The Creative Industries,Creative Occupations and Innovation in London

London is a global hub of the creative industries. These industries are seen as both innovative in themselves and an input in innovation processes in other sectors. Yet few studies have tested these relationships. This article investigates these issues using large-scale survey data for London. Using four measures of product and process innovation, we find no evidence that London's creative industries are more innovative than other sectors. Yet, individuals doing creative occupations in other sectors are a robust driver of product innovation in London's firms. The results suggest that occupations performed in London may be an important driver of product innovation in the city, and firms in other sectors may use creative occupations to develop new products in the capital. This finding is supportive of policies attempting to stimulate the creative industries by integrating creative occupations into firms across the whole economy.     

Forging Creative Partnerships

While much public attention focuses on the impact of immigration policy at the national level or in major metropolitan areas, the realities of political policy regarding refugees and immigrant populations are also felt in smaller, more rural communities as well. Local decisionmakers increasingly face new community needs at a time when mandated programs are being shifted as federal responsibility changes. This article recounts the work of a unique, ongoing collaborative effort that began in 1996 establishing a partnership between health care and public safety services in support of low-income and immigrant populations in the city of Portland, Maine. The project seeks to address two of the most pressing problems associated with immigrant populations: preventive medical care and the reduction of neighborhood violence. The project is predicated on the belief that community building works best when all residents are stakeholders in a vision that includes strong schools, safe neighborhoods, and healthy families. The elements of the Portland experience in service provision are recounted for other state and local policymakers in forging new and collaborative working relationships among service providers and government agencies     

Neo-Liberalism as Creative Destruction

Neoliberalization has swept across the world like a vast tidal wave of institutional reform and discursive adjustment, entailing much destruction, not only of prior institutional frameworks and powers, but also of divisions of labor, social relations, welfare provisions, technological mixes, ways of life, attachments to the land, habits of the heart, ways of thought, and the like. To turn the neoliberal rhetoric against itself, we may reasonably ask: in whose particular interests is it that the state take a neoliberal stance and in what ways have these particular interests used neoliberalism to benefit themselves rather than, as is claimed, everyone, everywhere? Neoliberalism has spawned a swath of oppositional movements. The more clearly oppositional movements recognize that their central objective must be to confront the class power that has been so effectively restored under neoliberalization, the more they will likely themselves cohere.     

在教学中培养学生的创新意识

创新是一个民族进步的灵魂,是一个国家兴旺发达的不竭动力。而基础教育是培养创新人才的摇篮。因此,我们在小学数学教学中,要调动学生积极参与教学活动,努力培养学。生的创新意识。那么,如何在数学教学中培养学生的创新意识呢？下面结合笔者在数学教学中的实践,谈谈几点看法：     

服务于创意生活的博物馆设计

博物馆设计包括建筑设计和展览设计两方面。20世纪,欧洲和美国的博物馆原先丰富的实物展示逐渐被叙事展览取代,后者集空间、媒体、藏品和故事于一身,形成复杂的高感官体验。博物馆应该是一个拥有多样化复杂资源的集合体,为民众的创意生活服务。在服务于商业开发的社会下,博物馆的公共服务观念在渐渐消失。所以我们要重新思考博物馆的作用、责任和社会(或空间)形态。博物馆设计是一项社会艺术,建筑形态是对社会关系和多元经历的积极回应。以研究为导向的博物馆设计能推进博物馆的建设和发展,使之为我们共同的社会增添意义。     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

谈创造性思维(英文)

Modern social practice has triggered transformation of thinking mode, developed creative thinking ways with distinct characteristics of the times of systematic analysis and comprehensive combination, like multi-dimensional and unidirectional and multidirectional combinations, fuzzy with a combination of clarity, combining qualitative and quantitative analysis, three-dimensional thinking, comprehensive thinking and backward thinking, strategic thinking and divergent thinking. The broad application of modern creative thinking makes the traditional way of thinking get the best solution to the complex problems in the past.     

Space of Creative Industries: A Case Study of Spatial Characteristics of Creative Clusters in Shanghai

The rapid rise of creative or cultural industries not only contributes to regional economic growth, but also to a revised spatial model of urban structure, helping in the redevelopment of old town spaces. However, the spatial characteristics of creative clusters, especially at the micro-city level, are not fully understood. This study attempts to characterize the spatiality of creative clusters on the basis of a literature review and empirical study of Shanghai. By using Geographical Information System (GIS) spatial analysis and interviews, this paper examines the spatial features of creative clusters in Shanghai and their connection with urban historical, social, cultural and political aspects. It finds that creative clusters are primarily distributed in particular locations of Shanghai, namely in the inner-city, old industrial districts, places close to universities, Central Business Districts (CBDs), and entertainment and tourist zones. The old colonial zones in Shanghai play an important role in fostering the agglomeration of creative industries because of the special image of these spaces, in particular due to the abundant workshop spaces remaining from the industrial heritage. Great intimacy between creative industries and urban spaces becomes apparent in the case of Shanghai, demonstrating that the creative economy has become an important instrument in regenerating cities. Moreover, a differentiation in space among various categories of creative clusters in Shanghai was also noticed in this study.     

