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)

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)

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)

Speaking generically of crafts from an economic point of view means referring to a field that encompasses different sectors and professions, an agglomeration of very different activities in terms of economic structure, performance and needs. This paper, however, aims to analyse only some of the artisan worlds, i.e. traditional trades, art & crafts which, even if manifesting themselves today in new ways, interest us more than others because of the genius loci they have subsumed. This is because this is the (...) main feature that allows us to count on their survival in a present and in a future in which even large industries are looking with great interest at limited and customized production, and where not only major companies but also local and regional entities are rediscovering activities closely related to the “sense of place”, such as crafts, and including them in their identity branding policies. After an introductory look at the role of craftsmanship today in the “creative economy”, the paper describes the problems facing this productive and cultural sector today and outlines the challenges for the near future. (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)

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)

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 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)

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)

The geography of contemporary bohemia is integral to Richard Florida’s thesis of the rise of a new creative class in the USA. The strong correlation between the presence of bohemians and innovative high-tech industries in a number of American cities stands in sharp contrast to the historical image of a bohemian subculture of artists and intellectuals, defined by their antagonistic relationship to bourgeois society. Rather than a sign of social marginality, bohemian life-styles have now become a marker of the (...) ‘new economy’, variously labeled the creative, the cultural or the aesthetic economy. In my paper I want to compare and contrast these two opposed images of bohemia – the 19th-century idea of bohemia as the libertarian other of liberal-bourgeois society and the new, highly topical economic geography of bohemia – with the following questions in mind: How and why does the 19th-century artistic critique of capitalism mutate into an expression of the new spirit of capitalism? Does this change from an antagonistic to an affirmative relationship signal the emergence of a new spirit of art that can be related to the new spirit of capitalism? (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.

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)

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)

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)

Schumpeter's writings on the transition from capitalism to socialism, on innovative entrepreneurship, on business cycles, and on the modern corporation have attracted much attention among social scientists. Although Schumpeter's theoretical and sociological writings resemble the works of Marx, Durkheim, and Weber in that they further our understanding of the rise and nature of modern society, his contribution to social theory has yet to be assessed systematically. Arguing that Schumpeter's perspective, if understood in social theoretical terms, provides a promising starting point (...) for the sociological analysis of the changing relationship between economy and society, I concentrate on two elements of his work that are of value to theoretical sociology today: the distinction between creative action and rational action that is fundamental to his theory of the entrepreneur, and his thesis that the success of the capitalist system leads to its demise. (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)

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) .

We all know that Ramsey argued that the best way to understand how the theoretical entities of a theory function is to picture them as existentially bound variables. If the entities of our theory are a, ß, and y, the best way to write our theory, he tells us, is: 3 a,ß,γ . The theory’s ‘Ramsey sentence’, the existentially bound variables are the carriers of ontological commitment. If the Ramsey sentence is true, they tell us what there is.

We all know that Ramsey argued that the best way to understand how the theoretical entities of a theory function is to picture them as existentially bound variables. If the entities of our theory are a, ß, and y, the best way to write our theory, he tells us, is: 3 a,ß,γ. The theory’s ‘Ramsey sentence’, the existentially bound variables are the carriers of ontological commitment. If the Ramsey sentence is true, they tell us what there is.

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.

The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for (...) older people which may be the subject of further in-depth research. These examples exist in: documents and strategic programs, the activities of network organizations and the activities of urban cultural and artistic institutions. (shrink)

Lyotard is considered one of the most brilliant and influential of French post-structuralist thinkers. Published in 1974 by Minuit, Économie libidinale is, of all his work to date, the most creative in its mode of writing and in its theorizing: a stunning, dense, brilliant piece in which Lyotard, ranging from Marxist and Freudian theory to contemporary arts, argues that political economy is charged with passions and, reciprocally, that passions are infused with the political.

