Concept Generation

Creative Industries and the Limits of Critique from

Britspace™?

The urgency of the research on intellectual property in the context of creative industries, economy, and mindset is unquestionable in the context of innovation and information society. Industrial property is understood in its broadest sense and extends not only to industry and commerce as such but also to the agricultural and extractive industries and all industrial or natural products such as wine, grain, tobacco leaves, fruits, livestock, minerals, mineral waters, beer, flowers, flour. The purpose of the research is to conceptualise intellectual property in the context of creative industries, economy, and mindset (using the European Union as an example). Formation of article objectives: 1. Study the problems of industrial and creative property protection in the EU countries. 2. Identify the essence and directions of development of the institute of intellectual property rights. 3. Clarify the functioning of intellectual property rights. 4. Show the development of the creative industries sector and intellectual property rights. 5. Define creativity and creative thinking as a factor in creative industries and the creative economy. Historically, intellectual property law was a long process of appropriation of works of intellectual creation. This notion has changed over time; today, for example, the intellectual property generates significant revenues in its primitive industries and extends into increasingly broader areas. In the current state of affairs, intellectual property law has become much more complex. There is no harmonisation according to activity (copyright, related rights, patents, plant variety certificates, etc.) or country. Creative industries have been shown to produce (almost) systematically two types of products that can be exchanged in two different but interlinked markets: 1) goods and services with a strong ‘significant’ component; 2) the rights to express or embody ‘ideas’. We are interested in three constituent aspects of this construct of value to which intellectual property rights contribute: 1) the use value of these rights; 2) the exchange value, and 3) the market value of the goods and services to which they relate. The conclusion is that in the European Community context, intellectual property rights are perceived as instruments to dominate national markets, given the monopoly position they can confer on their owner. They are also seen as obstacles to intra-Community trade because of differences in the legislation of the Member States. Their application is contrary to the principle of free competition and the principle of free movement of goods and provision of services, which are the basis for the creation of a common market.

The creative industries policy framework has focused attention on artistic activity as a means by which intellectual property is produced: ideas are reduced to material forms, the economic value of which derives from dealing in the rights to reproduction or performance of the work. In this paper, I argue that the emphasis on ‘intellectual’ property within the creative industries ignores the embodied nature of much artistic practice. Using the example of contemporary dance and in particular the Tanztheater of Pina Bausch, I attempt to locate this practice within various formulations of the nature of labour activity itself. These theoretical framings of labour include Karl Marx’s ‘non‐productive’ labour, Frederick Taylor’s ‘machine labour’ and the concept of ‘creative labour’ popularised by Ned Rossiter. This paper is offered as a contribution to the creative industries debate; a contribution that seeks to value artistic labour and practice alongside the artistic ‘product’.

Self-concept that describes employee behavior at work called self-evaluation can affect performance and competitive advantage. This study aims to analyze the influence of self-evaluation (self-esteem, self-efficacy, locus of control, and self-monitoring) of the performance’s creative industry. The study used creative population industries. Sample researches were 40 persons as a manager or owner creative industry, proportional random sampling. The instrument test used validity and reliability test. Data were analyzed using multiple linear regressions were subsequently tested hypothesis by the F test and t-test. Based on multiple regressions analysis of the F test and t-test show that self-evaluation (self-esteem, self-efficacy, locus of control, and self-monitoring) simultaneously and partially have a positive and significant effect on performance of creative industry. No research was found on self-evaluation of the performance of creative industry entrepreneurs. Government policies in providing a sense of business security and training of creativity are urgently needed by creative industry players to face competition in imported products.

