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The Mexican state has been an active agent in the construction of cultural institutions and infrastructure for more than a century. But the symbolic and political currency of the cultural sector is not reflected in stable conditions for creative workers who exist precariously. In this article, we explore a manifestation of the simultaneous state of prominence and precarity in procurement regimes implemented by federal government agencies before the Covid-19 crisis, and support programmes from the federal and local government of Mexico City to employ creative workers during the early phases of the pandemic. We examine the content and arguments of these programmes to highlight how cultural policies and institutional structures developed by the government are a continuation, and even a deepening, of the already precarious work opportunities in the cultural sector. Through policy analysis and qualitative interviews, we contrast the officially stated goals of government institutions with the lived experiences of creative workers. [ABSTRACT FROM AUTHOR]

Despite the existence of a number of studies analysing the gender pay gap in the job market as a whole, less is known about this issue in cultural and creative markets, in which the employment conditions lack stability, and many of the jobs are "hidden" because of part-time, unpaid, and/or portfolio work conditions. These characteristics are expected to be exacerbated in the early stages of careers so that, in this case, the gender pay gap might display specific singularities. This paper specifically investigates this issue by analysing data from the "Young People Making a Living in the Creative Industries" research project, a survey conducted from April to September 2016 in Canada. The results confirm the existence of a gender pay gap, but in a totally unexpected way. [ABSTRACT FROM AUTHOR]

We explore whether there are value preferences of creative workers in addition to tolerance and how these value preferences vary among different occupation categories and countries. We use a dataset of 1968 and 1076 observations in China and the U.S., respectively, from the World Values Survey dataset (2017–2020, wave 7) (WVS 7), with a Structure Equation Modelling (SEM) and Multinomial Logit Model (MLM) at the micro level. The findings reveal that (1) the Chinese sample is more likely to have a balanced preference of tolerance towards migrants, religions, and homosexuality, while the American sample's preference of tolerance is much more likely to be interpreted as accepting homosexuality only; (2) the American sample also shows preferences towards responsibility, technology, work style, and political actions, while a preference for happiness and political actions is identified in the Chinese sample; and (3) with a higher level of creativity, the difference regarding understanding of tolerance is more likely to be highlighted between China and the U.S. This study provides a quite unconventional perspective for understanding the composition of preferences and, to a certain extent, reconciles the inconsistency between the theoretical advocacy of building up a selected milieu and the reality of creative workers' blended value mix. [ABSTRACT FROM AUTHOR]

This study examines the contemporary condition of Indonesian local game developers as a part of the national creative workers. The case study method is applied in parallel with the participant's observation and the results were retrieved by exploring and comparing interviews and observation findings. The subjects of this study include state-related ministries (The Ministry of Manpower and The Ministry of Tourism and Creative Economy), 12 founders of the Indonesian first-generation local game developer studios, 10 experienced local game workers, and two representatives of the Indonesian Game Association as a labor union. The results figured out the characteristics of Indonesian local game developers as youth-subcultural movements and recent challenges of state patronage, incentives, and human resource issues. The situation forced them to survive and organize a supportive labor union as a major incubator platform and crowdfunding scheme in developing local games. [ABSTRACT FROM AUTHOR]

We explore whether there are value preferences of creative workers in addition to tolerance and how these value preferences vary among different occupation categories and countries. We use a dataset of 1968 and 1076 observations in China and the U.S., respectively, from the World Values Survey dataset (2017–2020, wave 7) (WVS 7), with a Structure Equation Modelling (SEM) and Multinomial Logit Model (MLM) at the micro level. The findings reveal that (1) the Chinese sample is more likely to have a balanced preference of tolerance towards migrants, religions, and homosexuality, while the American sample’s preference of tolerance is much more likely to be interpreted as accepting homosexuality only; (2) the American sample also shows preferences towards responsibility, technology, work style, and political actions, while a preference for happiness and political actions is identified in the Chinese sample; and (3) with a higher level of creativity, the difference regarding understanding of tolerance is more likely to be highlighted between China and the U.S. This study provides a quite unconventional perspective for understanding the composition of preferences and, to a certain extent, reconciles the inconsistency between the theoretical advocacy of building up a selected milieu and the reality of creative workers’ blended value mix.

