This article reviews claims for creativity in the economy and in education distinguishing two accounts: 'personal anarcho-aesthetics' and 'the design principle'. The first emerges in the psychological literature from sources in the Romantic Movement emphasizing the creative genius and the way in which creativity emerges from deep subconscious processes, involves the imagination, is anchored in the passions, cannot be directed and is beyond the rational control of the individual. This account has a close fit to business as a (...) form of 'brainstorming', 'mind-mapping' or 'strategic planning', and is closely associated with the figure of the risk-taking entrepreneur. By contrast, 'the design principle' is both relational and social and surfaces in related ideas of 'social capital', 'situated learning', and 'P2P' (peer-to-peer) accounts of commons-based peer production. It is seen to be a product of social and networked environments — rich semiotic and intelligent environments in which everything speaks. The article traces the genealogies of these two contrasting accounts of creativity and their significance for educational practice before showing how both notions are strongly connected in accounts of new forms of capitalism that require a rethinking of the notion of creativity and its place in schools and institutions of higher education. The article begins by providing a context in terms of a history of the knowledge economy and the historical tendency toward aesthetic or designer capitalism. (shrink)

This paper outlines and reviews three forms and associated discourses of the 'knowledge economy': the 'learning economy', based on the work of Bengt-Åke Lundvall; the 'creative economy' based on the work of Charles Landry, John Howkins and Richard Florida; and the 'open knowledge economy' based on the work of Yochai Benkler and others. Arguably, these three forms and discourses represent three recent related but different conceptions of the knowledge economy, each with (...) clear significance and implications for education and education policy. The last provides a model of radically non-propertarian form that incorporates both 'open education' and 'open science' economies. (shrink)

This paper is a complete student-led, student-edited collective writing project (CWP) conducted virtually in Spring 2022 throughout the course Knowledge Socialism taught by professor Michael Peters for the Faculty of Education, Beijing Normal university. The CWP involves 4 international, 5 domestic Ph.D. students, and 2 senior Western scholars as reviewers, revealing their thoughts, arguments, understanding, and criticisms towards the creative economy status in East Asian countries (Japan and China mostly) higher education as reflected in the knowledge (...) socialism narratives. Xiyuan as the lead author, co-editing with Woraport and Stefan, assigned each section to other authors and successfully devoted themself to organizing, proofreading, and revising the paper. Through a month of collective work, the final version of the paper elaborates on the contribution of East Asian creative universities and the economy as a whole to the knowledge socialism through co(labor)ation, with implications to the creative labors cultivation and shifted roles of students. (shrink)

This article elaborates on the relationship between structuralism (and to some extent post-structuralism), hermeneutics and pragmatism, starting from what I comprehend as the inherent dilemma articulated in the policy documents concerning the emerging knowledge economy: the tension between innovation and adaptation. In the first section, I delineate a horizon of understanding for my presentation by defining the particular societal transformations in the historical context where the question of creativity and innovation has become of strategic importance. Then, in the (...) second section, I suggest a diagnosis of the new and predominant flexible organization of knowledge within the context of the new creative economy. The third section is a short interlude, where the philosophical implications of these societal transformations are being disclosed, together with the challenges that influence the agenda for a discussion about a constructive philosophical contribution. In the last two sections, I introduce a particular kind of hermeneutical perspective into the discussion by a close reading of one of Paul Ricoeur’s major works from the mid 1970s, here distinctively interpreted as a profound investigation into the micro-mechanisms of the epistemology of creativity. Thus, by the configuration of a hermeneutics of creativity and innovation from these philosophical resources, my intention is to disclose the ontological implications of innovation as well as the anthropological prerequisites for a conception of creativity “with a human face.”. (shrink)

Significant developments in the global economy and information technology have been accompanied by a transformation in the nature and process of knowledge production and dissemination. Concepts such as the knowledge economy or creative economy have been formulated to accommodate the new and complex developments in knowledge, creativity, economy, and technology. While much of the current literature on the knowledge and creative economy substantially reflects the economic impact of knowledge (...) and creativity, previous studies have rarely touched upon the role of translation in this development. By discussing the role of translation as a generative process in the creative economy and its implications for crossing boundaries in education, this paper argues that translation plays a significant role in the creation of a hybrid milieu. This dynamic cultural hybridity is stimulated by the circulation of knowledge and information via translation, but is also, per se, a driver inviting greater engagement of ideas and knowledge given that translated works always require retrospective interpretations along with changing social and cultural mores. (shrink)

