The Creative Industries Idea

--

Renovating Research and Policy on Creative Industries and Innovation

--

Citizen consultation from above and below : the Australian perspective

Citizen engagement and e‐government initiatives in Australia remain somewhat underdeveloped, not least for a number of fundamental structural reasons. Fledgling initiatives can be divided into a number of broad categories, including top‐down government consultation through blogs and similar experimental online sites operated by government departments; bottom‐up NGO‐driven watchdog initiatives such as GetUp!’s Project Democracy site, modelled on projects established in the UK; and a variety of more or less successful attempts by politicians (and their media handlers) to utilise social networking tools to connect with constituents while bypassing the mainstream media. This chapter explores these initiatives, and discusses the varying levels of success which they have found to date.

The role of emotional labour and role stress on burnout and psychological strain in high contact service employees

This study examines the relationships between job demands (in the form of role stressors and emotional management) and employee burnout amongst high contact service employees. Employees in customer facing roles are frequently required to manage overwhelming, conflicting or ambiguous demands, which they may feel ill-equipped to handle. Simultaneously, they must manage the emotions they display towards customers, suppressing some, and expressing others, be they genuine or contrived. If the in-role effort required of employees exceeds their inherent capacity to cope, burnout may result. Burnout, in turn, can have serious detrimental consequences for the psychological well being of employees. We find that both emotional management and role stressors impact burnout. We also confirm that burnout predicts psychological strain. In line with the Job Demands and Resources Model, we examine the mitigating impact of perceived support on these relationships but do not find a significant mitigating impact.

Studying creative industries?

The ‘creative industries’ idea does not belong to anyone, and its orphan status in the disciplinary family has been one of its continuing problems. No existing science developed a theory that could then be tested, using formal hypotheses, experiments, fieldwork, data-analysis and the like.

Global Creative Industries

The creative industries are the subject of growing attention among policy-makers, academics, activists, artists and development specialists worldwide. This engaging book provides a global overview of developments in the creative industries, and analyses how these developments relate to wider debates about globalization, cities, culture and the global creative economy. Flew considers creative industries from six angles: industries; production; consumption; markets; places; and policies. Designed for the non-specialist, the text includes insightful and wide-ranging case studies on topics such as: fashion; design thinking; global culture; creative occupations; monopoly and competition; Shanghai and Seoul as creative cities; popular music and urban cultural policy; and the rise of “Nollywood”. Global Creative Industries will be of great interest to students and scholars of media and communications, cultural studies, economics, geography, sociology, design, public policy, and the arts. It will also be of value to those working in the creative industries, and involved in their development.

Resilient creative economies? Creative industries on the urban fringe

The relationship between culture and the economy is of growing interest to researchers, writers and policy makers. Advanced economies have become increasingly ‘culturalised’, pushing culture from the periphery to the centre of policy concerns and action. The economic downturn commencing in late 2008 generated predictions that ranged from the apocalyptic to the sanguine, across all sectors. This article offers an insight into the relationship between the economy, the creative industries and their geographic localities. It investigates creative industries situated away from the urban core, and located in the outer suburbs of Melbourne and Brisbane. We suggest that for creative industries situated in outer suburbs, there are characteristics that may contribute to their economic resilience.

The QUT creative industries experience

This publication assembles essays by people who are leading voices and practitioners in the creative industries, writing from the perspectives of education, research and business development. The idea for the publication arose from a request in 2007 from key Chinese policy academics for information on what they called ‘The Queensland model’. Apart from a co-authored article published in Chinese in that year by three of the contributors to this publication, there was little assembled evidence of the model. The interest from China culminated in requests to visit and see the Queensland model first hand. Since 2007, there have been many visitors to the Creative Industries Precinct and the Kelvin Grove Urban Village. The tours have generally taken people to different organisational units within the larger complex. This publication follows this approach but also shows how the various organisational units are integrated.