This article explores the complex emotional geography of contemporary domestic spaces and invisible forms of care during periods of working and caring from home (WCFH) during the COVID-19 pandemic. During the pandemic lockdowns and restrictions carers and creatives were disproportionally impacted. In June 2020 we developed an open call for creative responses under the title of 'Work, Care and Creativity Study (WCCS): value and visibility'. Our study sought to explore the lived experiences of creatives working at a university who were also carers WCFH and to capture the complexity of care responsibilities, their affects and effects on wellbeing, mental health and career disruptions. Through cultural probes our study sought to render visible some of the overlooked emotions, perceptions and practices that were emerging for carers during the pandemic. We were interested in how playful approaches to cultural probes could invite creative workers and carers to 'map' the materialities of the home as a way of expressing the relational, emotional, and material entanglements of WCFH. Our research illustrates the value of creative prompt techniques for articulating the constant (re)negotiation of the relational intensities and compressions of work, care and creativity at a time of COVID-19. [ABSTRACT FROM AUTHOR]

What makes a place desirable is the subject of much debate. We conduct a mixed methods analysis on two mid-sized US cities—Indianapolis and Kansas City. We use a migration analysis to understand the flow of the general population, creative workers, and entrepreneurs, followed by an exploratory qualitative analysis of impactful entrepreneurs. Our migration analysis shows that these cities are gaining population overall as well as creative workers and entrepreneurs, and our exploratory qualitative analysis shows that entrepreneurs broadly value quality of life factors, including social and family reasons. Our analysis suggests that entrepreneurs are less mobile than the general population, and that they start companies where they live. We discuss the implications of our study for the broader debate on what makes cities attractive and for further refinement of multidimensionality in the urban amenities literature. Plain English Summary: Entrepreneurs and creative workers are less mobile than the general population in two mid-sized American cities. We study migration trends of the general population, creative workers, and entrepreneurs in Indianapolis and Kansas City, supplemented with exploratory interviews of impactful entrepreneurs. We find that entrepreneurs are "sticky" in both contexts, and that the reasons for location can be tied to quality of life overall. Our findings have implications for research, which can further investigate the multidimensionality of attractiveness of place, and for policy, which can consider the needs of entrepreneurs and potential entrepreneurs. [ABSTRACT FROM AUTHOR]

To produce a quality media product, professionals who can generate creative ideas and have sufficient skills, abilities, knowledge, intellectual potential and are also able to creatively and effectively implement it into a competitive product, are needed in the age of informatization and digitalization. However, due to transformation processes, including robotization of the media industry, the emergence of artificial intelligence, integration of creative industries with Internet resources, increasing not only of the number of products on the media market, but also their producers, including bloggers, YouTubers, prosumers, the competition to attract the audience’s attention is strengthening in various segments of the media. The digital generation of centenarians Z, who are now 20-25 years old, are becoming leading specialists in production processes at the media company in the era of creative economy, knowledge economy. This means that their intellectual potential must be so high that they can constantly generate new creative ideas and be ready for the constant regeneration of knowledge in order to create a competitive media product in a competitive environment. This study aims to examine digital generation’s preferences, creativity, skills, motivational advantages to determine the resourcefulness of the human factor in the production processes of media companies, in particular to improve communication between employees and create a quality competitive media product that can capitalize manufacturing processes on the basis of a properly chosen competitive strategy.

In this research, we use the resource-based view to explore how creative workers leverage individual-level intangible resources to transition after a setback. Empirically, we match two complementary data sources: 1474 project failures by creative workers seeking capital on Kickstarter.com and post-failure market transitions by these individuals (i.e., published works on Amazon.com). Our results indicate that intangible human resources increase the likelihood and speed of post-failure transitions. We examine two moderating effects and find that intangible social resources strengthen this relationship, while intangible psychological resources weaken this relationship. These findings contribute to the emerging literature on creative work and transitioning after initial project failures. Moreover, resource-based view scholars have called for more research at the micro-level and in the early stages of resourcing. We therefore extend the resource-based view by considering the role of individual-level intangible resources at the earliest stages of creative development. [ABSTRACT FROM AUTHOR]