This paper explores the function of cities in the knowledge economy. The knowledge economy asks for “creative cities,” i.e. competitive urban areas that combine concentration, diversity, instability and a positive reputation. For a review of the concept of creative cities from a historical and theoretical perspective, we draw the conclusion that knowledge, creativity and innovation cannot be planned from scratch by local governments. However, creative cities par excellence such as Austin, the Øresund (...) and Barcelona demonstrate that local policymakers in fact can play a part in preparing cities for the requirements of the knowledge economy. We conclude that local governments can increase the chance that urban creativity emerges by providing the appropriate underlying framework conditions. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration between (...) government and industry. However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

Purpose of the article The paper is seeking the mutual links between creativity, innovation and tourism in the rural areas. Creativity and innovation are often associated with cities, because the potential of creative industries and people is concentrated in cities. Is this assumption correct? Using examples from practice, this paper explains that creativity in tourism may be associated with the rural areas. Methodology/methods The contribution is linked with theoretical basis of creative economy under the research assignment APVV-0101-10 (...) Creative economy - national economic and regional conditions and incentives. Therefore, it is based on analysis and comparison of views on possibilities for attracting the creative class to rural areas on one hand, and for development of creative activities within rural tourism on the other hand. Scientific aim The aim of the paper is to confirm the existence of real link between creativity, tourism and rural areas. Findings In the first part of the contribution, the basic terms as creativity, creative industry and creative class are explained and possibilities for their localization in rural areas are examined. Studies confirm that rural areas can become attractive environment for creative class despite problems like spatial diffusion of local resources and capacities and limited accessibility of capital. High-quality environment, attractive natural, cultural and historical potential and convenient infrastructure belong among the reasons for localization of creative class in rural areas. The same attributes are important for tourists who decide where to spend their free time. Conclusions Consequently, the support for development of rural tourism is understood in the paper as an instrument to improve the quality of places as well as to attract creative class and creative industries to rural municipalities. In the second part, the emphasis is put on definition of creative tourism as a creative industry based on creative activities. Examples of well-developed creative tourism in Europe are also given in this part, namely thematic routes connecting rural and urban municipalities, presenting them under certain theme issuing from local or regional culture and traditions. (shrink)

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such (...) as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being-in-time might be possible. (shrink)

In 1944 Horkheimer and Adorno warned that industrial society turns reason into rationalization, and Polanyi warned of the dangers of the self-regulating market, but today, argues Stiegler, this regression of reason has led to societies dominated by unreason, stupidity and madness. However, philosophy in the second half of the twentieth century abandoned the critique of political economy, and poststructuralism left its heirs helpless and disarmed in face of the reign of stupidity and an economic crisis of global proportions. New (...) theories and concepts are required today to think through these issues. The thinkers of poststructuralism Lyotard, Deleuze, Derrida must be re-read, as must the sources of their thought, Hegel and Marx. But we must also take account of Naomi Klein’s critique of Milton Friedman and the Chicago School and her account of the ‘shock doctrine’. In fact, argues Stiegler, a permanent ‘state of shock’ has prevailed since the beginning of the industrial revolution, intensified by the creative destruction brought about by the consumerist model. The result has been a capitalism that destroys desire and reason and in which every institution is undermined, above all those institutions that are the products par excellence of the Enlightenment the education system and universities. Through a powerful critique of thinkers from Marx to Derrida, Stiegler develops new conceptual weapons to fight this destruction. He argues that schools and universities must themselves be transformed: new educational institutions must be developed both to take account of the dangers of digitization and the internet and to enable us to take advantage of the new opportunities they make available. (shrink)

Creative Class, Creative Economy, and the Wisdom Society as a Solution to their Controversy The paper briefly introduces the notion of creativity, linking the concepts of creative class and the related creative economy that are considered by Florida and his followers as the driving force of the current social and economic development. The concept of creative economy and its quantification in form of the Creative Class Index 3T or the Euro-Creativity Index (...) were submitted to strong critique.The critics overturn some key issues of the concept of creative class with an indication that the creative people give priority in choosing the work from the place; and there is no or almost nil correlation of a perceptual representation of the persons of homosexual orientation and the high-tech growth which confirms the opinion that the assertion about higher creativity of homosexual persons is a myth only. The purpose of the article is the examination of propriety of the concept of creative class and its quantification at one hand, and the rightfulness of their critique at the other. The analysis of the axiology of the concept of creative class is the method of examination. From point of view of axiology probably the most significant characteristic of the creative class is its accompanying destruction of thee social capital of creative people and it substitution of the creative capital. The rise of creative class takes place in parallel with the implosion of values at which basis our Jewish-Christian civilization is established. To this Florida expresses rather vague attitude by a statement that all socio-cultural changes that accompany the rise of the creative class will have no favorable impact on society.Florida labeled creativity as a basic human law, furthermore, he announced the need for a new live style in which the quality of life will increase and people become better men. The concept of creativity as an instrument of urban planning evolved into a left-liberal ideology with elements of social engineering that is the most important finding of the axiological analysis. The second finding is the need to accept the meaning of creativity. By implication of the two findings there arises a proposal for wisdom as a new driving force of social and economic development. The conclusion is the contribution is a requirement for formulation of the concept of wisdom society that is currently likely absent in the academic world, and the statement that if the West will not create the wisdom society, it will lose the raison d'être of its existence. (shrink)

