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OLED lighting elements are recognized as light emitting graphical elements. They can be shaped, patterned or inscribed in a plethora of ways. The possible feature diversity of OLEDs is highly attractive for the creative industry. With its outstanding key feature to provide high‐quality glare‐free a light with crisp light colors, as well as its flexibility and low weight, OLED technology is ideally suited for the use in fashion items like garments or accessories and other near body applications. In addition to the consumer‐oriented fashion business also a lot of professional applications in the security, rescue and outdoor industry are potential application fields for this new technology. [ABSTRACT FROM AUTHOR]

The goal of this paper is to explain why digital innovation is so important in business organizations in order to survive in Industry 4.0. The study helps to understand the new era of Industry 4.0 and the importance of introducing digital innovation into organizations. A systematic review of the literature and studies on Industry 4.0 and digital innovation were synthesized to find answers to the research questions. To improve their manufacturing industry, organizations have implemented digital technologies such as augmented reality, robotic sensing, artificial intelligence, cloud computing, cyber physical systems, and remote sensing technologies. These technologies focused on automating logistics and supply chain systems, improving manufacturing system performance, and simplifying automated production systems. Because digital innovations save time and energy, employees can devote more time and energy to creative and innovative activities. Organizations should plan to implement digital technology in order to keep the environment healthy and sustainable while meeting the demands of customers, consumers, and the Industry 4.0 dimension. [ABSTRACT FROM AUTHOR]

State Strategy in the Trans-Local Branding of a Creative Industry Cluster: A Case Study of the Product Design Industry in Taipei. Based on the case study of the product design industry in Taipei, Lin's paper (2021) scrutinizes the trans-local branding of Taiwanese product design firms through state participation in building trans-local networks. During the last decades, economic geographers have become increasingly interested in creative industries, creative economy, creative cities, as well as the creative class. [Extracted from the article]

Since culture has been considered as a pillar of national identity, prevailing ideas for cultural industries and policies are closely linked to protectionism and anti‐globalization. However, these moves are derived from a narrow understanding of globalization. In this regard, this paper deals with this fundamental question on how to understand globalization in cultural industries with a focus on the film sector. For this research question, this paper identified inbound and outbound globalizations. Inbound globalization happens domestically with the interconnectedness among domestic and international factors whereas outbound globalization occurs overseas. These two types of globalizations can be undertaken both actively and passively depending on how to utilize (dis)advantages. Based on such an analysis, this paper argues that government policies should be set up to maximize benefits from both inbound and outbound globalizations in order to enhance the international competitiveness of the film industry while strengthening its industrial base. In order to fully benefit from globalization, government policies should focus on fostering a better business environment that can facilitate domestic and foreign business activities and their interaction while opening up their market to the world. It should be stressed that regardless of being domestic or foreign, business should be considered as a counterpart to co‐operate, not to restrict and control. [ABSTRACT FROM AUTHOR]

The paper considers the impact of theatre critics on the West End's main theatres in 2003. The model takes account of the newspapers' circulations, the proportion of readers who are theatergoers, the nature of the different reviews and the size of theatres in question. Using a sample of 32 productions with open-ended runs, the net financial influence of the reviews in 2003 is estimated at £18.7 million, equivalent to 6.3% of the Society of London Theatre's box office takings for the year. [ABSTRACT FROM AUTHOR]

This paper explores how gendered perceptions of risk drive gender inequality. It does so by applying an Intersectional Risk Theory (IRT) framework to new empirical data on gender equality initiatives in the Canadian screen industries. The paper shows (1) that gendered risk perceptions constrain women directors' work opportunities; (2) that the construction of gendered risk perceptions ("doing risk") is shaped by the screen industry context and social inequalities generally; and (3) that practices of constructing risk perceptions can be disrupted and changed, which creates opportunities for a "re‐doing" or "un‐doing" of gendered perceptions of risk and offers new analytical perspectives onto the efficacy of gender equality initiatives. By interrogating how perceptions of risk inform decision‐making, the paper contributes new understandings of the drivers of systemic and intersectional inequality as a defining characteristic of work and labor markets in the screen industries and in the creative industries more broadly. [ABSTRACT FROM AUTHOR]