How do creative workers draw on their city context as they interpret their subjective career success over time? This article aims to answer this question with a qualitative study of 140 creative workers in Reggio Emilia, Italy. The results illuminate how subjective career success stems from a need for recognition that draws on a city's identity. Mobilising Lotman's concept of semiosphere, we propose that creative workers use city identity to understand what 'soft' factors they can harness from the city context. They filter city identity based on three recognition-related needs that are contingent on their level of work experience. Our contribution is threefold. First, we provide a nuanced view of the social and symbolic context in which careers are embedded, highlighting its multilayered, multivocal and multimodal nature. Second, we provide a fine-grained understanding of the interplay between an individual's career need for recognition and their interpretation of city identity. Third, we shed light on recognition as a facet of subjective career success, which is particularly relevant to creative workers. [ABSTRACT FROM AUTHOR]

Australia has witnessed long-standing cuts in the arts and culture federal budget. Most recently, the disappearance of the arts portfolio into a "super-ministry" along with infrastructure, transport, regional development and communications further signals the lack of support, both ideologically through public rhetoric, and financially through (absent) support packages, the current federal government holds towards the arts and arts workers. This paper accounts for how such ideological fractures have underserved freelancers, casuals, temporary and part-time workers in the arts who missed out on the critical initial support packages, and how state governments were more willing to make up for this initial shortfall. This paper further accounts for how the federal government lacks the necessary understanding of working patterns of those engaged in creative occupations, and over emphasizes funding bailouts for primary industry. This also has broader implications for how women are disproportionately impacted by sectors the federal government chooses to support. [ABSTRACT FROM AUTHOR]

Crises are well known for their ability to create significant economic, social and political changes. In their midst, however, it is often difficult to identify those new trends that will last well beyond the crisis. That can make planning to resolve major problems difficult until the crisis eases or passes. To facilitate useful contingent planning, this paper outlines a process for identifying those trend breezes most likely to endure and be true and impactful trends. It then applies this analytical process to the huge increase in remote working that the COVID-19 pandemic has sparked. The analysis demonstrates that remote work was growing before the crisis, has other trends that reinforce it and that employees and employers have strong non-health reasons to continue a robust level of its use. Moreover, remote work probably will have significant economic impacts on urban, suburban and rural communities long after the pandemic eases. It thrives best in the industries most dependent on creative/knowledge workers and a critical mass of them are now committed to remote working. Employers that refuse to oblige them are likely to have a more difficult time recruiting and retaining such highly skilled and much sought after workers, especially since they are already in short supply. [ABSTRACT FROM AUTHOR]

While many young creative workers are braving precaritization presumably with the drive of aspiration, this article focuses on the other end of their career path: disillusionment. Informed by the experiences of five self-proclaimed wenyi qingnian – loosely translated as cultural youth – in Hong Kong, this article tracks their aspirations which kept them hoping and going till they were disillusioned and decided to quit. Drawing together two lines of research – on precarity and on failure – our study fills in a gap of the scholarship on creative work and workers that is dominated by concerns with precarity and related abuses. We attend not only to the abuse, exploitation and precarity of creative work, but to a more open understanding of how and why young creative practitioners leave. We do so with an unusual deployment of longitudinal inquiry that does not only concern itself with struggles of creative workers but also with the termination of such struggles. We observe four dimensions of failure: their increasingly precarious way of life; their disillusionment with creativity; the urgency posed by their 'ageing'; and the specific local political situation. As transpired, only one factor is immediately related to precarity. This article argues to include 'failure' as a significant phase of creative work, that warrants further investigation and may open up more understanding on precarity, or in general, creative work and workers. While precarity is dominantly defined in economic and market-related terms – with good reasons – we see the need to loosen it up to acknowledge more aspects of precarity and experiences of creative work. This article is part of the Special Issue Creative Labour in East Asia. [ABSTRACT FROM AUTHOR]

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries. [ABSTRACT FROM AUTHOR]

Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa 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.)