Freedom from Choice

The shift of the world to a knowledge economy, mainly driven by Intellectual Property (IP), calls for research dissemination through scholarly publishing to promote the protection and commercialisation of IP. In Africa, innovations such as mobile payment systems, drones, and development in the fields of renewable energy, biotechnology, and artificial intelligence have become key drivers of economic growth and development. However, many African countries have yet to know and appreciate the value of IP to their economies. The benefits of IP may be fully realised through proper awareness and understanding of IP using scholarly publications. The study sought to examine the published documents that focus on IP and the creative industry in Africa in order to create awareness and understanding of the breadth and scope of IP and IPRs. Content analysis was conducted on Scopus using descriptive informetrics. The Scopus database was used to ascertain the published documents that focus on IP and the creative industry in Africa. The researcher used the search string TITLE, ABSTRACT, KEYWORD and also applied Scopus “Analyse Search Results”, which facilitated in-depth analysis of the documents according to the key indicators (the year of publication, territory or country, source, author, institute/ affiliation, types of document, subject areas and sponsors). The analysis revealed that there were very few documents published each year on IP and the creative industry published in Africa. Although documents on IP and the creative industry in Africa were published through three document types, there was a diversity of the subject areas in which research on IP and the creative industry in Africa was found. Of the available research, most authors were affiliated with institutions in Africa, but only one of the journals belonged to an African country, and of all the sponsors, only four belonged to an African country. There was very little research on IP and the creative industry published in Africa, although IP is applicable to different disciplines. Africa needs to improve its science and technology capacity, research facilities and funding, and understanding and awareness of IP. Scholarly publishing on IP and the creative industries would be more pronounced if supported by local sponsors and journals instead of relying on scholars and institutions affiliated with countries outside Africa.

Aim. The presented study aims to comprehensively analyze the problem of including creative thinking as a separate competence – an essential element of soft skills – into the results of mastering academic disciplines to increase the development resource of a service enterprise through the example of the event industry as part of the creative industry.Tasks. The authors investigate the correlation between the event industry and creative industries; substantiate the importance of creative thinking for an event industry specialist and the need to introduce creative thinking training into academic programs in the field of congress and exhibition activities.Methods. The theoretical and methodological basis of this study includes the works of Russian and foreign scientists and experts in the field of creativity and its role as a resource for the development of enterprises. The study uses the following types of analysis: comparative (comparison of approaches, ideas, experience of different countries in investigating the composition of creative industries), hermeneutic (interpretation of various aspects related to the analysis of the needs of educational practices in the development of creative thinking), and systems analysis.Results. The main problem of the study is a result of the current trends in the development of the creative economy and the event industry as its element. Today, there is no formalized market for creative industries with clear forms, rules, and subjects in Russia. There is no legislative framework or structured legal and financial mechanisms to support and develop creative industries. This is due to the fact that there is a background problem: creative industries are counter-intuitively distributed across the sectors of the Russian economy. The study also addresses the problem related to the concept of "creative industry", its content and limits, insufficient elaboration of questions about the justification of the place of the event industry and its affiliation with creative industries, lack of theoretical and practical developments in the field of creative thinking in the training of event industry specialists. This study serves as a prerequisite for reconsidering the role and importance of developing creative thinking skills as a mandatory element of the training of personnel for the event industry. The results of the study include opportunities for preparing applied solutions to the problem of developing creativity skills at the present stage of the event industry being promoted in Russia as a dynamically developing industry and the need to increase its contribution to the national economy. In particular, the main signs of the event industry's affiliation with creative industries in the modern interpretation of the content of this concept are identified, and the need to consider creative thinking as a separate competence for training in the field of the event industry is assessed.Conclusion. The special role of creative thinking is revealed, substantiating the need to distinguish a separate creative thinking competence and to consider it as an integral component of the results of mastering most of the disciplines of the professional cycle in the training of specialists for the event industry. From the authors' perspective, this will help to minimize the gap between the needs of the market and the essence of current educational programs, and to facilitate the comprehensive formation of the desired "advanced professional competencies" and "skills of the future".

This article is based on two facts: creative industries, as a theme, are not particularly developed in France and, second, since the 1980s France is spreading public policies in the field of culture industries, while cultural and educational activities are traditional areas of intervention by State and local communities. The definition of creativity records a wide range of meanings: from «keystone» of a new division of labour in certain economic activities - with the viability of defining aims and procedures of certain public policies as a result - to «widespread process» drawing in individuals and communities (cities and terroirs), physical and virtual (2.0 territories), in different and rather numerous fields - with difficulties and problems in terms of ways and subjects of feasible initiatives. The relations between creative and culture industries, the role of international bodies and of university institutions at a local level and the embryonic condition of the creative industries' relations with the educational industries and processes, are also taken into consideration. A highly problematic situation is outlined, in theoretical terms as well as in terms of criteria, managerial techniques, strategies and social and institutional subjects which are determinant in every of these macro-areas.