Throughout history, the generation, exercise, and dissemination of knowledge are fraught with dangers, the root causes of which are traceable to the definition of authority relations. The authors compare Greek myths and Chinese legends, setting the stage for a metarelational analysis of authority relations between teacher and students and between scholar-teachers and political rulers in Confucian-heritage cultures. These two relations are rooted in ideological conservatism. They are related in a higher-order relation or metarelation: Political control and the definition of (...) the teacher-student relationship reinforce each other in consolidating authoritarian values. Thus, ideological conservatism shapes educational philosophy and socialization. It conflicts with present demands for creativity in the service of knowledge-based economies. Hence, a major issue in cultural change to be addressed concerns the dilemma between maintaining authoritarian control and enhancing creativity. (shrink)

The article critically covers the current issues of "value-driven management" and the creative economy. Analyzing the concept of a "fragile and incomprehensible" (BANI) world, the author conclude that the widely proclaimed era of the knowledge economy is nothing more than utopia. A value-based transformation is possible if it is approached in a comprehensive and systemic way, which requires large-scale transformations initiated and supported by the power structures. The author believe that the creative economy is (...) more extensive than the traditional one, and its development potential is rather limited. The paradigm of "commercial creativity", in fact, is aimed at providing employment and meeting the needs of the population of the "golden billion" countries. Статья в критическом ключе освещает актуальные вопросы «ценностного менеджмента» и креативной экономики. Анализируя концепцию «хрупкого и непостижимого» (BANI) мира, автор приходит к выводу, что широко провозглашенная эра экономики знаний — не более чем утопия. Ценностная трансформация возможна, если подход к ней будет комплексным и системным, для чего требуются масштабные преобразования, инициируемые и поддерживаемые властными структурами. Креативная экономика, как полагает автор, в большей степени экстенсивна, чем традиционная, а потенциал ее развития весьма ограничен. Парадигма «коммерческого креатива», по сути, нацелена на обеспечение занятости и удовлетворение потребностей населения стран «золотого миллиарда». (shrink)

In the discourse of the knowledge-based economy, the link between creativity and innovation is usually taken for granted. However, not only is this link of recent date, it joins together two diametrically opposed concepts: the economic concept of innovation and the humanistic concept of creativity. In research too, there is a lack of enquiry into the nature of the processes of creativity and innovation and into how these processes are similar yet different. Building on the original insights of (...) Henri Poincaré and Joseph Schumpeter, I present the hypothesis that creativity and innovation are similar in nature, not in regard to knowledge or skills, but in that both are ways of relating to the novel. My findings suggest, meanwhile, that creativity and innovation differ in that creativity is about experiencing the novel in the creative process, whereas innovation is about willing the novel as a strategy for the innovative process. Furthermore, my findings suggest that there exists a structural similarity between creativity and innovation and Aristotle’s concepts of practical and philosophical wisdom, in that innovation is a form of practical wisdom in regard to the novel, whereas creativity is a form of philosophical wisdom in regard to the novel. (shrink)

This article explores the relationships between several notions: the `creative economy'; New Growth Theory and the primacy of ideas; academic entrepreneurship; and the new paradigm of cultural production. Broadly conceptualized, the creative economy links the primacy of ideas in both arts and sciences in a more embedded and social framework of entrepreneurship which positions education as central, since its institutions are the primary knowledge institutions that provide the conditions for the transmission and development of new (...) ideas. Entrepreneurship develops within networks that use new information and communication technologies. The role of the arts, humanities and social sciences becomes re-profiled as crucial in the generation of new ideas within the creative economy, moving discussion and analysis away from a single focus on Science, Technology, Engineering and Mathematics (STEM) and the hard sciences such that the redesign of institutional/academic environments is necessary in order to capitalize on ideas and move from creativity to systems of innovation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity (...) can substantially transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity (...) can substantially transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