Creative workers in media industries work under particular employment conditions and structures that can be described as "atypical employment". For most of the creative workforce, employment is not full-time, and the average annual income is low and unpredictable. It is important for the creative workforce to know that reputation plays a decisive role in overcoming barriers of entry to networks, and obstacles to employment in artistic-creative projects. Thus, it is crucial to learn how reputational capital can be built, developed, preserved and expanded. Therefore, this paper will present a theoretical framework for reputation management that demonstrates the complex cause-and-effect relationships among a creative worker's reputational capital as an intangible resource in a media network. It will be shown that a creative worker's personal branding has instrumental value for the development and maintenance of reputational capital. Moreover, this paper conceptualises reputation management based on a review of related literature for the purpose of conceptual development. [ABSTRACT FROM AUTHOR]

This paper refers to the significance and the level of exploitation of social relationships for value creation processes in the case of video game developers. The aim of the article is to present empirical findings on the level and structure of social relationships maintained by both managerial and creative workers inside and outside companies. The results show that social relationships maintained by both types of employees are used during video game development processes; however, creative workers’ informal relations seem to play a more important role. Furthermore, it is indicated that internal social relationships are more important for video game developers in their core activity than those maintained outside their boundaries. Given the current stock of knowledge, the findings confirm prior, qualitative research on video game developers as well as reinforce prior results about the importance of social relationships in other industry contexts. Beside the above, this paper contributes to the existing literature as it provides: (1) a detailed description of the video game development process from the perspective of engaged employees, (2) a proposition of four-dimensional typology of social relationships characteristic of companies in creative industries, (3) a proposition of an extended typology of research in the network approach within strategic management, and (4) identification of future research challenges related to the exploration of social relationships from a strategic management perspective by applying social network analysis (SNA).

Creative organizations are characterized by a tension between creative work and business. Our research mobilizes Boltanski and Thévenot's Economies of Worth framework to explore, through the concept of compromise, how this tension is accommodated in the management of creative workers. Based on our study of eleven small advertising agencies, we identify four profiles for the management of creative work: Versatile, Creator, Manager, and Technician. Each of those profiles deals differently with the tension between creative work and business. Drawing on Boltanski and Thévenot's framework, every profile is analyzed in terms of compromises between orders of worth, that allow the agencies to properly manage the tension. Moreover, instead of seeing management as killing creative work, we show how it can foster it. Our research contributes to the literature by developing a typology for the management of creative work that suggests four viable ways to structure creative work in advertising agencies. [ABSTRACT FROM AUTHOR]

In June 2015 Gawker Media became the first for-profit digital news organization to unionize its editorial workforce. True to their bombastic style, they did so publicly, publishing a post where staff commented on how they were going to vote regarding the union and why. This article examines the ensuing discussion to understand how this group of culture workers perceived their labor, and the value they sought not just from collective bargaining, but from doing so publicly. Gawker's unionization was aimed not exclusively at Gawker, but spoke to a vision for the entire sector. Gawker staff were motivated to collective action by the precarity that besets digital media, while the publicness of the effort was aimed at their peer organizations. The public performance of unionism at Gawker may signal a shift in the discourse around collective bargaining among young creative workers as more digital outlets come to organize their workforce. [ABSTRACT FROM AUTHOR]

This paper discusses the research use of creative workers' publicly available self-presentations such as documentaries or social media posts. In so doing it contributes to our understanding of how creative workers might fruitfully be researched. The paper, firstly, argues that self-presentations can provide valuable and rich insights into creative workers' self-understanding, and thus can be of interest to creative industries researchers. Secondly, using the example of a film produced by Austrian product designers, the paper then demonstrates why researchers need to consider the processes through and contexts in which self-presentations are generated. The paper explains why self-presentations may not be treated in the same way as the first person accounts traditionally generated for social science research, and presents recommendations for how self-presentations might form parts of rigorous research designs. [ABSTRACT FROM AUTHOR]

This article aims to explore the symbolic and practical relations creative workers (artists, graphic designers, etc.) have with their professional neighborhood. In order to achieve this, an analysis of the reference to the village invoked by the creative workers of the Berriat district in Grenoble is conducted. This reference is part of the discourses of inhabitants and workers who value the familiarity and conviviality that characterize their urban neighborhood. The identification of these discourses in different research works led to the definition of the concept of urban village, which accounts for the metaphorical application of the village to urban neighborhoods. The analysis conducted on the case of creative workers in the Berriat district aims to identify the constituent dimensions of the village that these workers mobilize in their discourses. This analysis is based on qualitative investigations composed of interviews, mental maps, social network analysis, documentary research and observation. These investigations show that the creative workers of Berriat give shape to the village figure through their practices and representations while articulating it with larger spatial scales. These workers anchor part of their daily practices in the quarter. They consider Berriat as an urban village separated from the rest of the city. They also develop professional and personal networks in this quarter in such a way that Berriat is animated by an internal economic and social dynamic. They mobilize the urban village of Berriat as a local resource while developing their practices and their networks beyond this spatial scale. Finally, the reference to the village invoked by creative workers is indicative of the value of the Berriat district for them as a place of social interaction and professional collaboration.