Bandung is the capital of the West Java province in Indonesia; the country's third largest city and second largest metropolitan area. I live and work in Bandung and see a great potential for the creative industries. The creative industries is already developing, but organically and can only manage to grow to a certain level. Further progress enabled by developing a better strategy needs to be put forward. The strategy also aimed to influence regional and national approach in developing the creative industries. This thesis is organized around three primary objectives which are (1) The history and current condition of the creative industries; (2) Issues in optimizing the development of the creative industries; and (3) Possible framework for development strategies. The research is informed by an analysis of empirical and conceptual studies from a whole set of subjects including the concept of creativity, creative industries, creative economies, the concept of creative cities and the relations of cultural industries to cultural policy. The research is based on a study of key players using surveys, case studies and in-depth interviews to obtain information and capture the knowledge, understanding, and experiences from the respondents regarding the creative industries in the city. The method is mainly influenced by subjective theories approach from Norbert Groeben (1990) to study and investigate everyday knowledge. The thesis concludes by revisiting the empirical findings from an analytical standpoint grounded on the reasoning and on the evidence presented. Concluding observation indicates that there are four key areas of strategies which are (1) Trust building; (2) Governance and engagement; (3) Physical evidence; and (4) The soft infrastructure. It is believed that not a single policy measure will be able to fully optimise the development of creative industries. Rather, a creative industries development strategy contains a collection of different elements.

There has been immense talk of creativity in organisations such as the WTO, UNESCO and EU but as yet no common definition has been agreed by them for the cultural and creative industries. Can the creative community take a more prominent role in this process? A backlash from the creative community has started against creative industry and city definitions. This turn of events is especially ironic since the term cultural industries was first used by Adorno and Horkheimer in a derogatory sense in their essay the age of enlightenment which set out a series of arguments against the commercialisation of culture. In the future, the general public or ‘creative citizen’ could and must play a much bigger role within creative industry and city initiatives if they are to be truly successful. Therefore the connection between creative spaces and the community becomes key. The voice of creative catalysts and other organisations similar to Transforma are muted voice within the creative and cultural industry lobby. Such agents of creativity are absent from recent creative industry definitions and thinking. Could Transforma change that state of affairs? The Anglo-Saxon approach to the commercialisation of culture and creativity depends on an entrepreneurial spirit across society and strong connections between academic institutions and commercial companies across all sectors. These connections are not always present in smaller and developing economies and this fact may inhibit their appropriation of creative and cultural industry policy making. Can Transforma be catalysts for a new luso-friendly definition of creativity? Is there is an opportunity in Portugal and abroad for Transforma to make a creative difference via their unique connection with the city and to ‘test’ forward thinking creative policy and initiatives that engage creative spaces, creative community, creative catalysts and the creative citizen or public at large?

Korean Abstract: 최근 노동, 자본, 토지와 같은 전통적인 생산요소 외에 지식이나 창의성과 같은 비가시적 생산요소의 중요성이 높아지고, 탈제조업화로 대표되는 경제구조의 변화가 진행되고 있다. 이에 따라 본 연구에서 검토한 영국, 핀란드, 독일, 일본을 비롯한 많은 국가들이 새로운 성장동력과, 일자리 창출원으로서 창조산업에 주목하고 있다. 창조산업은 중소기업이 밀집된 분야로 고용증대에 미치는 영향이 크며, 혁신적인 제품을 개발함으로써 새로운 소비자와 시장을 개척하는 첨병 역할을 한다. 또한 창조산업의 해외진출 확대는 국가간의 문화적 거리감을 완화하고 여타 분야의 수출 확대와 국가 브랜드 제고에 기여하는 효과가 있다. 본 연구는 상기 국가들의 정책 사례를 검토하였다. English Abstract: Along with the emergence of knowledge-based economy, importance of nonvisible production factors, such as knowledge and creativity is widely recognized. With the spread of such recognition, the concept of creative industries has been diffused over the world. Identifying creative industries as an individual industrial sector, countries have come to find that creative industries are new sources of job creation and have the potential to lead cross-industry innovation. As creative industries play a role of pioneering new markets by developing innovative goods and services, internationalization strategy takes a core position in the relevant policies. In this sense, it is necessary to develop a unique Korean concept of creative industries which expands the current category of cultural content industries by including design, architecture, and some ICT and R&D services. As creative industries have high concentration of SMEs and micro firms, it is necessary to exert efforts on supporting competent SMEs. It is also important to reinforce competitiveness of creative services, such as architecture, R&D, and design. Architecture and R&D service markets, which account for the largest share of creative services trade, expand rapidly in emerging countries. Creative firms give positive effects on identification of new consumer demands, provision of new solutions and concepts, creation of new approaches to known problems, joint development of innovative ideas, etc. The government needs to select competitive creative firms and help them link with domestic/foreign firms in various sectors, and give incentives for such activities. Compared to industrial sectors such as manufacturing, creative firms (especially SMEs) face bigger difficulties in exporting. Accordingly, the government needs to provide export funding and foreign market information specialized for creative industries, support creative firms' participation in international trade shows and formation of networks, and include competitive creative firms in business delegations. An important feature of strategies for creative industries’ internationalization is to expand the number of target countries. Such feature includes not only expansion of trade among developed countries but also diversification of target countries into emerging countries. Countries studied in this report select strategic target countries among emerging countries based on various factors, such as market size, growth potential, maturity of bilateral economic relationship, cultural intimacy, etc. MOU is an effective means of helping creative industries enter emerging counties in that it can contain various interests through inter-discipline and inter-department cooperation. Cooperative relationship through MOU can also contribute to building a basis for emerging countries' creative industries. As intellectual property right is a core of creative industries, it is needed to increase the level of intellectual property right protection of emerging countries through bilateral dialogue channels including FTA negotiations. As creative industries are important components of a country's soft power, they require utilization and attention on the government level. Especially, it is required to establish a comprehensive country brand marketing strategy that utilizes Korea's core assets including creative industries.