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)

Framed within the broader theoretical context of social semiotics, we attempt to show how university students communicate using a variety of unique means, in particular social contexts. We privilege Pennycook and Otsuji’s semiotic assemblages, Jimaima and Simungala’s semiotic creativity, and the notion of semiotic economy as critical ingredients that conspire to give rise to the unique and complex coinages and innovations constituting students’ repertoires. We argue that, born out of creativity, the students’ repertoires are semiotically and economically charged discourses (...) that generate extended narratives such that more is realized with less. We show that this reality undoubtedly constitutes a multi-semiotic meaning-making endeavor that enacts and sustains students’ imagined and lived experiences in real sociocultural, historical, and political spaces in the multilingual landscapes of university campuses. (shrink)

Ageing populations are a major consideration for socio-economic development in the early twenty first century. This demographic change is mainly seen as a threat rather than as an opportunity to improve the quality of human life, especially in Europe, where ageing has resulted in a reduction in economic competitiveness. Economic Foundations for Creative Ageing Policy mixes the silver economy, the creative economy, and the social economy to construct positive solutions for an ageing population. Klimczuk covers (...) theoretical analyses and case study descriptions of good practices to suggest strategies that could be internationally popularized. Contents: Foreword by Harry R. Moody Foreword by Kathrin Komp Introduction 1. Old Age as a Stage in the Life Course and the Life Cycle 2. Forms of Older People’s Capital 3. Creativity and Ageing: Concepts and Controversies 4. Mixed Economy and Multisectoral Approach to Population Ageing 5. Silver, Creative, and Social Economies as Positive Responses to Population Ageing 6. Benefits at the Interface Between Economic Systems Conclusion Afterword by Lukasz Tomczyk. (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)

This book shows that global population ageing is an opportunity to improve the quality of human life rather than a threat to economic competitiveness and stability. It describes the concept of the creative ageing policy as a mix of the silver economy, the creative economy, and the social and solidarity economy for older people. The second volume of Economic Foundations for Creative Ageing Policy focuses on the public policy and management concepts related to the (...) use of the opportunities that are created by population ageing. Klimczuk covers theoretical analyses and case study descriptions of good practices to suggest strategies that could be internationally popularized. Each chapter includes exercises and assignments for both students and those who are likely to apply the presented concepts in practice. Contents: Foreword by Richard Adler Foreword by Dominic Campbell Introduction 1 The Politics of Ageing and the Challenges of Ageing Populations 2 Understanding Public Policy on Ageing 3 Sociological and Gerontological Perspectives on Ageing, Creativity, and the Third Age 4 Diversity of Ageing Policy Concepts 5 The Emergence of the Creative Ageing Movement 6 Aims and Challenges of the Creative Ageing Policy 7 Principles, Governance, and Coproduction of the Creative Ageing Policy 8 Organizational Forms and Management for the Building of Creative Capital of Older People Conclusion Afterword by Andreas Hoff and Kurt Lüscher Afterword by Suchandrima Chakraborty Afterword by Jorge Felix. (shrink)

Whilst the field of contemporary art has been impeded until recently by Saudi Arabia’s blasphemy laws and heavy censorship, the last decade has seen a rapid growth of art networks and institutions. Incidents such as the conviction of internationally lauded artist and curator Ashraf Fayadh in 2015 on charges of apostasy show that Islamic authorities still claim to define what is acceptable and not acceptable in the field of cultural production, but several renowned Saudi artists have started to question the (...) hegemony of the Islamic field. This article discusses these processes in the context of radical economic reform led by the Saudi crown prince Mohammed bin Salman. Why do state actors see an investment in art and creativity as a necessity for economic renewal? What role does contemporary art play in strategies to rebrand the negative image of Saudi Arabia? How do artists relate to Islamic narratives and material culture to claim authority in Islamic debates and provide legitimacy for their concerns? By focusing on the interactions between economic reform and new spaces of Islamic critique, the paper aims to shed light on the way in which the drive for economic transformation is remapping the social boundaries between Islamic authorities, the creative economy and the state. (shrink)

Figurative communication 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)

