文化与创意产业集群的研究谱系和前沿:走向文化生态隐喻?

文章基于文献研究,梳理文化和创意产业集群的研究谱系,指出该领域学术界:①没有将文化和创意产业本体论知识整合到集群分析框架;②对艺术家和创意阶层及其项目生产方式、知识流的空间过程关注十分薄弱;③忽视文化消费和中介因素对创意集群和文化生产的反身性;④比较偏向生产型创意集群的研究、忽视空间型创意集群和消费型文化产业园区和城市空间的研究;⑤在研究方法上相对单一。作者提出通过运用文化生态系统隐喻,进一步展开综合研究的可能性。     

Evolution of Knowledge Intensive Services in a High-tech Region: The Case of Hsinchu,Taiwan

Communication costs have reduced markedly owing to improvements in communication technology. Despite this development, face-to-face interactions facilitated by geographic agglomeration remain important in high-tech innovation activities owing to the ambiguity and uncertainty related to new knowledge. Consequently, location remains a major influence on global strategies of transnational companies, and enables global cross-border divisions of labour in high-tech industries. On the one hand, this phenomenon transforms the geographic distribution and structure in industry; on the other hand, it creates demand for strategic functions in management and organizational innovation. The emergence, introduction and operation of such functions all rely on the support of specialized service industries. During the two decades of development of the Hsinchu Science-based Industrial Park (HSIP), the area around HSIP saw the gradual formation of a distinctive and strong network including production, incubation and research and development (R&D) activities. Within this network, knowledge intensive services provide a crucial interface between the supportive environment and technological infrastructure. This investigation analyses the interactions, geographic transformation and distribution between HSIP firms and producer services around HSIP, as well as the coordination between HSIP firms and research institutions. This investigation found that competition strongly influences the development and geographic transformation of producer services. Together with different industrial resources, they formed production networks. Such networks caused the development and geographic transformation of the Hsinchu area, and thus further influenced the growth of knowledge-intensive service businesses.     

北京美术产业对地方文化的嵌入性程度分析

北京十一五规划指出北京将大力发展文化产业,尤其是文化创意产业。美术是文化产业中最具有创意色彩的产业部门,北京是中国最重要的美术产业中心,近5年来出现了一批美术创意产业集中区。本文使用近十多年来国外经济地理学家频繁使用的嵌入概念分析北京的美术产业。本文所采用的嵌入概念更强调KarlPolanyi的观点,以北京三个主要美术产业区798艺术区、宋庄画家村、观音堂文化大道为研究地点,通过分析实地访谈资料、艺术家和画廊的网站资料,探讨企业和艺术家在作品风格、市场定位、企业分布、企业制度等方面是如何嵌入北京地方制度文化和意识形态文化的。本文认为在把握嵌入程度,避免过度地方化的程度上有待未来讨论。     

Local Histories,Global Markets: Cocoa and Class in Upland Sulawesi

Research and policy concerning the Southeast Asian uplands have generally focused on issues of cultural diversity, conservation and community resource management. This article argues for a reorientation of analysis to highlight the increasingly uneven access to land, labour and capital stemming from processes of agrarian differentiation in upland settings. It draws upon contrasting case studies from two areas of Central Sulawesi to explore the processes through which differentiation occurs, and the role of local histories of agriculture and settlement in shaping farmers’ responses to new market opportunities. Smallholders have enthusiastically abandoned their diversified farming systems to invest their land and labour in a new global crop, cocoa, thereby stimulating a set of changes in resource access and social relations that they did not anticipate. The concept of agency drawn from a culturally oriented political economy guides the analysis of struggles over livelihoods, land entitlements, and the reconfiguration of community, as well as the grounds on which new collective visions emerge.     

Cultural governance and creative industries in Singapore

Singapore, a leading country in the Asia‐Pacific region, is currently attempting to transform its cultural industry into creative economy. Creative economies capitalise on how knowledge can be marketed by merging arts, technology and business. They ensure a nation's competitiveness within an integrated global economy. This paper critically examines Singapore's recent cultural policy developments in tourism, broadcasting and new media. It argues that new creative industries have produced new consumption patterns and identities that harness the place‐branding of “New Asia” as a form of cultural capital and a strategy of regional dominance. Cybernetics is proposed as an approach to frame creative cultural governance and consumption in Singapore.     

CREATIVE CLUSTERS IN BERLIN: ENTREPRENEURSHIP AND THE QUALITY OF PLACE IN PRENZLAUER BERG AND KREUZBERG

Urban creative clusters are currently a major focus of attention, as their prominent position in both local political and academic circles makes evident. Many authors stress the importance of spatial concentration for creative industries. However, only a few studies have focused on the individual entrepreneur. As a result, empirical evidence of the meaning of urban place as a site for social networks and a space for inspiration is still scarce. This is of some consequence as entrepreneurs provide a crucial link between creative activities and economic change and development. This study contributes to the existing literature by investigating how different creative entrepreneurs choose and evaluate their location. Using qualitative interviews with entrepreneurs in two creative clusters in the Berlin neighbourhoods Prenzlauer Berg and Kreuzberg, this article shows the significance of the look and feel of specific places and explains how and for whom local networks are important.     