Along with the growth of creative economies, one can observe the phenomenon of increasing precarious work, which follows young individuals engaged in creative activities. The working process of creative individuals is very flexible in terms of schedules, place of work, and payment. As such, they often do not belong to the traditional (i.e., economically and socially stable) employment setup, which was usually organized around huge firms or institutions in the public sector. Instead, they tend to self-employ and quickly move from project to project, assignment to assignment, and job to job. Although some have described this as a type of desirable ever-changing lifestyle, such a work profile could be also described as precarious self-employment: a condition of existence without predictability or security, affecting material and/or psychological welfare. On the one hand, their work offers freedom, independence, and creative space, but it also has possible side effects manifested in a decrease in social security and an increase in stress due to work overload. Based on employment and wage statistics, this article analyzes fluctuations and changes in the social status of specific groups of creative workers in Slovenia and South Korea. It is assumed that intense employment restructuring points to the growing global trend of precarious working relations in the creative sector. [ABSTRACT FROM AUTHOR]

This paper examines the link between innovation and the endowments of creative and science oriented STEM – Science, Technology, Engineering and Mathematics – workers at the level of the firm and at the city-/regional-level in Germany. It also looks into whether the presence of these two groups of workers has greater benefits for larger cities than smaller locations, thus justifying policies to attract these workers in order to make German cities ‘smarter’. The empirical analysis is based on a probit estimation, covering 115,000 firm-level observations between 1998 and 2015. The results highlight that firms that employ creative and STEM workers are more innovative than those that do not. However, the positive connection of creative workers to innovation is limited to the boundaries of the firm, whereas that of STEM workers is as associated to the generation of considerable innovation spillovers. Hence, attracting STEM workers is more likely to end up making German cities smarter than focusing exclusively on creative workers. [ABSTRACT FROM AUTHOR]

In the period 2006 to 2013, Norway has experienced a substantial increase in public subsidies to culture as well as a substantial increase in real income growth in general. This paper discusses different explanations for why Norwegian artists’ real artistic income has declined between 2006 and 2013, despite the positive economic development in Norway. We have based the study in particular on two comparable studies on the income and work situation of Norwegian artists in 2006 and 2013. We analyse and discuss why the artists’ real artistic income has declined during this period. We do not find a single, general, explanation for this, but the income decline does not primarily seem to be due to either an increasing number of artists or a decline in public scholarships to artists. Our two most striking findings are: (i) A substantial decline in most artists’ artistic working hours and a corresponding increase in artistically related and non-artistic working hours, and (ii) a tendency for artists to derive less of their income from the market, together with an apparent decrease in cultural consumption (spending) among Norwegians. These two factors - especially the latter - seem to be the major factors behind the decline in artistic income. [ABSTRACT FROM AUTHOR]

This paper seeks to extend our knowledge of the drivers behind talented workers’ mobility within the Spanish urban system and the patterns they may follow. For this purpose, the stock and flows of creative workers (selected on the basis of either the industry-based or occupational approaches) are studied at different spatial scales while also considering the influence of local characteristics as a source of attracting and retaining forces. The study is based on the analysis of a quite novel longitudinal micro-database from the Spanish Social Security office. Under the conditions of lower mobility of creative workers compared with other geographical contexts – a trend worsened by the economic crisis – we show that job opportunities, especially in connection with workers’ social networks, emerge as the most influential attracting factor. Thus, beyond the classic idea that agglomeration economies benefit all residents, we found evidence that the biggest cities, and Madrid in particular, had become ‘escalator regions’, propelling the careers of young creative workers that had been attracted to them. On the contrary, the influence of urban amenities seems limited to the retention of talent. This research aims to contribute to dealing with the challenge of upgrading local productive forces after the economic crisis and to develop tailor-made talent attraction and retention strategies [ABSTRACT FROM AUTHOR]