In this article, we address why our management of the economy, community and business has led to global warming and we discuss the importance of worldviews, ontology, epistemology and axiology in the search for alternative paths of development. We do this by focusing on the concept of Circular Economy. Circular Economy is often presented as a solution to the problems of a globalized economy in the form of over-exploitation of resources, climate change and pollution of the (...) environment. Within the mainstream economics paradigm, the aim is how to increase the effectiveness of resource extraction and utilization in order to maintain growth. We contrast this with the paradigm of Ecological Economics where the goal of the economy is to achieve and secure a higher quality of life. Circular Economy often side steps the deep ontological and epistemological questions we need to answer if we are to address the complex and interrelated environmental, economic and social problems we face today. This can be a limiting factor in the search for creative and long-term solutions. However, within the Circular Economy discourse, we find strands that critically engage with the foundations of mainstream Economics and so, innovative solutions for the society of the future are a possibility. We argue that to bring about a lasting solution to the interconnected social, economic and environmental problems, Circular Economy must engage with the ontological, epistemological and axiological foundations of mainstream economics. To further this argument, we apply Imre Lakatos’ ‘research program’ model to philosophy of science as our framework of analysis and draw lessons for business and communities. (shrink)

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 chapter introduces and analyzes the concepts of welfare mix, welfare pluralism, and a mixed economy of welfare in relation to activities for older adults.

This chapter provides a brief and thought-provoking review of concepts associated with the creativity of older adults, changes in creativity with age, and the impact of creativity on health and longevity.

Par leur grande diversité, les industries de contenus marquent, avec Internet, la mobilisation de communautés et réseaux socionumériques au service de nouveaux paradigmes économiques. Ce phénomène central opère simultanément sur plusieurs registres. Il modifie les modes de conception et de développement des biens et services, il transforme la place et les pratiques des utilisateurs, il redéfinit les modèles d'affaires, les formes de commercialisation, les organisations comme les marchés sous-jacents. Les industries culturelles apparaissent ainsi comme le laboratoire d'expérimentation de nouvelles formes (...) d'organisation, de travail et de marché. L'article qui suit s'appuie sur les traits dominants de ce secteur pour pointer les dynamiques économiques de ces réseaux et les bases sur lesquelles s'organisent leurs modèles d'affaire. Dans une première partie, l'auteur explicite les principaux types de structuration des réseaux sociaux. Leur multiplicité et leur évolutivité masquent en effet souvent leurs différences de nature. L'article distingue trois grands types de réseaux socionumériques : architectures et espaces partagés de collaboration, communautés de production ou d'action collective, réseaux sociaux et communautés de prescription. Dans sa seconde partie, l'article spécifie les principales conséquences économiques de chaque type de réseau (centralité des hybridations entre modèles marchands et non-marchands, déstructuration des industries traditionnelles par l'instauration de filières courtes de production et de diffusion, rôle grandissant des fonctions de prescription dans une économie d'abondance) ; en effet, les différentes formes de réseau ne se démarquent pas simplement par leur organisation, leur mode de structuration ou la gouvernance associée, elles renvoient également à des modalités différentes de gestion et de valorisation du savoir, marquées par la coexistence et l'imbrication de formes d'économies et d'échanges sociaux marchands et non marchands, par des manières nouvelles de stimuler et composer avec une abondance renouvelée des contenus et des informations L'émergence des réseaux socionumériques a donc généré l'apparition de modèles économiques originaux qui ne doivent pas être envisagés comme les simples décalques ou adaptations de configuration existantes, pas plus que comme l' opérationnalisation commerciale des communautés de pratiques. Ils font intervenir de nouveaux intervenants ainsi que des rapports inédits entre opérateurs et constructeurs de matériel, fournisseurs de programmes et de contenus, diffuseurs et fournisseurs d'accès, consommateurs et utilisateurs finaux. (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)

The coronavirus disease 2019 pandemic has brought about unprecedented uncertainty and challenges to the worldwide economy and people’s everyday life. Anecdotal and scientific evidence has documented the existence of a positive relationship between the experience of crisis and creativity. Though this appears to be ubiquitous, the crisis-creativity-well-being relationship has not been sufficiently examined across countries and using a working adult sample. The current study drew on a sample consisting of 1,420 employees from China, Germany, and the United States to (...) examine whether creativity can function as an effective means to cope with crisis and to achieve both flourishing and social well-being. Multivariate analyses showed that perceived impact of COVID-19 was positively related to creative process engagement, which was positively related to employees’ self-reported creative growth. Creative growth was associated with a higher level of flourishing well-being. This sequential mediation model was significant across the three samples. Creativity also mediated the relationship between perceived impact of COVID-19 and social well-being, but this connection was only found for the Chinese sample. Further data analyses revealed that individualism moderated this serial mediation model in that the positive coping effect of creativity on both flourishing and social well-being was stronger for individuals who hold more collectivistic views. Results of the study have implications for crisis management, personal development, and positive functioning of individuals and society. (shrink)