The First Steps Program : a case study of a new model of community child health service

Community Child Health Nursing Services provide support for new mothers; however, the focus has often been on individual consultations, complemented by a series of group sessions soon after birth. We describe a new model of community care for first-time mothers that centres on group sessions throughout the whole contact period. The model was developed by practicing child health nurses for a large health service district in south-east Queensland, which offers a comprehensive community child health service. Issues identified by clinicians working within existing services, feedback from clients and the need for more resource-efficient methods of service provision underpinned the development of the model. The pilot program was implemented in two community child health centres in Brisbane. An early individual consultation to engage the family with the service was added in response to feedback from clinicians and clients. The modified model has since been implemented service-wide as the ‘First Steps Program’. The introduction of this model has ensured that the service has been able to retain a comprehensive service for first-time parents from a universal population, while responding to the challenges of population growth and the increasing number of complex clients placing demands on resources.

Stronger difficulty notions for client puzzles and denial-of-service-resistant protocols

Client puzzles are meant to act as a defense against denial of service (DoS) attacks by requiring a client to solve some moderately hard problem before being granted access to a resource. However, recent client puzzle difficulty definitions (Stebila and Ustaoglu, 2009; Chen et al., 2009) do not ensure that solving n puzzles is n times harder than solving one puzzle. Motivated by examples of puzzles where this is the case, we present stronger definitions of difficulty for client puzzles that are meaningful in the context of adversaries with more computational power than required to solve a single puzzle. A protocol using strong client puzzles may still not be secure against DoS attacks if the puzzles are not used in a secure manner. We describe a security model for analyzing the DoS resistance of any protocol in the context of client puzzles and give a generic technique for combining any protocol with a strong client puzzle to obtain a DoS-resistant protocol.

Songs of Resilience

The chapters of this book form a persuasive chorus of social practices that advocate the use of music to build a capacity for resilience in individuals and groups. As a whole they exemplify music projects that share common features aligned with an ecological view of reform in health, education and social work systems. Internationally renowned and early career academics have collaborated with practitioners to sing ‘Songs of Resilience’; some of which are narratives that report on the effects of music practices for a general population, and some are based on a specific approach, genre or service. Others are quite literally ‘songs’ that demonstrate aspects of resilience in action. The book makes the connection between music and resilience explicit by posing the following questions—Do music projects in education, health and social services build a measurable capacity for resilience amongst individuals? Can we replicate these projects’ outcomes to develop a capacity for resilience in diverse cultural groups? Does shared use of the term ‘resilience’ help to secure funding for innovative musical activities that provide tangible health, education and social outcomes?

Education for the creative economy : innovation, transdisciplinarity, and networks

The question posed in this chapter is: To what extent does current education theory and practice prepare graduates for the creative economy? We first define what we mean by the term creative economy, explain why we think it is a significant point of focus, derive its key features, describe the human capital requirements of these features, and then discuss whether current education theory and practice are producing these human capital requirements. The term creative economy can be critiqued as a shibboleth, but as a high level metaphor, it nevertheless has value in directing us away from certain sorts of economic activity and toward other kinds. Much economic activity is in no way creative. If I have a monopoly on some valued resource, I do not need to be creative. Other forms of economic activity are intensely creative. If I have no valued resources, I must create something that is valued. At its simplest and yet most profound, the idea of a creative economy suggests a capacity to compete based on engaging in a gainful activity that is different from everyone else’s, rather than pursuing the same endeavor more competitively than everyone else. The ability to differentiate on novelty is key to the concept of creative economy and key to our analysis of education for this economy. Therefore, we follow Potts and Cunningham (2008, p. 18) and Potts, Cunningham, Hartley, and Ormerod (2008) in their discussion of the economic significance of the creative industries and see the creative economy not as a sector but as a set of economic processes that act on the economy as a whole to invigorate innovation based growth. We see the creative economy as suffused with all industry rather than as a sector in its own right. These economic processes are essentially concerned with the production of new ideas that ultimately become new products, service, industry sectors, or, in some cases, process or product innovations in older sectors. Therefore, our starting point is that modern economies depend on innovation, and we see the core of innovation as new knowledge of some kind. We commence with some observations about innovation.