The rapid development of creative industries and the formation of the creative economy as a new paradigm of economic growth actualizes the need for a deep theoretical understanding of the interrelationships between these concepts. Despite growing research in this field, fundamental problems remain unresolved, including conceptual uncertainty, fragmentation of research, underestimation of multi-level interactions, problems of statistical accounting and comparison of indicators of the creative sector development between countries and regions, and difficulties in developing effective state policies. This study aims to theoretically substantiate the relationship between "creative industries" and "creative economy," analyze their structural elements, and develop an integrative model of their interaction at structural, functional, and value levels. The research methodology is based on comprehensive analysis of international experience, modern trends, and statistical data. The evolution demonstrates transformation from cultural industries studied by the Frankfurt School in the 1930s to modern comprehensive economic phenomena. "Creative industries" was officially first used in 1998 by the UK DCMS, defining them as "those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property." The creative economy concept emerged later through contributions from John Howkins, Richard Florida, and Charles Landry. Structural analysis reveals creative industries as economic sectors uniting enterprises, organisations and individual entrepreneurs whose activities are based on individual creativity, skills, and talent, creating high added-value products through intellectual property development. Various models have been developed by different organizations, including John Howkins (15 creative sectors), NESTA (four business models), UNCTAD (six types of creative outputs and about ten industry categories), and David Throsby's concentric circles model. The creative economy is a broader concept encompassing not only creative industries but also socio-economic relations related to production, distribution, and consumption of creativity-based goods and services. Its structural elements include the creative class, creative industries, institutional environment, innovation and digital infrastructure, and creative spaces. The proposed integrative model considers interaction at three levels. At the structural level, creative industries form the creative economy's core, with the creative class as driving force. At the functional level, creative industries generate ideas, innovations, and solutions that penetrate traditional sectors, while creative economy creates favorable development conditions. At the value level, creative industries form new value systems based on creativity, innovation, individuality, and cultural diversity. Practical aspects demonstrate significant economic impact. According to UNCTAD, the creative economy in 2022 created 0.5-7.3 % of GDP and provided 0.5-12.5 % of workforce employment. Creative services exports reached $1.4 trillion USD, nearly double creative goods exports ($713 billion USD). Creative industries generate $2.3 trillion USD annually worldwide (3.1% of global GDP), with projections reaching 10% by 2030. The creative economy shows high multiplier effects: each creative job creates up to 1.9 jobs in related sectors, and every $1 spent generates $2.5 economic effect. For Ukraine, the creative sector represented 7 % of GDP in 2021, with potential exceeding 10%. Despite war challenges, Ukraine exported $3.766 billion in creative services in 2022, creating a $3.042 billion positive trade balance. The research concludes that creative industries and creative economy exist in complex multi-level interaction, with creative industries serving as the system-forming core, generating innovations and transforming socio-economic relations. The integrative model provides theoretical significance and practical value for effective state policy formation to stimulate creative sector development. Keywords: creative industries, creative economy, creative class, creative sector, creativity, innovations, cultural industries, economic development, multiplier effect, structural analysis, integrative model, state policy, international cooperation, Ukraine, UNCTAD, NESTA, UNESCO.