The emergence of COVID-19 has made it ever more onerous for the world economy to rethink the way things are done and to be done. The need and almost compulsory way of services being catered for will never have been made so practically obvious without the influence of a pandemic like COVID-19. The world at some point in time was almost brought to a standstill, with services pertaining to supply-chain deliverables, education / professional development and many more almost brought (...) to a halt. This paper has the platform for critically assessing the pathway SSA economies (SSA) should follow, notably creativity in new technologies, while adopting a stance on ISI approach in order to reduce its reliance on the importation of essential commodities, which seem to have been a worrying concern throughout the crisis of COVID-19. Suggestions for SSA economies to embrace the notion of creative destruction is the focal point in this paper for the realization of growth and development, while at the same time harnessing the power of human integrity to champion competitive innovation. (shrink)

The aim of this article is to contribute to responsible innovation by developing a conceptual framework for the processes of creativity and innovation. The hypothesis is that creative and innovative processes are similar in that both are affective in nature. I develop this conceptual framework through an interpretation of the insights of Henri Poincaré’s notion of the ‘four stages’ in the creative process and Joseph Schumpeter’s notion of the entrepreneur. Building on this framework, I analyze the creative (...) and innovative practices of the film director Lars von Trier and the entrepreneur Steve Jobs. The interpretation and analysis suggest that the processes of creativity and innovation are similar in nature in that both are based on the moods of disturbance and enthusiasm; but that they differ in that creativity is based on the feelings of interest and irritation, whereas innovation is based on the feelings of desire and anger. In the conclusion I discuss the implications of this for responsible innovation with regard to the social aspect of resistance towards innovation and the ethical aspects of anger in entrepreneurial leadership. (shrink)

Nowadays creativity is fashionable. Writers on management and organisation, for example, mention creativity as vital to entrepreneurship.1 They consider it to be as important as land, labour and capital, which form the traditional factors of production.2 And related terms such as ‘genius’ are in use again. An example of this is the widely read book Built to Last.3 Moreover, creativity and rationality are presented as alternatives. To be creative, managers are urged to put rationality aside: ‘being reasonable does not (...) win the day’ they are assured4 and ‘all progress depends on the unreasonable man’.5 This view that rationality and creativity oppose each other is, however, unsatisfactory involving, as it does, a form of epistemological schizophrenia. One excludes the other only if we adopt a simplistic concept of rationality and an esoteric view of creativity. This article, therefore, sets out to clarify the relationship between the concepts of creativity and rationality. Three ideal-type concepts of rationality will be introduced (algorithmic, judgemental, reflective) and their tolerance of novelty discussed. Then two modes of creativity (explorative and transcendentive) are distinguished, followed by a discussion of whether rationality can enhance creativity. I conclude by reviewing some factors involved in creativity, such as tolerance for ambiguity, playfulness and attentiveness, and with a short discussion of the relationship of creativity to power.6. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective (...) lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

Is it possible to really give a gift? This may, at first glance, seem like a peripheral question for philosophy, which normally directs its attention to seemingly bigger questions. The dynamics of the gift move into philosophy from anthropology and sociology, but Jacques Derrida insists that this question belongs at the heart of philosophy. This volume takes up Derrida's challenge to invest in the question of a gift, and the relationship between gift and economy. The powerful and corruptive forces (...) of economy can wreak havoc on every effort to give or receive a pure gift. Each of the essays investigates some aspect of the gift, and the way economics relate to the sheer hospitality and generosity implied in the idea of giving. Is there a blessed economy? Must economics always operate in a sinister and exploitive fashion? What can be learned by the philosophical investigations related to this concept? There is something about the event or idea of the gift that cannot be entirely explained by the machinations of economy. In the giving of a gift something happens, if only unpredictably and rarely, that cannot be explained by the calculus that tracks the exchange of money, property, goods, debt and power. This excess that confounds the reduction of the gift to the dynamics of power and exchange is a source of creative fascination for a wide range of philosophers, including the collection of scholars who have contributed to this book. (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)

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)

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)