doi.org/10.37467/gka-revvisual.v5.1805.

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ABSTRACTSince the 2000s, in developing as well as developed countries, the subject of creative economy in economic development and growth has been relevant. In Mexico, studies in this regard are extremely important in marginalized states where creative and cultural activities contribute to regional economic development and strengthen the cultural ties and identity of indigenous peoples. The article proposes a model of creative economy for Mexico starting in Oaxaca, in addition to revealing its economic contribution to the state. First, scientific articles on creative economy published in scientific databases from 2000 to 2018 were reviewed. Next, the creative and cultural economic units, their generated jobs and their contributions to the GDP of the state production were identified.RESUMENDesde los años dos mil, en países en vías de desarrollo como desarrollados ha sido relevante el tema de economía creativa en el desarrollo y crecimiento económico. En México los estudios al respecto son de suma importancia en estados marginados donde las actividades creativas y culturales aportan al desarrollo económico regional y fortalecen el arraigo cultural e identidad de los pueblos indígenas. El artículo propone un modelo de economía creativa para México a partir del caso de Oaxaca, además de revelar su contribución económica al estado. Primero se revisaron artículos científicos sobre economía creativa publicados en bases de datos científicas de 2000 a 2018. En seguida, se identificaron las unidades económicas creativas y culturales, sus empleos generados y sus aportaciones al PIB de la producción del estado.
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홍종열. "Creative Europe and Cultural Agenda for Creative Economy." Journal of Foreign Studies ll, no. 26 (December 2013): 521–37. http://dx.doi.org/10.15755/jfs.2013..26.521.

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Pizzio, Alex, and Agnelo Rocha Nogueira Soares. "ECONOMIA CRIATIVA E GESTÃO DA CULTURA NA CIDADE DE PALMAS – TO." Revista Observatório 4, no. 3 (April 29, 2018): 1015. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n3p1015.

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O presente artigo objetiva avaliar o potencial criativo da cidade de Palmas, capital do estado do Tocantins, por meio da gestão da cultura no Município. Para tanto, realizou-se uma investigação bibliográfica e documental acerca da Economia Criativa, aproximando o arcabouço teórico à realidade da capital tocantinense. Os dados analisados revelam que a promoção da melhoria das condições de vida dos indivíduos por meio da utilização de ativos intangíveis, com destaque para a variável cultural, é uma estratégia de desenvolvimento que transcende o campo teórico e permitem identificar uma relação direta entre a adoção de políticas públicas vinculadas à Economia Criativa e a melhoria das condições de vida da população. PALAVRAS-CHAVE: cultura, desenvolvimento, economia criativa, gestão cultural. ABSTRACT This article aims to evaluate the creative potential of the city of Palmas, the capital of the state of Tocantins, through the management of the culture in the municipality. For this, a bibliographical and documentary investigation was conducted about the creative economy, bringing the theoretical framework to the reality of the capital Tocantinense. The analysed data reveals that promoting the improvement of the living conditions of individuals through the use of intangible assets, highlighting the cultural variable, it is a development strategy that transcends the theoretical field and enable it to identify a direct relationship between the adoption of public policies linked to the creative economy and the improvement of the living conditions of the population. KEYWORDS: culture, development, creative economics, cultural management. RESUMEN El presente artículo objetiva evaluar el potencial creativo de la ciudad de Palmas, capital del estado de Tocantins, por medio de la gestión de la cultura en el Municipio. Para ello, se realizó una investigación bibliográfica y documental acerca de la Economía Creativa, aproximando el marco teórico a la realidad de la capital tocantinense. Los datos analizados revelan que la promoción de la mejora de las condiciones de vida de los individuos por medio de la utilización de activos intangibles, con destaque para la variable cultural, es una estrategia de desarrollo que trasciende el campo teórico y permite identificar una relación directa entre la adopción de la adopción políticas públicas vinculadas a la economía creativa y la mejora de las condiciones de vida de la población. PALABRAS CLAVE: cultura, desarrollo, economía creativa, gestión cultural.
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Shuo, Yang, and Zhang Chao. "Creative Product Design Based on Dong Culture Creative." E3S Web of Conferences 179 (2020): 02116. http://dx.doi.org/10.1051/e3sconf/202017902116.