Copyright of Papers in Regional Science is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The branding process of a creative industry cluster is not solely embedded in a local spatial association between place and creative products; increasingly, trans‐local branding is being developed at different regional marketplaces through state participation in building trans‐local networks. However, the role of state strategy in the trans‐local branding of a creative industry cluster remains relatively unexplored. When globalisation presents the uneven geographic differentiation of creative production and consumption in an interconnected world, how does the state strategically facilitate the trans‐local branding of a creative industry cluster to articulate a trans‐local network? This paper aims to explore this issue through a case study of the product design industry in Taipei. Based on 65 semi‐structured interviews with product design companies and government officers, this paper argues that the trans‐local branding of a product design industry cluster creates a firm‐event nexus as the spatial outcome; this outcome is underpinned by three state‐led strategic practices: strategic anchoring, coupling, and curating. The role of state strategy is presented as brand curation, in which the state no longer operates as an economic regulator but as a brand curator. This implies that geo‐political and geo‐economic calculations are also revealed in state strategy‐making. [ABSTRACT FROM AUTHOR]

This paper argues that the diagnostic import of Adorno's culture industry writings lie in their psychoanalytically rooted claim that contemporary culture is losing its ability to negate and reconfigure experience, due to the modern subject's instrumentalized relationship to culture. Adorno uses psychoanalytic ideas—namely, modified and historicized versions of Freud's theory of the instincts, ego formation, the reality principle, and the superego—to show that changes in the social organization of the psyche, which track the transition from myth to enlightenment, put the ego in a precarious position, torn between a primal fear of nature that drives it to submit to society, and internalized fear of its own internal nature, as well as of losing itself in society. This explains how culture becomes a resource capable of being mobilized by the ego's defense mechanisms of identification and introjection to shore up its own sense of solidity, thereby negating culture's potential for transcendence or transformation. This paper concludes with a coda that suggests that, while rejecting Adorno's metacritique of the reason is not sufficient grounds for rejecting the culture industry, critical theorists like Habermas and Honneth may have other tools at their disposal for contesting its conclusions. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Geographer is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper aims to identify the factors affecting the development of creative clusters, with a special focus on institutional setting. This knowledge is important for the development of regions, as clusters play a significant role in accelerating the innovation processes and networking, especially that creative industries have a particular tendency for networking. The study found that the location of creative clusters is influenced by the concentration of creative industries while institutional factors play a much smaller role. The development of clusters is mainly hindered by internal factors, such as problems with defining a common strategy, inability to raise funding for operations (especially if public support was received in the early stages of development), or ill‐designed cooperation with scientific institutions. The practical application of the paper can be found in the conclusions regarding cluster policy at the regional level. First, it would be reasonable to develop models of cooperation between local authorities and clusters, including in particular creation of demand for cluster services. Second, it is important to maintain a strategic dialog between cluster coordinators and local authorities to ensure ongoing monitoring of the needs of the creative sector. Third, it is desirable to promote partnerships and clusters in publicly funded competitions. [ABSTRACT FROM AUTHOR]

This paper examines practices and narratives of hustling in the creative industries. We draw on two illustrative cases: independent female filmmakers in Nairobi, Kenya, and independent female fashion designers in Toronto, Canada, with a combined 69 interviews. Taking a comparative, intersectional approach, we explore both the practices and narratives that entrepreneurial creative workers construct. In doing so, we contribute to ongoing conceptual debates regarding the contemporary nature of work in creative industries. We define hustling in the creative industries as entrepreneurially navigating precarity to build and sustain creative businesses. We argue that hustling is not merely a "stage" of work and life to be moved past or overcome, but instead an ongoing, entrepreneurial creative practice. This fact has implications for how we think about success and creative work: hustling is not a deviation from the good life, but a way of making a good life in precarious circumstances. [ABSTRACT FROM AUTHOR]

This paper examines the impact of exchange rate changes on cultural services trade balances in China, Japan, the United States, United Kingdom, France, and Germany from 2006 to 2015. These six countries represent dominant players whose experiences reflect global impacts. Autoregressive distributed lag (ARDL) models test for J‐curve effects. Cultural distance matrices combined with cluster analysis explore how cultural proximity influences trade structures. Results demonstrate a J‐curve effect in China contrasting with a reverse J‐curve in the United States. China and Japan form one cultural trade cluster distinct from a Western bloc of the United States, United Kingdom, and France. This signifies emerging economies have developed unique cultural trade models. The research enriches empirical evidence on exchange rate impacts for understudied cultural services trade. Introducing cultural distance provides a novel perspective and policy insights for emerging economies. [ABSTRACT FROM AUTHOR]

Identifying three prevalent approaches-Richard Florida's consumption-related Creative Class thesis, clustering of the creative industries, and global production networks of these industries-to understand the geography and development of the creative industries in existing literature, this paper reviews the significance and limitations of these approaches. It argues that existing literature treat these approaches 'stand alone' from each another, without acknowledging the importance of other actors and forces. Instead, these three dynamics do not function separately, but are interdependent and complementary. It points to a critical agenda for future research, arguing that it is the intersection and synergy between these three dynamics that together shapes the development of the creative industries. This paper calls for further research, first, to examine the interrelationship between the local and the global scales of the creative industries by adopting the Global Production Networks (GPN) approach and, second, to study the association between the consumption-related urban amenities and the production of the creative industries. [ABSTRACT FROM AUTHOR]