With the economy deindustrialized and the working class decentralized, a call for alternative horizons for resistance: the university and the art world. What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and (...) class='Hi'>creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of “modulation” as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

The aim of the paper is to analyse and evaluate the situation in the field of creative economy in the Slovak Republic on the level NUTS 3. The analysis is based on the Euro-creative index calculation for year 2009. Based on the discussion of the research results, the weaknesses of the calculation and current state of the Slovak creative economy were identified. Conclusions include the proposal of activities how to attract and maintain the talented, (...) class='Hi'>creative people, so-called creative class in the regions. In the theoretical part of the paper, we characterise the creative economy and its importance in the current global world based on knowledge of the most famous experts dealing with the issue of creative economy and its measurement. In the research part of the paper, based on the analysis results (Euro-creative index calculation), we characterise the current position of creative economy in Slovak regions, the regional disparities among Slovak regions in context of creative economy and the possibilities for increasing the exploitation of creative potential in the Slovak regions. (shrink)

This chapter introduces three economic systems related to the ageing population. The silver economy, the creative economy, and the social and solidarity economy, to some extent, correspond to the needs of older people. Moreover, they foster and use the diverse forms of older people’s capital.

Regulating the Creative Economy Drastic changes have occurred throughout the past century and the world community is struggling to find the exact concepts to describe, understand and, possibly, govern them. One of the concepts used to describe these changes is the so-called "creative economy". Even though the concept is becoming more frequently used, it lacks a precise definition and its meaning remains elusive. Moreover, the proliferation of related concepts, such as the "experience economy", the "cultural (...) economy", the "knowledge-based economy" and the "creative and cultural industries", further obscures its precise scope and meaning. These concepts are, however, no less elusive, particularly because they are of a dual or oxymoronic character, which variably combines aspects of culture, creativity and intellectual creation on the one hand with those of the economy, business, trade and commerce on the other.In sum, the conceptual uncertainties also translate into major difficulties in finding appropriate regulatory responses in the sphere of law. The aim of the present article is therefore to cast light on the meaning of the concept of the creative economy with a view to paving the way for its better and more efficient regulation in the legal sphere. To this end, the first part offers a comprehensive interpretative analysis of the "creative economy" with a view to establishing its value to the present global governance debate. Based on the evidence that designates the creative economy as an evolving concept requiring a multidisciplinary model for the formulation of an adequate approach in law- and policymaking, the second part discusses some of the creative economy's major implications in the sphere of law. In this regard, several regulatory examples appear to advocate the abandonment of the conventional in favour of a more holistic method of regulation. The article concludes with some recommendations that are deemed useful for further debate and research in this area, which ultimately may contribute to the formulation of the kind of creative laws that are needed for the successful regulation of the creative economy in the future. (shrink)

The urgency of the research is that the conditions for the formation of a creative personality, which are the result of the formation of a creative and knowledge economy, in which the given type of personality is in demand, is presented. Problem statement – the phenomenon of a creative personality as a phenomenon and a basis for formation of a creative and knowledge economy in the conditions of globalization challenges and trends 4.0. (...) It is the information society and social entrepreneurship that are the main factors in the formation and development of a creative and knowledge economy, which requires the formation of a creative personality. Analysis of recent research and publications – we rely on the authors who investigated the "know-how-intelektual" society, which is based on a well-known intellectual-property and personality. These are the works of B.Andrushenko, T.Andrushenko, V.Vashkevich, V.Voronkova, O.Kyvlyuk, V.Melnyk, V.Nikitenko, R.Olexenko, O.Sosnina, S.Sharova. Identification of unexplored parts of the general problem – conceptualization of the concept of a creative personality in the face of globalization challenges 4.0. The research is based on theoretical and practical aspects of the formation of the concept of creative personality as a factor in the formation of a creative and knowledge economy. Setting objectives – the use of socio-acciological and neoaxiological approaches and methods that allowed deeply penetrate into the conditions for the formation of a creative personality in the context of the challenges of globalization 4.0 and the information society. Presentation of the main material. It is at the heart of axiology that the value orientations of a person are necessary for the formation of an information-knowledge economy or neo-economy. It is researched that creativity stimulates the production of innovative material and spiritual goods, promotes acceleration of commercialization and the final consumption of material and spiritual goods. It has been found that Homo economicus is the basis for the formation of creative entrepreneurship and its transformation into the social capital of the nation. The essence of culture as the main dominant and the key factor of formation of creative and valuable competitive specialists is revealed. Conclusions - the evolution of "homo economicus" to "homo creativus" is exposed in the conditions of globalization 4.0 and global rankings of creative economy; Creation of the concept of creative personality as a factor in creative and knowledge economy in the face of globalization challenges 4.0; the integral representation of the creative personality as a factor in the formation of a knowledge-information economy is presented. (shrink)

