Transforming people, place, and technology : towards re-creative city

This session is titled TRANSFORM! Opportunities and Challenges of Digital Content for Creative Economy. Some of the key concepts for this session include: 1. City / Economy 2. Creativity 3. Digital content 4. Transformation All of us would agree that these terms describe pertinent characteristics of contemporary world, the epithet of which is the ‘network era.’ I was thinking about what I would like to discuss here and what you, leading experts in divergent fields, would be interested to hear about. As the keynote for this session and as one of the first speakers for the entire conference, I see my role as an initiator for imagination, the wilder the better, posing questions rather than answers. Also given the session title Transform!, I wish to change this slightly to Transforming People, Place, and Technology: Towards Re-­creative City in an attempt to take us away a little from the usual image depicted by the given topic. Instead, I intend to sketch a more holistic picture by reflecting on and extrapolating the four key concepts from the urban informatics point of view. To do so, I use ‘city’ as the primary guiding concept for my talk rather than probably more expected ‘digital media’ or ‘creative economy.’ You may wonder what I mean by re-­creative city. I will explain this in time by looking at the key concepts from these four respective angles: 1. Living city 2. Creative city 3. Re-­‐creative city 4. Opportunities and Challenges to arrive at a speculative yet probable image of the city that we may aspire to transform our current cities into. First let us start by considering the ‘living city.’

“A special kind of city knowledge” : innovative clusters, tacit knowledge and the ‘Creative City’

That the cultural industries are highly networked and operate in clusters is now well established. The notion of cluster is linked to the idea of place-based advantage with cultural industries gaining competitive advantage from mobilising the resources of places to compete in global markets. ‘Place’ in the cultural industries is frequently taken to be the city where city is seen as the key resource for cultural industry clusters and a primary point of intervention for cultural industry policy in creative city policy making. In this article I want to look at some of the implications of these moves for both academic research and policy discussion. The reasons for this emphasis on policy relates to some large questions of urban governance and cultural politics surrounding the proactive government of clusters which are raised by recent work on the cultural industries, notably by Alan Scott.

CCI-CCI Creative City Index 2012

The CCI-Creative City Index was commissioned in 2010 by the Beijing Academy of Science & Technology's Beijing Research Center for the Science of Science. John Hartley was asked to develop a new creative global city index. The brief was to improve on the existing indexes with a specific focus on creative industries and the sources of creative development. This report, by John Hartley, Jason Potts, Trent MacDonald, with Chris Erkunt and Carl Kufleitner, sets out the new model we have developed, which we call the CCI Creative City Index (CCI-CCI). It presents the results of a pilot application of the index to six cities: London, Cardiff, Berlin, Bremen, Melbourne and Brisbane. The index incorporates many elements from other global and creative city indexes, but also adds several new dimensions relating to creative industries scope, micro-productivity, and the economy of attention. The report and Excel spreadsheets of index calculations can be found on this site.

Realizing 'four comforts' in the urban fringe : the case of White Horse Lake Eco-creative City Project, Hangzhou, China

This article examines a cultural and creative industries park project – the White Horse Lake Ecocreative City on land outside the urban centre of Hangzhou, China, which uses an imaginary rural lifestyle as its key attraction. By analysing government policies and development plans, and through interviews with initiators, managers and creative practitioners, the article first assesses the geographical position, that is, the impact of locality with regard to both hard and soft infrastructure of the project; it then examines the synergies and tensions embedded in the strategic goals, that is, to build the right city for ‘four comforts’ (siyi, 四宜) – for residence, for business, for travel and for culture. The article concludes that Chinese-style cultural conversion remains locked in a top-down ideological framework, one that rural residents and the new ‘creative class’ are expected to respect.

Brisbane : creative city, cinema city?

Brisbane stands at the cross roads of many major economic, social and cultural opportunities as it positions itself as a cosmopolitan, globally networked metropolis of the twenty-first century. In order to link and leverage the existing screen industries infrastructure into Brisbane’s creative city’s plans, the paper argues for a re-think of the existing policy frameworks that support Australian screen culture and the national screen industries. Instead of remaining premised on a separation of these two activities the paper argues for a greater recognition of the overlaps occurring in both production and consumption of screen content. By acknowledging the impact new media technologies and social behaviours and the way they are re-shaping media consumption and media production practices, film and media policy could be better positioned to complement the emerging creative city policy frameworks that are being fostered in a city like Brisbane. The paper argues that reconsideration of the culture/industry separation that characterizes contemporary policy settings underpinning Australian media and screen production assistance would not only assist in identifying crucial synergies within a creative city policy it would also invigorate policy settings for the screen industries and enable them to connect more efficiently to a shifting film and media production and consumption landscape.