In the 1930s Hollywood enjoyed a popular following in the Japanese film market, accounting for almost 90 per cent of imported sound films. Against a backdrop of emerging political tensions and war in China, the Japanese government announced in 1937 that it would place a ban on Hollywood film imports. This was a move that ushered in a new era of protectionism for Japan's emerging film industry. Following this decision, Hollywood studios engaged with Tokyo and sought an agreement to ease the new restrictions. After a period of intense discussions, the Japanese government agreed to lift the ban albeit with certain conditions. This paper examines protectionism in the Japanese film market and considers the impact of political forces, both domestic and international, on the decisions made. It will show that economic factors were mostly behind the decision to implement the ban and therefore facilitated the reaching of an agreement between the two sides. Furthermore, the interests of the domestic film industry who would benefit from the import of Hollywood films helped lift the ban. The lesson of Japan and Hollywood is that protectionism in the cultural industries can provoke strong reactions as this sector is often closely associated with forging the country's national identity. Yet, the economic function of this industry should not be forgotten. [ABSTRACT FROM AUTHOR]

The copyright industry contributes to global knowledge transfers, rivaling the manufacturing industry. Creative works are media for conveying information. This paper studies the effects of copyright protection on the international licensing of US companies in the copyright‐based industries. The results show that copyrights affect technological development in creative industries as well as beyond; for example, in supporting industries that produce complementary output. The empirical analysis considers firms' selection into licensing, based on the cost of transferring creative works to host markets. The volume and likelihood of licensing rise with copyright protection when creative works are in sufficiently high demand. [ABSTRACT FROM AUTHOR]

In recent decades, while place‐based policies and local development have attracted the interest of institutional economic geography, the issue of features of certain industries and how they are shaping and shaped by institutions at multiple spatial scales, has not been taken up sufficiently. This paper, based on a local creative industry—the Shanghai online games industry, which is an essential part of the new media sector, takes issue with it. It explores two aspects, namely how multi‐scalar institutions relate and influence the development of the online games industry in Shanghai and how local firms and entrepreneurs affect local and national institutions. It shows that the three aspects that are related to media sector in general and games industry in particular (i.e., cultural influence, technological significance, and economic value) matter much as they have resulted in diverse industry‐relevant policies and regulations devised by local and national states. Moreover, local firms and entrepreneurs with different capacities and characteristics also differ much in influencing the design of the industry‐specific institutions in the face of institutional voids. [ABSTRACT FROM AUTHOR]

Copyright of Papers in Regional Science is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, we seek to explore the agglomeration externalities of creative industries impacting on industrial efficiency, both at the regional level and at the sector level. Firstly, we apply a data envelopment analysis model to compute the efficiency scores of creative industries in China. The result shows that China's industrial efficiency whether in different provinces or different creative sectors is characterized by huge disparities. Secondly, using the data from China's 31 provinces and 50 creative sectors during the period of 2004–2014, we empirically explore whether and how the development of creative industries agglomeration impact on industrial efficiency, where the agglomeration is distinguished between regional specialization, geographical concentration, and industrial concentration. We find that the three types of agglomeration externalities all play important roles in increasing productive efficiency in creative industries. The study also confirms that industrial efficiency is more likely to be increased by attracting much smaller firms concentrating in a given area, while this effect is mixed in a given creative sector. [ABSTRACT FROM AUTHOR]

The paper begins with a discussion of the definition of cultural industries. The paper's three main themes are concerned with, first: 1) a contestation of the generic application of the global commodity chain concept, 2) the need for a unique focus on cultural industries associated with the particular nature of its production process, and 3) the role of embedded judgments of quality is an integral part of this process. Second, the paper suggests that a restyled focus on production chains (involving the full cycle of production to use) might be more appropriate than “commodity chains” for this application. Finally, issues of spatiality and scale are discussed: it is argued that although global commodity chain debates explore linkages at a regional and national scale, they downplay linkages at the local level. [ABSTRACT FROM AUTHOR]

This article introduces the Special Issue, “Varieties of entrepreneurship: Exploring whether, how and why cultural and creative entrepreneurship differs from other varieties”. The aim of the Special Issue is to contribute to a more nuanced understanding of how this particular variety of entrepreneurship emerges, is affected and develops over time. We present the three broad topics addressed in the Special Issue—knowledge, meaning and identity—and position them in the wider academic context of understanding value realization through entrepreneurship in the cultural and creative industries. The six articles presented in the Special Issue come from and combine different streams of literatures, yet jointly they gradually develop their own, hopefully complementary, interpretations, which provide inspiration for a promising agenda for further research. [ABSTRACT FROM AUTHOR]