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The study of Dong ethnic cultural resources provides the experience basis and method path for the designing and development of cultural and creative products with Dong ethnic-cultural characteristics. In the research, first of all, the Dong culture is mainly taken as the core and the Dong cultural resources are classified. Secondly, it studies the attributes of cultural and creative products and designs and combs the cultural and creative products of Dong nationality. Furthermore, the creative product design model of Dong ethnic culture is constructed, and eye tracking technology is taken as an example to accurately extract the cultural identification characteristics of cultural materials through modern science and technology, and the specific case design is carried out. Through the excavation, arrangement, and induction of Dong ethnic cultural resources, the attributes of cultural and creative products are analyzed, and the design model is constructed to provide ideas for the design of Dong ethnic cultural and creative products, which is conducive to enhancing the value of Dong ethnic culture and cultural and creative products and provides references for the cultural development of other ethnic minorities.
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Liubarets, Vladyslava, Iryna Zinkova, Yuliia Zemlina, Ganna Voroshylova, and Anna M. Tymeychuk. "COVID-19." Linguistics and Culture Review 5, S4 (November 23, 2021): 1585–99. http://dx.doi.org/10.21744/lingcure.v5ns4.1884.

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The article identifies the challenges of the creative industries in tourism as an important phenomenon in the conditions of the urgent world issue COVID-19. The COVID-19 pandemic has been identified as a real challenge for travel companies around the world causing significant changes in the strategies for creating creative programs for the tourism industry. The analysis has been made, the issues and possibilities of introducing creative industries in tourism in the conditions of the ecological danger of COVID-19 have been determined. It is emphasized that creative tourism, as a self-sufficient product, easily changes the format and subject matter depending on the set objectives, while remaining creative in its nature and purpose. The main stakeholders of creative tourism have been identified: consumers of tourist services, tourist industry representatives (tour operators and agents, hoteliers, restaurateurs, guides, tour guides), the tourist community, local people, and commodity producers, authorities, cultural, scientific, and educational institutions. Measures to support the sphere of culture, cultural heritage protection, development of creative industries and tourism in Ukraine have been analyzed: preservation, promotion, and effective use of national cultural heritage, creation of conditions for tourist attractiveness of cultural heritage sites, support of creative industries.
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Mokhnyuk, Ruslan. "Creative Unions in the Process of Cultural Creation of Civil Society." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 42–47. http://dx.doi.org/10.32461/2226-0285.1.2021.238540.

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The purpose of the article is to analyze the factual and practical experience of creative unions of Ukraine in the context of cultural creation of civil society. Methodology. General scientific methods of analysis, synthesis, generalization, induction, deduction allow to present the material in their cultural and historical integrity, to outline the features of the functioning of creative unions and to trace their impact on the development of civil society. The study of cultural mode is based on the use of the phenomenological method. Scientific novelty is to highlight the cultural aspect of the activities of creative unions for the development of civil society. The research can be used by creative unions in planning, implementation of cultural and artistic projects, development of thematic scientific and methodological materials, as well as in reading cultural disciplines in higher education. Conclusions. Factual and practical material on the activities of creative unions in Ukraine exists in a separate, non-systematic manner. Creative unions are basically charged with a cultural approach to the search for and implementation of modern projects, which are mostly clustered in nature. The cultural mode of creative projects, combining content and form with their aesthetic and artistic reproduction of reality, value-semantic dominants, innovative discoveries, identity, are decisive in the development of civil society.
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Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.

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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).
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Dissertations / Theses on the topic "Cultural creative"

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Ehrlich, Kornelia. "Creative City Ljubljana?: A Cultural-Anthropological Approach to „Making“ a Creative City." Založba ZRC, 2018. https://ul.qucosa.de/id/qucosa%3A74295.

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This article presents theoretical and empirical insights into how Ljubljana is integrated into the discourse of a creative city through top-down discourses and practices, and how bottom-up activists and stakeholders actively position themselves towards this development. The phenomenon described is an example for the realization of European cultural policy in a local context on the geopolitical and imaginative periphery of “EU-rope”: Slovenia.
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Maddah, Lina. "Essays on Cultural and Creative Industries: Clustering, Location and Employment Growth." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/671553.

