ࡱ> n i{U*F/PNG  IHDRX :OPLTEڳ۷޼ҢˡѨݳӭױڼuɒ˕̙Оդɜث̣خ̥ơFT^ħaǨfǣe®m̯u˸{ԲzͽČƐعÒھřڽۮĝȡɤ{0}27~6<>DLU[\aoǠjmwƧu°~ʬ}Ų\b`cdhgi k!i!k"i!m$q&o&k%n'q)o(t+p*w-q,s-u.y1y6|8{;?~?@FDMLTRT^dQRS T V X U T V XXWXZZY]\[Z][^[\_b]\`^\[^]_^a]`__^_^`e`ddagef!i"h#n*l*l+o,s1NWYYYAW'CtRNSV&bKGDH cmPPJCmp0712Hs#IDATHKkXWg2h)M\a x\DTFm]Po\"P6\ F(Pk ^,B%1F3".k~ߓ̗9swZQ~I~ϽE^rK+[=`u{y+O,`ڸ7x}|"iǯHi8BF#5􆹭R4GǰѠ Í&U<<'6sRG?VF?MnTB(f5un!Uv=n+P_sZ{ {$()*[pl 4+ˮ^r./uӇճ ɻRDb/Pu( T;WpQo+9k&Z{uU\ Z-nw_`1ӯh%pj`̲fWb0Rd"M`b} {F~c< Uia71-Cvvv\rb2qM=|3Ue`<#g|y=is CN /glH( /ukZ8 &-e 3 [}Zg^)u4řX%\#8\B&b Z|4 cڣ.f0^RoyV0ƾsu7'G2ߤEʳ2res9mwСi@2x-l8R3<5/u:]k<䍃yo9HT3'Y8pdK1.p<?=rGlZȘ-nӽtlf0(w8˿~siOXu_!DY e=~8pQݴ:n!I߃d3EF!rR(ۋqnEaDб9K i1cDu3lvw=˲siYۻɺ`K`*Y0xuŁ͘K՗,1c9uDZz`0{J 4 cs96KfszK7g+ylwZs]VY`bpMi`Հ%NJE# SE[q7 )\ |n6-`-NM piӯ)>e=Wy7_EOقX3̋"R|XE:[Vp,턡!|& o,_Wqy, 1<9ڳ)؂B+VGez[S8O˷#0[y8a+Oз|Rhw}"΁E^t1ƥ+4&GDvւ@縬dAQ5G֣-  Bŵ&X }p<''"33X-KY[WW'VW;7 p$nSU-jjA59q {rjt5+ѡ{%~S3ᮇ]w])ԔVk>oP$g\B%O.t}e] zdGgzLɁbӳ;vnf_t?/}re07闀i.k>YϳkO(32o S1 \*8񛙶\IENDB`i( 6 $ 4http://www.mipc.mmu.ac.uk/4http://www.mipc.mmu.ac.uk/4http://www.mipc.mmu.ac.uk/4http://www.mipc.mmu.ac.uk/P/ 0|DArialgsRomantt0 0D[SOalgsRomantt0 0 DTimes New Romantt0 00DWingdingsRomantt0 0@DSymbolgsRomantt0 0 B0).2  @n?" dd@  @@`` * " L   ,  )* #$%&*,.2345679:=>?,b$i{U*F/  0e0e     A@  Ap 8c8c     ?1 d0u0@Ty2 NP'p<'pA)BCD|E||s " 0e@        @ABC DEEFGHIJK5%LMNOPQRSTUWYZ[ \]^_ `abN E5%  N E5%  N F   5%    !"?N@ABC DEFFGHIJK5%LMNOPQRSTUWYZ[ \]^_ `ab@8R ʚ;k8ʚ;g4LdLdl 0ppp@  <4dddd@l 0t<4!d!d@l 0tg4<d<dhn 0p@ pp,___PPT10D[SOes New Romantt 0DTimes New Romantt 0 ppL___PPT9.&%?  %O  =VU)Creative Industries and the Creative City * Dr. Justin O Connor Manchester Institute of Popular Culture, Manchester Metropolitan UniversityaZa a What is culture? &    A whole way of life A certain level of knowledge and understanding Particular products with aesthetic or symbolic meaning @ D  7    Definition   ^ Cultural industries : products turned into commodities generating value. Economic value derives from their cultural value Question: is how one can be turned into the other? B      Culture as Commodity Production &   & Mass reproduction and distribution  combination of technology, business, and culture. Books, performing arts, visual arts Newspapers, journals, prints, photography, printed music Recorded Music, Film, Radio; TV (Video, photocopies, printing) Digitalisation and new communication technologies (A new convergence?) New technologies and new business models constantly transform the existing field. 2YPPUP  'From Kulturkritic to political economy @      Adorno  Culture Industry: culture as mass production for mass society. Political economists: Cultural Industries Different conditions of production and consumption: commodity and flow; public and private. Need for innovation and authenticity; Artists and intermediaries; Risky business  dealing with unpredictability  rationalising the irrational .`tZZ!ZD pG  )       #Cultural industries as new economy &"   Fordism to Post - fordism  mass production to flexible specialisation; National space to global/ local spaces New economy  innovation, creativity, flexibility, reflexivity, responsiveness CI s not longer a remnant of the old but a template for the new     /  &  O  ?   Why are they growing? &   4Education; leisure; disposable income New technologies of creation, distribution and consumption Increased consumption of cultural goods as part of lifestyle Increased cultural component of material goods Increased cultural component of service products Information and communication now meshed with symbolic55%  :  <  .  0  6  %(On  production side   Expressive revolution (Bernice Martin) pointed to fundamental value shifts  from collective to individuality; from restraint to self-expression; from duty to self-realisation. Creativity - part of process of the reflexive construction of identity. Innovation, continual transformation, personal choice, creativity  these cultural values which in the 1970s and 80s ran close to the transformation of cultural consumption and, increasingly, cultural production. ZZHA  & Policy Driven   1980s and 1990s: this driven at the level of national and regional policy (UNESCO), usually as a cultural policy. Increasingly linked to urban economic development: role of the Greater London Council (GLC).  'GLC  Retrieve negative definition  give it more democratic aspect; (cf. Italy) Vast majority of cultural goods produced outside the market Beyond commerce vs. art  cultural studies questions and powerful impact of  popular culture e.g. music This widespread set of activities could not be left to the market  needed to be part of cultural policy. Stressed value-chain  not amenable to understanding using the model of individualised art production. Sector made up of small and large businesses  power lay with large businesses at distribution end. Intervention on behalf of the creative producers. Alternative economic strategy for culture Also: Local economic dimension  created jobs and wider catalytic effects. PPJ;hifJ  (Post GLC Policy  bSince GLC agenda driven at a policy level  first in metropolitan councils then by New Labour. Persistence of place in CIs  LA, London, New York, Paris, Milan (Capital/ global cities)  the cultural competence of cities