To date, there is little empirical evidence on the specificities and commonalities of entrepreneurship in the creative industries relative to other sectors. This paper explores this issue by comparing knowledge‐intensive entrepreneurship (KIE) in the manufacturing and creative industries by examining their differences and similarities. Given the lack of prior studies, our comparison is exploratory and based on descriptive statistics. We use survey data that comes from a large‐scale Eurupean Union research project (AEGIS) which studied KIE firms across 10 countries and a diverse set of industries. Our analysis shows that KIE firms in creative industries resemble those in manufacturing in several dimensions, but also that there are some pronounced differences, such as (i) a higher level of knowledge intensity of KIE firms in creative industries, with higher educational attainment of both founders and employees; (ii) that personal financing plays a much larger role in creative industries; (iii) KIE in creative industries focuses more on service innovations, but introduces radical innovations to a lesser extent; and (iv) they remain smaller in terms of number of employees and turnover, but are more profitable than KIE in manufacturing relative to their size. We end the paper by pointing out directions for future research, based on our exploratory results. [ABSTRACT FROM AUTHOR]

The present study offers new input to the discussion of how entrepreneurship education and training programmes can be tailored to suit design professionals. To a large extent, existing entrepreneurship teaching for creative people is based on a traditional administrative management logic that often results in a clash between entrepreneurial demands and creative identities. The paper is based on the following rationale: the better we understand designers' reasoning and their struggles concerning becoming entrepreneurs, the better we are able to design entrepreneurship learning experiences that meet their needs. Since designers' career‐making tends to be highly driven by their strong sense of identity, the paper takes an identity perspective. The empirical foundation of the research is based on observation studies and phenomenological interviews conducted during an eight‐week entrepreneurship training program. Twenty‐five nascent design entrepreneurs with a professional background as designers participated in the voluntary programme. The paper offers novel and critical insights into designers' experiences of the entrepreneurial identity and reasoning as they participate in entrepreneurship training. [ABSTRACT FROM AUTHOR]

This paper draws from ethnographic research on entertainment television in the Philippines, in which poverty, suffering, abundance and joy are materialised and enacted as central themes. Examples are considered from a particularly successful Philippine television program, Eat Bulaga, in which audience members compete to win prizes of cash, bank accounts, feasts, appliances or vehicles. While the production of this television program creates a wider, mediated representation of poverty and abundance, suffering and joy, the paper focuses on the practices and experiences of the people – including production staff and audience members ‐ whose participation in the making of this television program is a materially, and at times spiritually, transformative event. In doing so, Eat Bulaga consolidates and remediates a large market of television audiences whose self‐understanding incorporates the mass consumption of particular goods as being central to the Philippine experience of poverty‐in‐modernity. [ABSTRACT FROM AUTHOR]

This paper aims at analysing how the presence of workers employed in cultural and creative industries (CCIs) is related to regional specialized diversification. From a theoretical perspective, CCIs drive economic development and local innovative capacity by facilitating processes of cross‐fertilization of ideas. This study estimates an entry model analysing the ability of Italian provinces to successfully create new sectoral specializations. The results indicate that the relationship between the share of employees in CCIs and the probability of creating new sectoral specializations is non‐linear, highlighting the need for CCIs‐led policies to achieve a certain level of critical mass to be successful. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to explore the core forces and drivers of the creative transformation of a traditional industry through the assessment of the mares' milk industry (MMI). Using an exploratory single case study, this research reveals the main driver mechanisms and challenges of the creative transformation of a traditional industry using the case of the MMI in Kazakhstan. Grounded theory, along with in-depth interviews of 36 MMI business staff in Kazakhstan, has been used in this study. The research identifies the following four key driving factors for transforming a commodity-based traditional industry into a cultural creative emerging industry: National demand, ingenuity and creativity, affordance (support), and actors (attitudes, skills, and characteristics). This study also explores challenges, such as administrative negligence, the threat of losing authenticity, poor industry cooperation, and cultural branding. A sustainable transformation into a creative MMI requires the government to give its full attention to implementing existing-related policies, emphasizing the role of authenticity, stressing the importance of industry cooperation, and promoting iconic branding. The study findings will help policy makers, administrators, and related stakeholders to understand the transformation of the MMI when developing related policy, strategy, and sustainable development. The findings can also serve as guidelines for other traditional agricultural sectors that are undergoing transformation into creative industries. [ABSTRACT FROM AUTHOR]

The article provides an overview of the launch of "The Nation," an English-language newspaper based in Lahore, Pakistan in 1986. The newspaper offers special daily features named "The Nation Plus" that deals with trendy topics as diverse as arts, entertainment and show business. It states that the newspaper provides its "Young Nation" to attract young readership and began its Web site known as the Nation E-paper in 2004.