Economy and Theology: Cusanus' Theory of Value, a study from the field of the history of philosophy, responds to the present-day interest in what is referred to as economic theology. This study aims to show that value (valor), one of the fundamental concepts of contemporary philosophy and economics, has its genealogy in the thought of Nicholas of Cusa. Starting from the economic context (the concept of price/pretium), Cusanus proposes the theory of value that, on the one hand, is objectively (...) rooted in the Divine act of creation (God as the Minter) and, on the other hand, requires reading by human beings (human mind as a banker). While this theory appears in Cusanus' late work The Bowling-Game, it is underpinned by his theory of knowledge, theory of human beings and human cognition against the background of his vision of the universe. Thus, the aim of the book is to try to answer the question about the role and tasks of human being as a principal player in economic and social game. This description of human position emerges from the creative tension between human philosophical and theological reflection and certain economic solutions. (shrink)

This article explores the management and organisational context for capturing and retaining knowledge transferred through the design process. It is widely acknowledged that our ability to successfully organise and transfer design knowledge is dependant upon the context in which it is situated. However the knowledge generated through the creative process is often viewed from the perspective of the artefact rather the process itself. An understanding of the socially complex knowledge-based resources operating within design groups could (...) enhance competitiveness and organisational development. Yet, a systematic literature review of leading design and educational management journals found limited empirical evidence that shed light on the influence of knowledge management on design group performance. The article addresses this gap in the literature. Based on two in-depth case studies with interior design companies implementing new digital asset management systems over a 2-year period, the paper explores the findings in relation to design practice and policy, alongside implications for the contribution of the creative industries to the knowledge economy. (shrink)

This essay suggests that the 21st century knowledge economy represents a moderate form of moral community. To show this I first clarify the ideas of moral community and a knowledge economy. The latter reflects the emergence of high volume, high speed, high precision (or +VSP) electronic communications and exchange networks, both of which embody the ethical value of reciprocity. One result has been the emergence of commercially oriented knowledge communities. In conclusion, the +VSP communications (...) class='Hi'>knowledge economy raises several problems, about truth, social turbulence, and democratic community. (shrink)

The promotion of knowledge economies and societies, equated with the mobile subject as bearer of technological, managerial and cosmopolitan competences, on the one hand, and insecurities about social order and national identities, on the other, have in the past few years led to increasing polarisation between skilled migrants and those deemed to lack useful skills. The former are considered to be bearers of human capital and have the capacity to assimilate seamlessly and are therefore worthy of citizenship; the latter (...) are likely to pose problems of assimilation and dependency due to their economic and cultural ‘otherness’ and offered a transient status and partial citizenship by receiving states. In the European context this trend has been reinforced by the redrawing of European geopolitical space creating new boundaries of exclusion and social justice. The emphasis on the knowledge economy also generates gender inequalities and stratifications based on skills and types of knowledge with implications for citizenship and social justice. (shrink)

Derivatives and the real economy The paper describes the development of the derivatives market and compares it with the development of the real economy. Based on official data the paper describes how the derivatives market has significantly increased its volume of trading, mainly after the abolishment of the Glass-Steagal Act. The growing volume of the derivatives market also significantly contributed to the global financial crisis. This paper also compares the growth of the global nominal and real gross domestic (...) product with the pace of growth of the overall derivatives market, but mainly the over-the-counter market. Based on preliminary findings, the paper came to the conclusion that it is critical to implement all the requisite measures in order to eliminate non-transparent transactions with certain derivatives products in order to put the global economy on a sustainable, solid and balanced economic growth path. (shrink)

In Esa 12th Conference: Differences, Inequalities and Sociological Imagination: Abstract Book. European Sociological Association; Institute of Sociology of the Czech Academy of Sciences. pp. 59--60 (2015) .