Locational choices of creative workers have been a matter of heated debate over the last decade. This study proposes a micro perspective aimed at disentangling how the individual decision-making process behind locational choices is activated and develops over time. To this aim, we combine previous geographic research on the issue with research on the role of organisational factors in workers’ attraction and retention. Empirically, we carried out an exploratory case study of dancers in a renowned contemporary ballet company based in Reggio Emilia, Italy. With this study, we highlight how matching professional quests and organisation-specific job opportunities activates locational choices, and we extend geographical approaches to embeddedness by considering the role of organisations as crucial mediating entities between the city context and creative workers. [ABSTRACT FROM AUTHOR]

In recent years, many cultural districts have become increasingly unsustainable due to the neglect of physical environment quality. Hence, researchers have thoroughly investigated the close relationship between the physical environment quality of cultural districts and creative workers' sense of identity in creative and cultural districts (CCDs). However, few studies have clarified the complex relationship between physical environment factors and creative workers' sense of identity from a systematic perspective. Therefore, this study aims to establish a hybrid multiple-criteria decision-making (MCDM) model to identify the relationship between physical environment factors and creative workers' sense of identity using an integrated knowledge-driven approach that combines the rough set approach (RSA) and the decision-making trial and evaluation laboratory (DEMATEL) method. A total of 81 CCD cases in East Asia were selected to validate the proposed hybrid MCDM model. As result, through RSA, four core attributes that can help creative workers to form a sense of identity in CCDs were extracted, they are the quality of public art, the order and cleanliness of the building facade, the open spaces supporting social activities and the green beautification degree and characteristics. Then, 23 rules (If...Then...) were established. Additionally, through DEMATEL, the dominant influence relationships among these attributes were clarified based on expert knowledge. A "decision path map" driven by the "integrated knowledge" was developed, which can contribute to formulating and implementing strategies for systematically improving the physical environments of CCDs and consequently fostering creative workers' sense of identity. Specifically, our results show that project managers and designers pay attention to maintaining the authenticity of historical buildings in CCDs and focus on creating appropriate color environments and personalized private spaces based on the audience's aesthetic preferences and private habits to evoke a sense of local identity and belonging in creative workers. [ABSTRACT FROM AUTHOR]

Shenzhen grew fast as a city of industrial mass-production, but is transforming to an innovative and creative city. Shenzhen’s policies to encourage the creative industries are mostly aimed at companies and entrepreneurs. To really become an attractive creative city, housing policies for creative talent should be added. This article reports on an interview-based analysis of the housing situation and residential preferences of creative workers in Shenzhen. While creatives with good salaries have no problems finding attractive homes and neighbourhoods in Shenzhen, there is a shortage of affordable neighbourhoods meeting the demands of recent graduates and starting creatives. Shenzhen’s creative city strategy should take the socio-economic diversity of creative workers into account. First published online: 12 Jul 2016

This essay is a collection of reflections of creative workers—artists and curators, on how the concept of space or site is being used as a central element in art production. Creating site-specific works is a popular style or method in contemporary art. It is often that this type of work is produced (exhibited or performed) in spaces/ sites that are not actually intended for art, like galleries. Although there seems to be an understanding among practitioners, and to some extent their audience, when the work is considered as site specific and when it is not, the aim of this reflection now is to survey these thoughts, to take note of them for the purpose of further analysis; to find out what meaning(s) site specific art work pertains to, coming from practice of contemporary art by Filipinos. [ABSTRACT FROM AUTHOR]

Research into the locational decisions of creative class or knowledge workers has indicated that “classic” or “hard” factors, particularly employment opportunity and social connections, generally take precedence over “soft”, “quality of place” amenities such as art and cultural venues, historical assets, and tolerance/diversity. However, “soft” amenities are expected to shape where creative class/knowledge workers livewithincities, and potentially whether they remain in the community long-term, or seek opportunities elsewhere. In this study, an online survey and questionnaire were employed to explore whether residents living in downtown Omaha, Nebraska with “creative” occupations exhibit stronger preferences for urban amenities relative to those with “non-creative” occupations. Generally in support of Richard Florida’s creative class thesis, the results suggest that creative workers may exhibit a stronger affinity for certain, primarily “soft,” urban amenities and characteristics, such as dining establishments, “third places”, arts/cultural venues, unique sense of place, and the hip, trendy, and youthful feel of Omaha’s downtown neighborhoods. [ABSTRACT FROM PUBLISHER]

Copyright of Management Issues / Problemy Zarządzania is the property of Problemy Zarzadzania 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.)