This paper explores the imprinting of entrepreneurs' motivations on the practices and processes of enterprises. We investigate the question in the context of creative industries (CIs) as an extreme case of entrepreneurial motivations (EMs) prevalence. We analyse the EM of 14 founders of design consultancies. Three EMs emerge: self‐fulfilment, freedom and financial motivation. The qualitative analysis reveals that the founders' EMs at the time of a venture's founding has a lasting impact on the characteristics of the venture (name, processes formalization, decision‐making processes, performance measures and growth strategies). Specifically, founders driven by self‐fulfilment tend to build ventures named after them. In these ventures, processes are informal, decision‐making is centralized, performance measures are based on personal satisfaction and recognition and enterprise growth is restrained. Founders who seek freedom tend to run enterprises with semiformal processes, semicentralized decision‐making, a client satisfaction focus, and slow growth strategies. In contrast, founders with financial motivations tend to create enterprises with formal processes, decentralized decision‐making, financial performance metrics and growth ambitions. By focusing on EM and adopting a holistic approach beyond some characteristics of the venture, we complement the imprinting literature. [ABSTRACT FROM AUTHOR]

Expanding our understanding of the lived experience of individuals who use their creativity to realize entrepreneurial opportunity is the primary aim of this paper. Interpretative Phenomenological Analysis is used, based on two interviews of one‐hour duration, with eight participants. The key contribution of this research is the recognition of the Creative Industries Entrepreneur. A Creative Industries Entrepreneur is an individual who occupies a space between traditional entrepreneurship theory and established creativity models. The main driving force in opportunity formation for a Creative Industries Entrepreneur is their creative impulse. This pushes them to achieve a personhood, which can reconcile intrinsic impulses with external market forces and social imperatives. [ABSTRACT FROM AUTHOR]

Today, much of "innovative" design tackles purely digital products or physical products extended by digital functionalities or connectivity. Meanwhile, the digital environment of the web deeply impacts the marketing—and increasingly the design process—of purely physical objects that surround our everyday life. The increasing technological maturity of digital fabrication tools has already established the conditions for a wider diffusion of distributed manufacturing, an ever more valid alternative to conventional manufacturing in many product categories. Distributed manufacturing promises a more direct connection between designer and consumer/maker. On the other hand, new challenges emerge around the management and monetization of the work done for an unforeseeable mass of consumers rather than a single business client. Observing recent trends in other creative industries, this paper outlines three possible scenarios for a stimulating compensation of designers: free, pay‐per‐download, and subscription‐based distribution of creative works. Beyond simple economic concepts, each of these scenarios operates on a different metaphor, requires a different kind of digital infrastructure, and offers a different kind of incentive to attract designers and their efforts. The contribution hopes to help identify possible strategies that might lead to sustainable business models of design for distributed manufacturing. [ABSTRACT FROM AUTHOR]

This special issue explores the paradoxes caused by the challenge of managing and organizing creativity in the cultural economy. Conventional views of the individual creative artist are replaced by a view of creativity as a social process embedded within organizational and institutional contexts. The cultural economy is broadly defined in terms of breadth of industries included and depth elements of the cultural production chain. The paper next examines paradoxical practices of the special issue papers in terms of managing creative personnel and managing creative processes. Paradoxes grounded in difference, distance, globalization and identity provide a framework for reviewing each special issue paper's findings on how cultural industry participants, whether individuals, organizations or communities of participants, balance, and as often integrate, competing demands of creative and routine work. The paper concludes with recommendations for more comparative cultural industry research into the personnel, work and management practices employed for managing and organizing creative work and creative workers. Copyright © 2007 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

In this paper we examine how soft systems methodology (SSM) can benefit the initial identification and communication of new computer game concepts between those involved in its development. Computer games are a multi-billion pound worldwide part of the entertainment industry. However, they are a relatively new type of software product and as such the manner in which they are designed and developed is still evolving. Computer games can be highly complex software systems that involve the expertise of a wide range of professionals ranging from programmers to animators, artists and musicians. When designing computer games, new game concepts can be difficult to communicate. In addition, the creative process could be benefited if game design ideas were capable of being shared widely and discussed. Copyright © 2007 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