The state of national economies development varies and is characterized by many indicators. Economically developed countries are known as doubtless leaders that are in progress and form political stability, social and economics standards, scientific and technical progress and determine future priorities. It is worth mentioning that the progressive development of national economies in conditions of globalization can take place only in case of the increase of their intellectualization level, through saturation of people`s life, economic relations and production by brain activity, (...) knowledge, creativity, innovation, culture, ethical considering of the historical heritage. The main aim of the research is national economies intellectualization evaluating in globalization conditions. In order to gain this aim, the following tasks were defined: to identify existing indices of the national economies intellectualization level evaluation, develop the authors’ methodological approach to the national economies intellectualization level, determine the areas of measurement results application. While conducting the research, systematic approach, the methods of analysis, synthesis, grouping, abstracting, generalization, imaginary experiment and grounding were used. In the modern world, there are a large number of indicators which characterize differences in intellectual state of the national economy. When comparing the state of national economies intellectualization, the problems arise with different number of countries, duplication of indicators, disproportionate number of the components of indicators, various years of publication, etc. Therefore, to ensure comparability, we choose four general indicators – the index of human development, the global innovation index, the global competitiveness index and the knowledge economy index. Using these indices, we do the research and determine the state of national economies intellectualization in the world economy. According to the calculated results, as of 2013, we have divided 190 national economies by level of intellectualization into five groups: countries with the highest (30 countries), high (30 (countries), low (30 countries), the lowest (35 countries) and the countries with uncertain state of intellectualization (65 countries). The leaders in the state of intellectualization are Switzerland, Sweden, The Netherlands, Finland and the USA. The countries with the highest level of intellectualization serve as an example to all other countries of the world. These countries are characterized by developed market economy; a dominant position in the international economy, which allows actively engaging own and imported resources in the economic turnover; the shift of the center of gravity of economic activity into the services sector and the dominance of service economy; the greatest exhaustion of sources and factors of industrial development; advanced post-industrial development. The economic policy of the first group of countries has a decisive influence on the state and dynamics of the global economy, defining the main directions of its scientific and technological development and structural adjustment. The average index of the national economy intellectualization (AINEI), calculated by the authors, shows the place of each country in the world community as to their intellectual capital. Considering the continued deployment of R&D progress, the growing role of high-tech production and the complexity of social and economic relations, AINEI can serve as a reliable indicator of the macroeconomic environment intellectualization state. Therefore, the following organizations, bodies and individuals can use the comparative results of this study: the international organizations while developing international economic development programs; the state authorities of the countries in foreign and domestic policy forming; companies that create innovative and investment policy; migrants, tourists and persons who perform professional and transit activity for the formation of human potential and capital; scientists and teachers who develop mechanisms of intellectualization. (shrink)

This paper considers the impact that globalization and the knowledge economy have on the protection and promotion of indigenous knowledge. It is asserted that globalization and the knowledge economy have opened up the world and facilitated the flow of information and knowledge. However, the flow of knowledge has been governed by uneven economic and political power between the developed countries and the devel-oping countries. This has a number of ramifications for IK. The dilemma (...) faced is that whichever method is taken to protect IK exposes IK to some misappropriation. Protecting it through IPR is also fraught with problems. Documenting IK exposes IK to the public domain and makes it that much easier to be misused. However, not protecting IK runs the danger of having it disappear as the custodians holding it die off, or as communities become swamped by the effects of globalization. The conclu-sion therefore is that governments have to take more interest in protecting, promoting and using IK than they have been doing. (shrink)

Everything you have been told about creativity is wrong. From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter (...) intuitive blast Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time. Is there an alternative? Mould offers a radical redefinition of creativity, one embedded in the idea of collective flourishing, outside the tyranny of profit. Bold, passionate and refreshing, Against Creativity, is a timely correction to the doctrine of our times. (shrink)

The purpose of the research is to understand formulation of policy for creative industries, and in particular the importance of quantitative and qualitative data or information for formulation of the first policies for creative industries at national and regional level. The goal of the research is to assess whether it is possible to draft useful policy for the creative industry without having specific quantitative data at its disposal, which is often the case when such policy is being (...) newly developed. The methodology used is a brief literature review, and a case study. The case study regards policy development for the architectural sector in the East-Slovak region of Košice, which was executed by the authors in the context of the assignment to draft a strategy for development of the creative economy of the Košice region. Statistical data presented in this research were generated in the context of that assignment.The authors found that in the case of Slovakia and the region of Košice, the availability of data on the creative industries as a new policy area is very limited. Both at national level and at regional level, qualitative data and information are most useful for formulating policy. This is possible among others because qualitative needs’ assessment is feasible; international literature and best practices provide a guideline for formulating policy; and because general policies can address specific requirements through demand driven projects. The implication of the research is that specific quantitative data on the creative industries does not need to be considered a conditio sine qua non for drafting and implementing policy for the creative industries. Quantitative data will be necessary for evaluating outputs and impact of policy, in terms of efficiency and effectiveness of public spending. The choice of indicators, and collecting, processing and interpreting of quantitative data shall be an integral part of the policy to be implemented. (shrink)