Creative Thinking and Emotion in Human Social Life: The Creative Mind: Myths and Mechanisms

Abstract

There is debate whether The Merchant of Venice is an anti-Semitic play. However, in this debate there has been insufficient attention paid to Shylock's relationship with Tubal. In his criticisms of Shylock, Tubal represents the larger Jewish community. This criticism shows that, in Shakespeare's view, Jewish self-understanding of what it means to be a good Jew is incompatible with the character of Shylock.     

创造性的经营--论稻盛和夫的经营策略

不断创新,保持独特性,是京瓷成功的重要原因。本文从技术、对外合作、市场开发等方面探讨了京瓷的创新。企业要创新,就应该不断地进行细微的改进。稻盛和夫的创新思想与日本传统的商业文化有密切联系。为使企业具有创造性,稻盛和夫主张矫正日本过度的集团主义,建立健全的市民社会。     

也谈村上春树的创作

一 　　 村上春树是当代日本作家中的一位奇才。自登上文坛以来,其作品风靡日本,声名远播。其中代表作品《挪威的森林》的销售量竞达到700余万册,就连诺贝尔文学奖获得者川端康成和大江健三郎的作品也难以媲美。可以说村上春树给沉寂多年的日本文坛带来了生机和震撼,甚至有人认为由此引发了“村上春村现象”。村上作品的爱好者有数万人,其中绝大多数是青年人,并包括了相当多的女性。…………     

Resolving Risk? Marriage and Creative Conjugality

The idea of rural women as risk‐averse food producers has been powerful and persistent and constitutes one of our most enduring generalizations. This contribution begins with some critical thoughts about the prevalent consensus on women and risk behaviour and goes on to discuss some counter examples of risk‐taking women farmers in Zimbabwe and Zambia. It argues that risk behaviours of these kinds are strongly related to the character of marriage and forms of conjugality, and considers more broadly how insurance and dependence are gendered. There is a danger of overdrawing, and exclusively emphasizing, household and marriage as sites of gender subordination and thereby losing sight of the value to women of domestic groups and the existence of class‐based solidarities and emotional investments, across gender, which are intertwined with gender subordinations. To recognize these (and other) positive aspects of institutions of kinship and marriage, without simultaneously endorsing subordination, requires a focus on change and women's agency within such institutions, and the happy thought that there is no such thing as the status quo. This study therefore considers myths made within different but overlapping contexts; first the idea of women as reliably risk averse (as well as disadvantaged in access to insurance) which holds sway in international development organizations and some gender analysis; and second, the myth of households as composed of entirely separate individuals with opposed gender interests, in which marriage is predominantly a contract legitimating the exploitation of women. Marriage works as a safety net for women in many contexts, as a form of insurance, but it may become an impediment to accumulation — a feature shared with other social security institutions.     

河北博物院临时展览创新实践探索

河北博物院自新馆开放以来,不断拓宽办展思路,以创新带动发展,推出了一批题材广泛、特色鲜明的临时展览。这些展览选题新颖,展示内容丰富多彩,以突出地方特色、捕捉社会热点、贴近群众需求为出发点,并且注重展览形式,不断创新展示技术、展出手段,在表现形式上贴近大众的审美,尝试新的展览宣传推广模式,贯彻环保理念,创新展具。临时展览扩大了河北博物院在业界和社会上的影响,取得了良好的社会效益。     

Creative industries in a European Capital of Culture

This article examines the articulation of the benefits associated with staging the European Capital of Culture (ECoC) in Liverpool, England in 2008. It is argued that relevant policy documents, and policy discourses more generally, propose a strong influential role for the operations of the ECoC upon the creative industries. Such a strong relationship, however, is difficult to evidence either at a discursive level or from the attitudes expressed by those working within the creative industries locally. The idea that the ECoC can promote broadly ‘creative’ activity is thus posited as being merely one aspect of the ECoC’s major goal of attempted city rebranding, rather than anything more substantive; nevertheless the articulation of ‘success’ of the ECoC in this regard seems entrenched.