For more than a decade now there has been considerable, often heated, debate over the issue of the parallel importation of sound recordings into Australia. Citing anti-competitive monopolistic distribution, an increasingly integrated global market and the challenges of new technologies, the Australian government recently passed the Copyright Amendment Act (No.2) 1998, which permits the parallel importation of `non-infringing' copies of a sound recording. This paper investigates the economic rationale underpinning this regulatory change and, using a partial equilibrium model, attempts to measure the likely welfare effects on consumers, copyright owners and the nation. In addition the paper examines the likely welfare impact of piracy within the new regulatory framework This paper demonstrates that in a global music market characterised by exclusive territorial licences and price discrimination, the removal of parallel import restrictions by a small net-importer of intellectual property may be welfare enhancing for the nation. This welfare gain is at the expense of largely foreign copyright owners. [ABSTRACT FROM AUTHOR]

In the context of economic turmoil, firms in the creative industries ( CIs) must make fast decisions as to when to break through with innovations. This paper discusses non-technological, organizational innovation of early-adopters, first movers and early followers in order to overcome persistent economic decline, and the implication of different strategies for innovation success. The strategic principle of the pioneer's advantage rests on pre-emption - the premise that 'the early bird gets the worm' and this often applies to business model innovation ( BMI). 'But the second mouse gets the cheese' points at early followers who may have a more systematic, strategic approach towards innovation. Greater understanding of the advantages of each strategic approach and their significance for innovation performance is critical for CIs where unpredictability and the accelerating pace of change pervade the decisions concerning innovation. Drawing on five exemplary cases of archaeological firms in Spain, this paper explores different innovation process dynamics. The study develops a contingency model where pioneers who challenge their current business model, may be outperformed by early followers who incorporate complementary management innovation ( MI) initiatives into the BMI. [ABSTRACT FROM AUTHOR]

The creative industry is identified as one of the key drivers to move Malaysia into a high income and knowledge‐based economy. Copyright law and complementary policies were used as measures to stimulate the creative industry. However, the industry's growth is far from the expectation. This leads to a two‐prong inquiry. First, the paper attempts to examine the adequacy of copyright rules and provisions in securing the rights of the creators and provide them with the motivation to produce more creative works. The aim is to explore the dynamics between the various copyright beneficiaries in the creative industry in Malaysia to understand what are the actual problems that deprive the copyright owners from reaping the full value of the exclusive rights granted to them. The second objective is to examine whether the copyright provisions are aligned with complementary policies implemented to boost the creative content industry. Our primary contention is that both the legal reforms and complementary policies used to support the industry need to be revisited. The legal reforms must be aligned with the structure and dynamics of power in the industry to give all the beneficiaries an equal bargaining plane to take advantage of the copyright system. [ABSTRACT FROM AUTHOR]

This paper evaluates the performance of creative industries in 56 Mexican metropolitan areas over the period 1998−2013. Derived from Florida's 3T theory, determinants of inefficiency are examined by focusing on metropolitan area‐related variables. The analysis yields several interesting findings. First, there is a marked heterogeneity in performance, especially within the arts creative sector. Second, there is relatively little robust evidence that inefficiency can be reduced by increments in public investment (technology), "creative students" (talent) or cultural opportunity (tolerance). Thereby the role of local governments developing and implementing differentiated policy strategies could contribute to increase the efficiency of the creative sector. [ABSTRACT FROM AUTHOR]

The current need for policy programmes for Macedonian cities to reach the standard of sustainable and prosperous economic development, and to enable their promotion on the European cultural map, initiated the Architecture as a Cultural Sustainability Factor of the Macedonian Cities project. The project aims to inspect the spatial and physical potential of the Macedonian architectural and bio‐regional heritage in order to create unique and competitive brands, and to develop the overall economic and tourist potential of the Republic of Macedonia. The project encompasses cooperative agreement‐based projects with the Association of the Units of Local Self‐Government of the Republic of Macedonia (ZELS), consisting of 84 municipalities and the capital of Skopje as a particular self‐governed unit. The National Strategy of Sustainable Development, ZELS' strategic plan for 2011–2015 and successive municipality action plans are the basic sources of information for the investigation regarding political, architectural and social aspects, providing legal instruments and collaborative forms between the residents and municipal governments in building up creative class resources for long‐term sustainable development. During the investigation a wide range of methods were employed, including collection of data and examination of archive documents, onsite surveys, mapping and evaluation of the cultural and architectural heritage of Macedonian cities and regions, and interviews and collaborative meetings with municipal and civic representatives. The findings outline the general branding strategy for the Macedonian cities, adjoined with a spectrum of interventions for site‐specific adaptive design concepts aimed to employ their unique physical and cultural identities in order to brand themselves successfully. In this paper, we present our first case study, the Remediation Project for the Quay of the River Dragor, which was completed in 2014 in cooperation with the Municipality of Bitola, and was produced to set the standards and the formula for the success of the city branding. Following the objectives of the Strategic Plan for Local Development of the Bitola Municipality 2009–2014, this project highlights the primacy of environmental protection for sustainable development as the basis of the integrated design strategy that relies on ecological principles. On a political level, it pioneers the grounds on which architecture expands its disciplinary assumptions, goals, institutional, legal and financial tools in the municipal policies of sustainable development. [ABSTRACT FROM AUTHOR]