The creative and media industries in Africa have emerged as key drivers of economic growth, cultural preservation, and global influence. However, despite their potential, entrepreneurs in these industries face significant challenges, including limited access to funding, weak intellectual property protections, fragmented markets, and inadequate infrastructure. This study explores the key strategies that African creative entrepreneurs can adopt to achieve sustainable growth and success in this rapidly evolving sector. The research identifies innovation, digital transformation, strategic partnerships, and policy advocacy as critical enablers of entrepreneurial success. Innovation in content creation, storytelling, and distribution models has allowed African creatives to reach wider audiences locally and internationally. Digital platforms and technology-driven solutions, such as streaming services, e-commerce, and social media marketing, have provided cost-effective ways for entrepreneurs to monetize their work, bypassing traditional industry gatekeepers. Moreover, strategic partnerships with international brands, investors, and regional stakeholders have enhanced market access, financing opportunities, and knowledge exchange. Government policies and regulatory frameworks also play a crucial role in fostering entrepreneurship in Africa’s creative economy. This paper examines policy interventions that can support sustainable business practices, intellectual property protection, and industry collaboration. In addition, capacity-building programs, skill development initiatives, and mentorship networks have been identified as essential for empowering creative entrepreneurs to navigate market challenges and scale their businesses. The study further highlights the importance of financial sustainability through diversified revenue streams, including licensing, sponsorships, crowdfunding, and venture capital investments. By integrating business acumen with creative talent, African entrepreneurs can establish resilient enterprises that thrive amid economic uncertainties. Ultimately, this paper offers a comprehensive framework for fostering entrepreneurial success in Africa’s creative and media industries. It provides practical insights into overcoming barriers and leveraging opportunities for long-term sustainability. The findings contribute to the ongoing discourse on Africa’s creative economy, positioning the continent as a dynamic hub for innovation, cultural exchange, and economic empowerment. Keywords: African Entrepreneurship, Creative Industries, Media Business, Digital Transformation, Sustainability, Innovation, Policy Frameworks, Funding Strategies, Intellectual Property, Economic Empowerment.

In post-industrial knowledge-based economies like the UK’s, the creative industries are becoming major drivers of urban transformation. However, while this process could potentially be leading to greater diversity and democratisation, industry reports by the Creative Industries Federation, Creative Skillset, the British Film Institute and Directors UK show black, Asian and minority ethnic representation in key sectors of the creative industries has actually decreased. In this context East London’s growing number of creative-industries hubs run the risk of re-inscribing existing patterns of racial exclusion onto the urban topography and becoming monoethnic enclaves in an otherwise superdiverse urban setting. This has implications for both racial justice and civic cohesion, and also for creativity and success in an industry where innovation is often based on the hybridisation of cultural forms.As part of my research project I have produced a one-hour documentary entitled Multicology? that examines the work practices of individual BAME (black, Asian and ethnic minority) creative workers based in East London. The film is accompanied by a sixty-nine thousand-word dissertation. In the film and the thesis, I deploy analytical paradigms drawn from the study of the creative industries (Hesmondhalgh 2007, Saha 20017), urban sociology (Sibley 1995, Keith 2005, Cohen 2013), postcolonial cultural studies (Hall 1990, Malik 2008) and urban design (Anderson 2009, Thibaud 2012). I utilise this interdisciplinary approach to examine the processes through which racialised inequality in the creative industries can become spatialised in an urban context, and the strategies BAME creative producers use to navigate those forms of exclusion. In my research I argue that the cultural regeneration process is largely structured by discourses of institutional diversity (Malik 2008) that have historically failed to deliver greater levels of inclusion in the sphere of cultural production. In this context I point to the need for multicultural creative ecologies, what I term ‘multicologies’, where BAME practitioners from complementary sectors of the creative industries can be spatially concentrated. These multicultural creative hubs and networks would operate to challenge existing forms of racialised inequality in the urban creative industries, and support BAME creative practitioners working in East London.