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Aquesta tesi contribueix al debat contemporani sobre el paper econòmic de les Indústries Culturals i Creatives (ICCs). En primer lloc, la tesi analitza l'impacte de l'especialització en les ICCs sobre el creixement total de l'ocupació entre el 2001 i el 2011 a nivell local, a Catalunya. Partint d'una especificació OLS i després aplicant una regressió quantílica (QR), els resultats revelen que l'especialització en algunes ICCs impulsa l'ocupació, però només per als municipis d'alt creixement (en termes d'ocupació). En segon lloc, la tesi investiga a fons l'Àrea Urbana Funcional de Barcelona (AUFB), pel que fa referència a les pautes de clusterització de les ICCs, mitjançant un mètode SaTScan, la qual cosa suposa una innovació en aquest àmbit. Els principals resultats suggereixen que les empreses de les ICCs tendeixen a agrupar-se, especialment a les zones centrals o urbanes. No obstant això, hi ha divergències en les preferències de les empreses en funció del tipus de coneixement que aquestes fan servir i es destaca el paper de les àrees perifèriques. En tercer lloc, la tesi ajuda a desenvolupar una imatge més completa dels efectes de les ICCs investigant si l'existència d'un clúster d'ICCs pot modular les decisions de localització de les empreses a l'AUFB
Esta tesis contribuye al debate contemporáneo sobre el papel económico de las Industrias Culturales y Creativas (ICCs). En primer lugar, la tesis analiza el impacto de la especialización en las ICCs en el crecimiento total del empleo entre el 2001 y el 2011 a nivel local, en Cataluña. Partiendo de una especificación OLS y luego aplicando una regresión quantílica (QR), los resultado revelan que la especialización en algunas ICCs impulsa el empleo, pero sólo para los municipios de alto crecimiento (en términos de empleo). En segundo lugar, la tesis investiga en profundidad el Área Urbana Funcional de Barcelona (AUFB), por lo que se refiere a las pautas de clusterización de las ICCs, utilizando un método SaTScan, lo que supone una innovación en este campo. Los principales resultados sugieren que las empresas de ICCs tienden a agruparse espacialmente, sobretodo en áreas centrales o urbanas. Aún así, hay diferencias en las preferencias locacionales de las empresas en función del tipo de conocimiento que éstas utilizan y se destaca el papel de las áreas periféricas. En tercer lugar, la tesis ayuda a desarrollar una imagen más completa de los efectos de las ICCs mediante la investigación de si la existencia de un clúster de ICCs puede modular las decisiones de localización de las empresas en la AUFB
This thesis contributes to the contemporary discussion on the economic role of CCIs. First, the thesis explores the impact of specialization in CCIs on total employment growth between 2001 and 2011 at a local level in Catalonia. Departing from a baseline OLS specification and then applying a Quantile Regression (QR), findings reveal that specialization in some CCIs boosts employment but only for high-growth municipalities (in terms of employment). Second, the thesis investigates the Functional Urban Area of Barcelona (FUAB) more closely, in terms of clustering patterns of CCIs using a SaTScan method which is a novelty in the investigation of industrial agglomeration. The main results suggest that CCIs firms tend to cluster, especially in core or urban areas. Still, there are diffences in the preferences of firms based on their knowledge bases and the role of periphery areas is highlighted. Within the context of cluster lifecycle, the findings identify emerging and mature clusters between 2009 and 2017. This is a novel finding from cluster lifecycle analysis that can have profound policy implications. Third, the thesis helps to develop a more complete picture of the effects of CCIs by investigating whether the existence of a CCIs cluster can modulate the location decisions of firms (CCIs and Non-CCIs) in FUAB
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Lines, David. "Becoming Musical: Creative Emergence, Cultural Identity and Learning." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72050.

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Domeij, Tina. "An exploration of cultural identity in creative practice." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7230.

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My work is about the feeling of standing in between two worlds of my cultural heritage. To feel connected but at the same time not connected to them. The feeling of missing out in one of my cultural heritage because of the language that I do not fully speak. I use a traditional craft from that side to build a bridge to fill the gap. It is about combining my heritages and the connection/disconnection and fuse them together into one as I am a person of two cultures. By not putting myself in a box that the society wants me to fit in to, I challenge that norm also in my work. I transformed the traditional craft placed in a room of a house to become jewelry. The wearer is allowed to choose what kind of jewelery it is and it can be placed on many different ways. My work is about investigate the meeting of craft on a body, and body in a craft. Its about to invite the Thai practice to my Swedish practice and vice versa and fuse them together.
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McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.

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Asri, Paramita, and Nikolaos Tsourounakis. "The Eye of Co-Creation: A Guide for Governance of Cultural Co-Creative Projects : Taking Umeå 2014 European Capital of Culture as a Case Study." Thesis, Umeå universitet, Företagsekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85513.