This paper examines the role of museums as repositories of cultural meaning and symbolic capital. As educational and cultural institutions, museums serve to legitimise works of art within the frame of an art historical context. However, our comparative case study reveals how the taken-for-granted role of the museum as an allegedly unbiased platform for disseminating the arts can be usurped for economic or political ends. Using the cultural settings of the Hong Kong Museum of Art and the Venezuelan art museum circuit, we examine via our case studies how legitimation in the arts may be jeopardised or misused if and when cultural institutions succumb to commercial and political pressures. By adopting a qualitative research design, we observe the macro-context in which institutional roles are defined and played out, and demonstrate the ideological discourses at play in the role of these cultural institutions as meaning-makers. Although they may be presented as neutral spaces, museums inadvertently serve to circulate socio-political views. How the institution manages these views and unavoidable macro-level forces will in turn influence the cultural credibility of the museum framework as a legitimising force on the cultural horizon. Attention is devoted to how these pressures can affect the production and consumption of art, offering an alternative perspective on the development of museum policies., Copyright © 2015 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

Few changes in the structure of firms have attracted as much attention during the last decade as the movement away from integrated production and toward cooperative relations among independent organizations. Despite recent emphasis on these strategies of 'disaggregation' and 'network' organization, little quantitative research exists on the impact of this type of reorganization on economic performance--at least in part due to the difficulty of obtaining appropriate data. The economic impact of disaggregation is examined in this paper using data on film production in the period after World War II. [ABSTRACT FROM AUTHOR]

In this paper we examine the changing nature of aesthetic labour in creative industries. Drawing on a case study of independent musicians in Toronto, we argue that the spatiality and temporality of aesthetic labour has shifted as a result of technological change in the music industry and the decline of record labels. In particular, we demonstrate that aesthetic labour in the music industry has become more time-intensive and takes place across a growing range of spaces, including the stage, the home and online. This paper contributes to existing studies in geography that consider the spatial dynamics and precarious conditions of creative labour. [ABSTRACT FROM AUTHOR]

This study explores employee narratives concerning change in a company suggestion program. The purpose of the change was to increase suggestion activity in the organization by introducing a new IT platform and altering the distribution of responsibilities in the suggestion process. This study explored how the change in the suggestion process was constructed by responsible managers, suggestion evaluators as well as the suggestion makers themselves. The narratives of the different employee groups differed in the ways in which the employee groups were positioned with respect to the suggestion process, as well as the assumptions concerning the motivational drivers underlying suggestion activity. The study is based on 22 interviews in a company operating in the field of oil refinement. By studying change in a company suggestion program, the paper contributes to the innovation management literature by illustrating the plurality of ways in which the social reality concerning suggestion practice may be constructed, and thus provides a novel perspective to understanding why engaging people in such activity can be challenging. [ABSTRACT FROM AUTHOR]

Abstract: The service industry in China has been undergoing rapid growth, especially since the early 1990s. However, little research has been conducted regarding its characteristics, spatial patterns and dynamics. Based on the theories of economic growth, economic transition and urban hierarchy, this paper develops an analytical framework for elucidating the growth of the service industry in China. We find that cities with a high increment in the service industry tend to be located in coastal areas, and mainly constitute megacities and large, highly developed cities. Cities with higher administrative rank, such as centrally administrated municipalities, cities designated in the State Plan and provincial capitals, maintain relatively high growth in the service industry. It is concluded that China's economic transition and urban hierarchy play significant roles in the growth of the service industry, suggesting that service industry growth in China does not strictly adhere to growth patterns observed in Western countries. [ABSTRACT FROM AUTHOR]

This paper examines the degree to which creative industries stimulate regional productivity growth in a developing country, Indonesia. The Indonesian government promotes long-established 'traditional' craft businesses as creative industries, but they pay less attention to new knowledge creation and focus on highlighting heritage values as selling points. Our findings show that the 'real' creative industries are still scarce and found mostly in fairly advanced urban regions. These industries are more likely to be an indicator than a driver of regional economic development. Meanwhile, those traditional businesses are much larger than creative industries and potentially contribute to regional productivity through consumption activities, thereby requiring different policy strategies. [ABSTRACT FROM AUTHOR]