Opened out possibilities for de-industrialising cities  where innovation, entrepreneurialism, and local vision seemed key. CIs seemed to offer: Employment Contribution to Image Contribution to sense of vibrancy and cultural richness Contribution to creativity Complement to subsidised art and culture Contribution to social inclusion|sPP^~| 2 How they link to cities &   Cities as nodes in global network Creativity, innovation, competitiveness - CIs CIs - articulation of large and small companies; Clusters, networks, projects  ideas, information, support, trust ,  7 R commodified cultural production (Scott)**$ $ $ * Icharacterised by high levels of human input: clusters of small companies operating on a project basis; dense transactional flows of information, goods and services; benefits from economies of scale in skills sourcing and know-how; complex divisions of labour (driven especially by new ICT developments) tying people to places$.ZZJ J 8!Scott  d  Clusters like these are replete& with agglomeration economies (i.e. increasing return effects), and agglomeration economies in turn give rise to& potent competitive advantages. >  ,Creative Urban Ecology    those meanings that adhere to the urban landscape and which are used as factors in the production of cultural commodities; meanings re-assimilated into the  urban landscape of the producing centre , acting as  a source of inputs to new rounds of cultural production and commercialisation , and  a further enrichment of the urban landscape f[4m+ R- \ .Scott   r Cultural production and consumption transform the landscape of the city through its  shopping malls, restaurants and cafs, clubs, theatres, galleries, boutiques . This  revitalisation of the symbolic content of cities draws in city governments, who link these transformations with  ambitious public efforts of urban rehabilitation in the attempt to enhance local prestige, increase property values and attract new investments and jobs . pZZV M  ' K     9"Key Idea: Embeddedness&     Tacit knowledge Traditions Institutions  Atmosphere Local identity UrbanityNNM  :#The Independents   They thrive on easy access to local, tacit know-how  a style, a look, a sound  which is not accessible globally. Thus the cultural industries based on local know-how and skills show how cities can negotiate a new accommodation with the global market, in which cultural producers sell into much larger markets but rely on a distinctive and defensible local base. (Leadbeater and Oakley, 1999:14) .ZZ@n      0)Creative City, Narratives of regeneration * Scott links specific support for CIs with a wider management of the urban ecology - the symbolic infrastructure of the city. This general conclusion of policy makers. Takes us to mobilisation of local urban identity -  creative cities  a narrative, usually by the city development agencies of local identity as a cultural resource.  R Culture and Regeneration &   2Regeneration mostly viewed as physical regeneration Big regeneration projects are about culture and consumption Cultural consumption generates business, enhances property markets, and has strong image effects. Limits to this  sustainability; local impact; and wider benefits to the city. Content frequently  art , of  international quality Used instrumentally with little feeling for the actual content. P    %Cultural Industries and Regeneration  & CIs are about sustainable production; involve engagement with  culture across a much broader spectrum. Need to complement  consumption-led- regeneration. Issues for the support of CIs  business support infrastructure; training and education; marketing and information; finance etc. Increasing urgency of question of Urban SpaceLL L ! Issue 1: CIs and Space  Space for creative production  diversity of provision not just high end users Not just about rent but about  atmosphere and identity  creative clusters Private spaces with a public function  spaces of innovation and experiment (Compost Cities!). Z  "Issue 1  CIs need space and place Should be as much an issue of  public goods as space for subsidised art. Urban ecology increasingly threatened by property-led regeneration Creative cities being short changed by short term profit   =&Issue 2   Benign narrative of culture and economics Creative Milieus mobilised as Economic policy. Creativity and culture about conflict,  unpopular culture , the  dark side : does not always sit well with policy makers.  <%Hall: Cities and Civilisation  * These creative cities were  societies troubled about themselves ; they were in a state of tension, of  transition forward to new and unexplored modes of organisation& societies in the throes of a transformation in social relationships, in values and in views about the world ; creative cities and creative milieux  are places of great social and intellectual turbulence: not comfortable places at all . nZ(#$Y  >)Issue 3    Urbanity and modernity:  creativity linked to the (urban) public sphere and to transformations of lifestyle and social structure.  Creative Milieus involve (cultural) political questions. 0Ku  ?*Issue 4  Florida s  Creative Class Is it a class in any meaningful sense? Is it simply about new forms of consumption and gentrification? 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