Creative city index [Report]

The CCI Creative City Index (CCI-CCI) is a new approach to the measurement and ranking of creative global cities. It is constructed over eight principal dimensions, each with multiple distinct elements. Some of these dimensions are familiar from other global city indexes, such as the MORI or GaWC indexes, which account for the size of creative industries, the scale of cultural amenities, or the flows of creative people and global connectedness. In addition to these indicators, the CCI-CCI contributes several new dimensions. These measure the demand side of creative participation, the attention economy, user-created content, and the productivity of socially networked consumers. Global creative cities can often seem alike, in respect of per-capita measures of factors such as public spending on cultural amenities, or the number of hotels and restaurants. This is to be expected when people and capital are relatively free to move, and where economic and political institutions are broadly comparable. However, we find that different cities can register far larger differences at the level of consumer-co-creation and especially digital creative ‘microproductivity’. To explain this finding, we review the logic and rationale of creative and global city index construction and present a review of previous and contemporary indexes. We set out the case for our new model of a creative city index by showing why greater attention to consumer co-creation and microproductivity are important, as well as examining how these factors have been previously overlooked. We show how we have CCI-CCI Creative City Index measured these additional factors and indicate the effect they have on creative and global city indexes. We then present the findings from a pilot study of six cities, two Australian, two German and two from the UK, to indicate how the new index is calculated and applied. Our results indicate much greater variance arising from the new arguments between cities.

Creative city index 2012 - Data sources, calculation methods and tools [Report spreadsheet]

Spreadsheet for Creative City Index 2012

Before and after the creative city : the politics of urban cultural policy in Austin, Texas

This article examines the politics and practice of urban cultural policy in Austin, Texas. I demonstrate how aspects of the local context frame how local government and cultural sector interests strive to initiate the direction of policy. While larger trends—such as Richard Florida's creative city thesis—influence cultural policy and planning, specific contextual factors including prior economic development and growth management policy, departmental organization, the forum for interaction between municipal actors and non-governmental coalitions, and the character of the city's cultural economy mediate such trends to produce policy outcomes. As this case shows, contemporary urban cultural policy is not simply due to the rise of the creative city discourse, but is an evolving product of past policy structures and shaped by local institutions and actors.

Creative Economies, Creative Cities: Asian-European Perspectives

Thirteen papers examine Asian and European experiences with developing national and city policy agendas around cultural and creative industries. Papers discuss policy transfer and the field of the cultural and creative industries--what can be learned from Europe; creative industries across cultural borders--the case of video games in Asia; spaces of culture and economy--mapping the cultural-creative cluster landscape; beyond networks and relations--toward rethinking creative cluster theory; the capital complex--Beijing's new creative clusters; the European creative class and regional development--how relevant Richard Florida's theory is for Europe; getting out of place--the mobile creative class taking on the local--a U.K. perspective on the creative class; Asian cities and limits to creative capital theory; the creative industries, governance, and economic development--a U.K. perspective; Shanghai's emergence into the global creative economy; Shanghai moderne--creative economy in a creative city?; urbanity as a political project--toward post-national European cities; and alternative policies in urban innovation. Contributors include economists. Kong is with the Department of Geography at the National University of Singapore. O'Connor is at Queensland University of Technology. Index.

Making connections : creative industries networks in outer suburban locations

The role of networks and their contribution to sustaining and developing creative industries is well documented (Wittel 2001; Kong 2005; Pratt 2007). This article argues that although networks operate across geographical boundaries, particularly through the use of communication technologies, the majority of studies have focussed on the ways in which networks operate in a) specific inner-urban metropolitan regions or b) specific industries. Such studies are informed by the geographical mindset of creative city proponents such as Florida (2002) and Landry (2000) in which inner-urban precincts are seen as the prime location for creative industries activity, business development and opportunity. But what of those creative industries situated beyond the inner city? Evidence in Australia suggests there is increasing creative industries activity beyond the inner city, in outer-suburban and ex-urban areas (Gibson & Brennan-Horley 2006). This article identifies characteristics of creative industries networks in outer-suburban locations in Melbourne and Brisbane. It argues that supporting and sustaining creative industries networks in these locations may require different strategies than those applied to inner-city networks. The article thus contributes to the growing understanding of the cultural economic geography of creative industries.

Creative cities : clash and emergence

the creative city is one that builds ‘clusters of clusters’ to enable the self-management of complexity, the emergence of new ideas, and the growth of knowledge. Clash and difference is what allows for change and innovation.

Connected Communities and Creative Economy; Clash, cluster, complexity, creativity

After a brief personal orientation, this presentation offers an opening section on „clash, cluster, complexity, cities‟ – making the case that innovation (both creative and economic) proceeds not only from incremental improvements within an expert-pipeline process, but also from the clash of different systems, generations, and cultures. The argument is that cultural complexity arises from such clashes, and that clustering is the solution to problems of complexity. The classic, 10,000-year-old, institutional form taken by such clusters is … cities. Hence, a creative city is one where clashing and competitive complexity is clustered… and, latterly, networked.

Making connections : creative industries networks in outer-suburban locations

The role of networks and their contribution to sustaining and developing creative industries is well documented (Wittel 2001; Kong 2005; Pratt 2007). This article argues that although networks operate across geographical boundaries, particularly through the use of communication technologies, the majority of studies have focussed on the ways in which networks operate in a) specific inner-urban metropolitan regions or b) specific industries. Such studies are informed by the geographical mindset of creative city proponents such as Florida (2002) and Landry (2000) in which inner-urban precincts are seen as the prime location for creative industries activity, business development and opportunity. But what of those creative industries situated beyond the inner city? Evidence in Australia suggests there is increasing creative industries activity beyond the inner city, in outer-suburban and ex-urban areas (Gibson & Brennan-Horley 2006). This article identifies characteristics of creative industries networks in outer-suburban locations in Melbourne and Brisbane. It argues that supporting and sustaining creative industries networks in these locations may require different strategies than those applied to inner-city networks. The article thus contributes to the growing understanding of the cultural economic geography of creative industries.