In Germany, the financing of cultural activities is heavily dependent on state funding. About 90% of cultural funding comes front the public sector. However, because of the precarious state of public finances, funding for cultural activities has been steadily reduced in the last years. Against this background, German cultural institutions are essentially compelled to develop appropriate measures in order to improve their competitive e situation in the context of scarce public resources, and to seek additional sources of finance in order to stabilise their situation over the longer term. One of the more suitable means of increasing revenue on an ongoing basis, is to improve and extend the marketing and visitor-related activities themselves. But how should the marketing or visitor orientation be formulated so that it contributes towards the organisation's social mission as well as improves the financial position of the cultural institution? With respect to the particular financing situation of German cultural institutions, this paper will try to give an answer to this question. [ABSTRACT FROM AUTHOR]

• Marketing in cultural institutions is a field that has rarely, been studied in French-speaking Switzerland so far. • Therefore this paper explores the way in which visitors-clients appreciate qualitatively their contacts with cultural institutions concerned with the visual arts in comparison with the communication strategy of the curators and directors of museums. • A survey has been conducted amongst 20 museums and over 200 visitors of French-speaking Switzerland to evaluate the way visitors perceive the marketing of cultural institutions and behave accordingly or not. • The paper concludes with recommendations to improve the knowledge of the visitors' background and expectations. [ABSTRACT FROM AUTHOR]

For those who make and admire artistic works, there is no question of their value. However, for others interested in economic development, the value of the arts is often more tangential, contested and questionable. While the post-modern world of consumption and spectacle suggests to some academics and governments that the arts and cultural industries are the way of the future, others remain sceptical about their social and economic value. This is a theoretical as well as a practical issue this paper explores by offering a reconceptualisation of Pierre Bourdieu's concept of cultural capital as a way of re-assessing the value of the arts. The paper then applies this framework to quantify and qualify the value of the arts in one regional city in Australia – Geelong in Victoria – focusing on the work of two artists. The aim is to describe the interconnected processes by which the arts generate cultural capital in the form of confidence, image, individual well-being, social cohesion and economic viability. The analysis also highlights the ongoing power relations which prescribe artistic production, circulation and valuation. The implications of such a rethinking and application go well beyond one city and region to other places grappling with the relationship between artistic production and urban well being. By focusing on the broad-ranging process by which artistic value is created for individuals, groups, professionals, communities and governments, a model becomes available for other places to use in realising their cultural capital. [ABSTRACT FROM AUTHOR]

Rapid socioeconomic and institutional changes in Vietnam since the early 1990s have opened up new geographical spaces for field research. Reflecting on the experiences of three doctoral student researchers engaged in distinct development geography fieldwork projects in Vietnam, this paper profiles some of the conditions and procedures for carrying out fieldwork in order to serve as a basis for comparison of changing ‘fieldwork possibilities’ in Vietnam and other developing and transitional socialist countries. [ABSTRACT FROM AUTHOR]

In this paper we discuss methods for creating avatars that use “knowledge cards,” which are used in the EgoChat system. These avatars are agents acting in place of their creators, capable of holding conversations with other users. In the method we propose, the avatar's conversational content is structured in the form of what we call knowledge cards, which are semantically tagged text fragments; by handling both avatar statements and user statements as knowledge cards that can be handled in the same way, the person behind an avatar can easily predict the content of a conversation conducted between another user and the agent, also simplifying the task of producing content for conversational production. This is because a conversation in the form of knowledge cards is essentially a matter of combining existing text fragments. In order for a conversational agent to be used in real life, it would need to be continuously updated in its conversational content, in response to the reactions of other users, changing circumstances, and so on. The system we propose maintains a log of conversations the avatar holds with users, assisting in the task of updating the conversational contents. © 2004 Wiley Periodicals, Inc. Electron Comm Jpn Pt 2, 88(1): 32–39, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/ecjb.20144 [ABSTRACT FROM AUTHOR]

Singapore had been called a Cultural Desert since its independence in 1965, but from the beginning of 1990s, there has been a significant change. The Singapore Government started to call their city a“Global City for the Arts”, making numerous cultural policy changes. They also worked on various cultural experiments to establish their cultural leadership or hegemony among Association of South East Asian Nations (ASEAN) countries. The development of arts policies, cultural industries and people's positive commitment towards cultural exchanges are examples of this change. Singapore therefore is now playing the role of the cultural hub among the ASEAN countries. As an example of this, the present study discusses“Esplanade”, which opened as a huge cultural complex in October 2002. Then the paper will also discuss both bright and dark sides of the cultural development in Singapore. As a conclusion, this paper discusses the possibility of the cultural contribution of Singapore to ASEAN countries, in spite of having serious epistemological discontinuity among ASEAN. [ABSTRACT FROM AUTHOR]