Creativity, knowledge and innovation are broadly recognised as the essential ingredients of economic success in the advanced capitalist world. Concerning further development of Europe it might be decisive how the metropolitan regions will be able to attract and integrate firms in the sphere of the creative economy and their manpower. In this process highly skilled transnational migrants play an ever increasing role and they contribute actively to the international competitiveness of cities. Based on the results of empirical research we trie to assess those triggers and motivations that are decisive in attracting and settling down of transnational migrants in Budapest. Ex-pats living and working in Budapest expressed their opinions and criticism about hard and soft factors provided by the city. The paper highlights the most relevant findings about how foreign creative workers see the city and how they evaluate its potentials, strengths and weaknesses. At the end of the paper few recommendations are formulated for decision-makers to make Budapest more attractive for creative transnational migrants.

Creativity, in modern times, is a valuable asset of the business market, because through it, which professionals from various segments can differentiate and generate competitive value in extremely competitive business. Thus, within the creative environment, an area in recent years has been gaining attention and notoriety on the national scene: Creative Industries. Thus, this study aims to examine the lives of creative professionals from the city of Novo Hamburgo/RS, fidelity to, at first, their demographic and environmental data. For methodological purposes, mapped the total number of creatives in the city (2011) and, through a sample calculation, settled the final number of respondents (323). At the end of the survey, which had 339 respondents, it appears that the largest number of employees of the Creative Industries in Novo Hamburgo is the advertising area, has male has between 21 and 30, is single, has incomplete higher education, receives a salary ranging between R$ 724,01 and R$ 1,448.00, operates between 7 and 8 hours each day, does not have a strict rule in his time, working at the headquarters of a company, believes that their pay is insufficient and values strongly, among other things, investment in higher and/or free while the creative enhancement factors courses. [ABSTRACT FROM AUTHOR]

The purpose of this article is to explore the “value” of creative workers’ work from their perspective. The work of this group is often ephemeral and intangible, contributes to the development of society, and is often very poorly remunerated. Qualitative responses from a large survey of creative workers’ work experience and attitudes have provided the material analyzed for this paper. The data were analyzed using a naturalistic coding process leading to the emergence of themes describing the data. Five “elements of worth” emerged which included identity representation, motivation, catalysts of creativity, interactions with society, and recognition. Knowing how creative workers experience these five elements provides educators and local/national policy makers data on which to base their pedagogical and financial judgments. To date, there has been no other study that examines how creative workers perceive the value of their work and how that notion of value is derived from their lived experience. [ABSTRACT FROM AUTHOR]

Research on creative work typically focuses either on precarious work and employment or on creative workers’ dedication to their work and profession. The account of UK broadcaster and writer Charlotte presented in this article bridges these two foci. Charlotte talks about finding work in the cultural industry she loves, moulding a portfolio of jobs into a coherent creative career, and being a woman and working mother in broadcasting and media. Her account gives rich insight into how creative workers exercise individual agency in the face of their industries’ structural constraints and how they pursue careers both because of and in spite of what the cultural and creative industries offer. [ABSTRACT FROM AUTHOR]

The purpose of the study was to explore the role of the physical environment for creative employees. The results are based on interviews with office-working digital artists. The physical work environment was considered to offer three types of support for creative work for the participants: functional, psychosocial and inspirational. Creative processes would find better breeding ground if functional support, such as adequate lighting and tools, and psychosocial support, such as spatial possibilities for both privacy and communication, were provided. Without inspirational support, such as brainstorming rooms, dynamic planning and imaginative interior design, the work outcome was believed to become less creative. The physical environmental support model can be used by companies with an interest to provide creativity supportive workplaces. [ABSTRACT FROM AUTHOR]