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Creative economies can establish sustainable development through co-creative cultural projects. Project management practice and particularly project governance can balance creativity and control fostering the co-creative environment that inspires and ignites innovation. The success of those cultural projects is the platform that leads to long-term development and growth.   This thesis work aims to answer the following research question, “How will project governance structure provide the environment for the co-creation approach to flourish and enhance project performance?” The objective of this research is to examine how the project governance structure creates a conducive environment for the co-creation approach to burgeon and boost project performance.   The authors investigate the subject by building a theoretical frame of reference, formulating a proposition and designing the research strategy in order to answer the research question. This research applies the qualitative method through semi-structured interviews based on a case study on Umeå 2014 as the ECoC. Thirteen respondents participated in this research, all of whom are members of the Umeå 2014 Project Team. As secondary data, six interviews with Umeå 2014 project owners were investigated and analysed in order to support and increase the reliability of the research findings from the primary data analysis. All primary and secondary data were analysed based on the theoretical framework.   The research revealed that project governance nurtures the environment necessary for co-creation to flourish. The co-creation approach will flourish when developed within the mixture of hierarchical and relational project governance structures that foster co-creative elements. The synergy between co-creation and project governance will boost the potential to achieve sustainable development and long-term growth.
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Galuska, John D. "Mapping creative interiors creative process narratives and individualized workscapes in the Jamaican dub poetry context /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3310395.

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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.
Title from PDF t.p. (viewed Dec. 9, 2008). Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1931. Advisers: John Johnson; Portia Maultsby.
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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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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.

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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective. Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities. This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap. Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.
published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy
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Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.

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碩士
明道大學
設計學院碩士班
98
In recent years, the concept of “cultural creativity” has been become more popular around the world. The Executive Yuan of Republic of China proposed that ‘’challenges 2008: the plan of the national development becomes the main strategy “from 2002. Furthermore, it proposed that “cultural and creative industries” takes a major development industry and with the positive concept of the industry chin to redefine the value of the cultural industry. In addition, it look forward to the accumulation of culture and creativity, creative, cultural and economic could acquired the new structure by the formation and utilization of Intellectual Property, to develop the industry with the international prospect. However, the development and impact of the concept of cultural and creative, With the Mazu belief in cultural representation of Taiwan culture response to this trend which generate a great impact on commercialization of festivals, the development of Matsu product and the development of religion in industrial. Therefore, the concept of cultural and creative industries has become more popular. Nowadays, there are a wide variety of Mazu culture products which enrich the local culture.
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Books on the topic "Cultural creative"

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Andersen, Kurt. Cultural and creative migrations. Cleveland, Ohio: Cleveland Public Library, 2007.

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Peris-Ortiz, Marta, Mayer Rainiero Cabrera-Flores, and Arturo Serrano-Santoyo, eds. Cultural and Creative Industries. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99590-8.

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Klasik, Andrzej. Kreatywne przemysły, kreatywne aglomeracje: Creative industries, creative agglomerations. Warszawa: Komitet Przestrzennego Zagospodarowania Kraju PAN, 2011.

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Santamarina-Campos, Virginia, Eva-María Martínez-Carazo, and María de Miguel Molina, eds. Cultural and Creative Mural Spaces. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5.

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Nancy, Duxbury, Jones Tim, and Baeker Greg, eds. Cultural planning for creative communities. Union, Ont: Municipal World, 2009.

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Duxbury, Nancy, Sara Albino, and Cláudia Pato de Carvalho, eds. Creative tourism: activating cultural resources and engaging creative travellers. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0000.

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Abstract This book provides a synthesis of current research and international best practice, including practitioner perspectives and a range of case study examples. It covers types of creative tourist, trends, designing and implementing creative tourism products, embedding activities in a community and place, and addressing sustainability challenges.
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Kīatnākhin, Sakchai. Thun khwāmkhit sētthakit sāngsan =: Creative capital for creative economy. Krung Thēp: Samnakphim Wailāi, 2010.

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Gilkes, Michael. Creative shizophrenia: The Caribbean cultural challenge. Coventry: Centre for Caribbean Studies, University of Warwick, 1986.

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Wang, Ming-Feng. Creative Product Design With Cultural Codes. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6767-2.

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Cowen, Tyler. Creative destruction. Princeton, NJ: Princeton University Press, 2002.

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Book chapters on the topic "Cultural creative"

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Frey, Bruno S. "Creative Cultural Economy." In Economics of Art and Culture, 49–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_6.