Since the mid-twentieth century the concepts ‘creativity’ and ‘innovation’ have become increasingly significant within a host of fields, such as education, medicine, engineering, technology and science. Moreover, such terms appear to have become ubiquitous, if not hegemonic, within the contemporary discourses that inform debates that surround the allocation and cultivation of the social capital that is native to education, both tertiary and otherwise. Given that the thinking of creativity appears increasingly to be possible only within the contemporary logics of utility (...) and productivity that inform the discussion of the ‘knowledge economy’, the philosophical works of Gilles Deleuze are perhaps now more vital than ever, at least insofar as he is able to provide the possibility of approaching an ‘otherwise’ to the contemporary thinking of ‘creativity’. This paper discusses the possibility for Deleuze's discussion of rhythm – as can be located in his text A Thousand Plateaus and his work on the twentieth-century painter Francis Bacon – as providing the means for better posing the question of the conditions for the emergence of a fundamentally creative approach to teaching creativity to be conceptualized within our present situation. (shrink)

Universities and Innovation Economies examines the rise and fall of the mass university and post-industrial society, considering how we might revitalize economic and intellectual creativity. Looking to a much more inventive social and economic paradigm to drive long-term growth, the author argues for a smaller, leaner, more effective university model - one capable of delivering a greater degree of high-level discovery and creative power.

In his “Common knowledge” (2016) and _The Transmission of Knowledge_ (2021), John Greco proposes a novel account of hinge propositions. Central to it is the idea that they are items of common knowledge – that is, of knowledge that is already present in the system, freely available to anyone, without having to figure it out by oneself or having to be taught it by others. As such, they are not subject to any quality control at all. Furthermore, (...) they figure in a subject’s cognitive economy as items of procedural, mostly tacit knowledge, which is operative in the execution of actions and various cognitive tasks. After introducing the basics of Greco’s account, I consider it from a systematic and historical perspective and argue that, while instructive, it is wanting in several respects. Whereas some, among the myriad hinges Wittgenstein considers in _On Certainty_ (1969), may be known, there is no need to make them the content of a different kind of knowledge. Furthermore, we cannot have (evidential) justification and, _a fortiori_, knowledge of at least some other propositions that Wittgenstein considered as hinges. In passing, I also show that Greco’s account aligns much more with G. E. Moore’s ideas about the epistemic status of his truisms in “A defence of common sense” (1925) and the premises of his celebrated “Proof of an external world” (1939), than with Wittgenstein’s account of hinges and their epistemic significance in _On Certainty_. (shrink)

With increased global competition and the advent of the knowledge economy, developing graduate students’ ability to innovate in their research has become a core focus of graduate education. Graduate students’ perceived help and assistance from supervisors is one of the key resources for research innovation. This study explored the relationships between graduate students’ perceived supervisor support and their innovative behavior in research, and examined the mediation effect of creative self-efficacy, their confidence in abilities to generate creative (...) ideas or produce creative outcomes. Survey data were collected from a sample of 996 Chinese graduate students. The results revealed that academic support was negatively related to idea generation and idea search; personal support was positively related to overcoming obstacles; autonomy support was positively related to all factors of innovative behavior except overcoming obstacles and innovation outputs. The mediation analysis suggested that creative self-efficacy significantly mediated the relationship between academic support and graduate students’ innovative behavior in research. The results of this study highlight the significance of both supervisor support and creative self-efficacy in developing graduate students’ research innovation. The findings have significant implications for stimulating students’ research innovation and for improving the quality of graduate education. (shrink)

This collection written by leading figures in cognitive science includes their lively debates with Dartnall about his call for a new epistemology, an alternative to the standard representational story in cognitive science. Dartnall aims to show that new epistemology is already with us in some leading-edge models of human creativity. Such an epistemology steers a middle road between the representationism of classical cognitive science and a radical anti-representationism that denies the existence or importance of representations.