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Shi, Juewei. "Buddhist Economics: A Cultural Alternative." In Creative Economy, 417–36. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6478-4_23.

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Gemeinboeck, Petra, and Rob Saunders. "The Performance of Creative Machines." In Cultural Robotics, 159–72. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42945-8_13.

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Handke, Christian. "Cultural Policy and Development." In Creative Industries in India, 23–39. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003129370-3.

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Moeran, Brian. "Creative worlds." In Creative and Cultural Industries in East Asia, 38–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003177074-4.

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du Cros, Hilary, and Bob McKercher. "Intangible cultural heritage and creative arts." In Cultural Tourism, 103–21. Third edition. | Abingdon, Oxon ; New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429277498-8.

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Gu, Xin. "Creative Industries, Creative Clusters and Cultural Policy in Shanghai." In Cultural Policies in East Asia, 174–92. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327772_11.

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Parc, Jimmyn. "Rethinking Copyrights: The Impact of Copying on Cultural Creativity and Diversity." In Creative Context, 143–62. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3056-2_9.

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Santagata, Walter. "The Cultural and Creative Industries." In The Culture Factory, 75–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13358-9_9.

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Wessels, Bridgette. "The Creative and Cultural Industries." In Exploring Social Change, 127–45. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47142-0_8.

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Conference papers on the topic "Cultural creative"

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Chen, Yi-Wen. "Value creation in cultural and creative industry." In 2012 IEEE 3rd International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2012. http://dx.doi.org/10.1109/icsess.2012.6269521.

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Lin, Shuao. "Creative Industry: Cultural Production or Cultural Control?" In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.044.

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Di Natale, Iolanda. "Toward a “creative” Cultural Heritage." In The 5th Electronic International Interdisciplinary Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/eiic.2016.5.1.520.

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Kint, J. "CULTURAL LIAISONS: INVESTIGATING CREATIVE PRACTICE." In European Academy of Design Conference Proceedings 2015. Sheffield Hallam University, 2016. http://dx.doi.org/10.7190/ead/2015/170.

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Yanyan Liu, Yanling Li, and Xianli Xue. "Exploring Beijing cultural and creative industries." In 2011 International Conference on Computer Science and Service System (CSSS). IEEE, 2011. http://dx.doi.org/10.1109/csss.2011.5975040.

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Ouyang, Xuebing, Zhaohui Li, and Jia Chen. "A Cultural-Creative Network Ecological System." In 2012 Fifth International Conference on Intelligent Computation Technology and Automation (ICICTA). IEEE, 2012. http://dx.doi.org/10.1109/icicta.2012.147.

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Luo, Zhehui, and Xin Zhao. "Building of Cultural Creative Brands. Take Cultural Creative Brand qWu Huang Wan Shuiq as an Example." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.92.

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Zhang, Rui. "Culture Creative Design Contributes to Protection of Intangible Cultural Heritage." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.340.

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Liu, Hang. "Cultural and Creative Design of “Auspicious Tiger”." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.118.

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Lin, Liya, and Guochao Lin. "Project Management for Cultural and Creative Goods." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.134.

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Reports on the topic "Cultural creative"

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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Wollongong. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206965.

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Wollongong’s geographic proximity to the southern sprawl of Sydney, accessible transport and cultural diversity have been an attractor for many inward bound creative migrants, helping it diversify away from its industrial past. Wollongong City Council, understanding the importance of the creative industries, has been very proactive in ensuring that the heart of the city has been well and truly activated by sectors of these industries, while the University of Wollongong and its Innovation Campus have also proved a boon to both specialist and embedded creatives. Wollongong maintains a balance between traditional creatives and newer tech-oriented operatives, most with local, national and international suppliers and clients.
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albany and Denmark. Queensland University of Technology, September 2021. http://dx.doi.org/10.5204/rep.eprints.213126.

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Located a 45-minute drive apart from each other in WA’s Great Southern Region, Albany and Denmark attract creative practitioners who are drawn to the region’s natural beauty and country lifestyle. A regional services hub, Albany has a robust creative services presence with a legacy media sector that functions as a hub for public and commercial media organisations servicing Great Southern and the Wheatbelt. Denmark, while a much smaller town, is renowned nationally as an enclave for locally, nationally, and internationally acclaimed artists and creatives.
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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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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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Hearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark David Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Cairns. Queensland University of Technology, February 2020. http://dx.doi.org/10.5204/rep.eprints.136825.

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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