Purpose of the article: Although the economic growth and society are two independent terms at the first sight, they are in fact closely connected and interact with each other. The main topic of this work is the creative economy, which is considered to be a part of growth theories. Thanks to the new approach, theorists supplement these theories with the demographic and the socio-cultural factor. First, the work establishes a comprehensive theoretical framework for economic growth. Furthermore, it analyses (...) the representation of creativity in the regions of the Czech Republic. Methodology/methods: The primary aim of this work is to carry out an analysis that charts the representation of the creative potential in the regions of the Czech Republic. The analysis uses the new creative index, which was created by modifying of the Richard Florida´s creative index. Consequently, the work uses the new creative index within the framework of smaller regional units as opposed to national groupings. Additional advantages of this model include the number and measurability of the indexes. Scientific aim: The aim of this work is not just demonstrating the dependence between the presence of creative people and economic growth, but in addition, the work aims to seek out the factors that influence the allocation of creative employees. Findings: The work demonstrates high mutual dependence between creativity and economic growth with the help of the correlation coefficient. The assumptions that creative regions are more attractive on the social and knowledge basis were also confirmed. Conclusions : Territorial units must consequently work to develop conditions, which support the establishment and the development of the creative environment in order to retain their competitiveness and support the economic growth. (shrink)

Figurative communication (the use of metaphor, metonymy, hyperbole and irony) provides economy of expression, clarity, persuasiveness, politeness, evaluation, and communication of emotions. However, it also increases the potential for misunderstanding in situations when people lack shared background knowledge. This book combines theoretical frameworks with empirical studies that measure the effectiveness of different approaches to the use of figurative language in advertisements, to show how to maximise the benefits of creative metaphor and metonymy in global advertising. It highlights (...) how subtle differences in colour, layout, and combinations of different kinds of figurative language affect the reception and appreciation of creative advertising, shedding new light on the nature of figurative communication itself. With a balance between theory, experiments and practical case studies, this book is accessible for academics in linguistics and communication studies, as well as advertising and marketing professionals. (shrink)

Value is increasingly found in human subjects and in particular within their minds. This places the individual at the centre of economic life and therefore the inner life of individual merits more attention. A key element of humanity is memory and it drives such phenomena as trust and goodwill, essential in modern business. Bergson’s philosophy examines the interaction of mind and matter and in this reflects the dualism of the knowledge economy. His work on memory offers important insights (...) for those seeking to account for and manage intangible assets. Our paper examines, through the prism of Bergsonian philosophy, the implications for accounting practice of the increased importance of intangible assets in modern corporations. (shrink)

Global science expansion and the ‘skills premium’ in labor markets have been extensively discussed in the literature on the global knowledge economy, yet the focus on, broadly-speaking, knowledge-related personnel as a key factor is surprisingly absent. This article draws on UIS and OECD data on research and development personnel for the period 1980 to 2015 for up to N = 82 countries to gauge cross-national trends and to test a wide range of educational, economic, political and institutional (...) determinants of general expansion as well as expansion by specific sectors and country groups. Findings show that, worldwide, the number of personnel involved in the creation of novel and original knowledge has risen dramatically in the past three decades, across sectors, with only a few countries reporting decrease. Educational and economic predictors show strong effects. Expansion is also strongest in those countries embedded in global institutional networks, yet regardless of a democratic polity. I discuss the emergence of ‘knowledge work’ as a mass-scale and worldwide phenomenon and map out consequences for the analysis of such a profound transformation, which involves both an educated workforce and the strong role of the state. (shrink)

Purpose Digital India’s attempts to transform India into a digitally empowered society and knowledge economy. This research examines three questions: What is the educational importance of social media in Indian higher education? What gains and dangers does it pose when used for formal learning? Could informal learning via technology powerfully supplement learning through the formal system? Design/methodology/approach In total, 640 students were contacted through email lists provided by their institutions after these institutions had obtained their consent to participate (...) in the study. The response rate is worked out at 44.84 per cent. Telephone interviews were conducted with 22 “veterans” in the field of higher education in India. All this provided areas of importance on which this study is based. Findings India is no doubt experimenting with more creative methods of learning and teaching. Educational technology is at embryonic stage compared to many of the advanced countries. The results show that even when all facilities are present, students are not fully taking advantage of the benefits technology affords for formal learning. Not only is there a digital divide between generations but also within generations. How the technology is integrated into the learning process is important. The entire learning infrastructure is certainly available in India and it is struggling to meet student expectations and offer a more dynamic and appropriate pedagogy. Practical implications This paper throws light on models explicit to the Indian scene in how students can benefit from social media beyond the classroom. It discusses challenges in its adoption in Indian higher education and ways to meet these challenges. Social implications Technology-led learning brings about a difference and the present generation in India is better equipped to tackle the challenges of the workplace, will be helpful to their employers and would fit well into a global business environment. Originality/value Because of the relative newness of the approach in India and fairly restricted use in the Indian higher education system, the impact of social media on student engagement in the higher education sector in India is not fully known. (shrink)