Reasons for Clustering of Creative Industries in Italy and Spain

Creative industries and creative employment tend to concentrate around medium and large cities, forming creative local systems. We follow a multidisciplinary approach, based on cultural and creative economics, evolutionary geography and urban economics, in order to analyse the forces behind the clustering of employment in creative industries in a comparative analysis of Italy and Spain. The results show different patterns of clustering of creative employment in both countries. The historical and cultural endowments, the average size of creative industries, the size of the place, the productive diversity, and the concentration of human capital and creative class have been determined to be common factors leading to a concentration of creative firms and creative employment in both countries.     

‘Innovation is a dirty word’: contesting innovation in the creative industries

Innovation is a term that is used and defined in many different ways. This holds for innovation in general, but particularly for innovation in the creative industries. In cultural policy and in academic literature, the creative industries are often addressed in the relation to their innovative capacities, yet a shared conceptualisation of innovation in this sector is lacking. This paper seeks to develop a conceptualisation of innovation in the creative industries based on 43 interviews with creative workers about their views and practices. Results indicate that creative workers articulate numerous views on innovation, with three main approaches: innovation as something completely new, innovation as a contribution to society and innovation as a continuous recombination of new and existing elements, with the latter being most prevalent in the creative industries and considered a central (by-product of the) process of creative production that is highly contextual to specific localities and fields.     

Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.     

Down by the sea: visual arts,artists and coastal regeneration

This paper takes a critical approach to the arts-led regeneration of Margate, south east England. It argues that regeneration policy has effectively utilised local characteristics to recreate Margate as an artful space, and has stimulated a local milieu of artistic and cultural activity. However, though the work of local artists is vital in producing Margate as a creative place, local artists are marginalised by policy interventions focussed on attracting new consumers and investors. Thus, this paper argues that a misplaced policy emphasis is failing to support the labour and social relations on which the interpretation of places as ‘creative’ is built, and arguably undermines the sustainability of an arts-based regeneration. This has implications for culture-led policy, calling for greater attention to be paid to the specific locations in which it is deployed, and to the networks of producers whose labour is critical to its success.     

Ecological Knowledge and the Regional Economy: Environmental Management in the Asesewa District of Ghana

This study examines perceptions of the environment in farming communities in the forest ecotone of Ghana. It places local knowledge within a socio-economic and historical context and argues that knowledge is continually evolving, attempting to solve existing problems and discovering new ones. It maintains that favourable conditions exist in farming communities for environmental actions and development approaches based on sustainable development, since these areas have suffered from the negative effects of degradation. However, major constraints exist within the wider political economy and policy framework, which is still locked into environmentally-hostile export-oriented production, and political models which marginalize rural people.     

Symbolic Violence and the Politics of Environmental Pollution Science: The Case of Coal Ash Pollution in Bosnia and Herzegovina

Abstract: Environmental justice movements often contest environmental knowledge by engaging in scientific debates, which implies accepting the predominance of scientific discourses over alternative forms of knowledge. Using Bourdieu's concept of symbolic violence, this paper warns that the engagement with hegemonic forms of knowledge production may reproduce, rather than challenge, existing social and environmental inequalities. The argument is developed with reference to a case study of coal ash pollution in Tuzla, Bosnia and Herzegovina. The case study shows that the construction of knowledge in a scientific project led to the exclusion of local definitions of the situation and the dismissal of their observations of environmental pollution. The case suggests that the capacity of different actors to put forward their interpretation of an environmental issue depends on the forms of symbolic violence that emerge within hegemonic discourses of the environment.     

Time,Waste, and the City: The Rise of the Environmental Industry

In many US cities, especially those in the Rust Belt, the environmental goods and services (EGS) industry has played a significant role in restructuring local economies to promote new, flexible, and “creative” forms of service‐based labour. And yet much of the environmental work conducted in these cities has been directed at an industrial past, cleaning up the waste left over from long‐departed manufacturing sectors. Returning to David Harvey's earlier work on the urban process, this paper develops a theory of waste switching that situates EGS within a larger renegotiation of space and time across city landscapes. This theory is fleshed out in case studies of the EGS industry in Baltimore, Pittsburgh, and Milwaukee, where new cycles of accumulation have been built on refuse, toxins, and dead labour. These “toxi‐cities” and their cleanup challenge traditional conceptions of urbanisation as spatially—but also temporally—bounded.     

The UNESCO Convention on the Diversity of Cultural Expressions as a coordination framework to promote regulatory coherence in the creative economy

The present article aims to inquire about business convergence in creative industries from the perspective of cultural diversity. It is based on the premise that the recognition of the creative and innovative component of the so-called ‘creative industries’ or the ‘creative economy’ confirms the need for non-economic factors and particularly cultural concerns to be taken into account in regulatory efforts addressing those industries. It examines the way new technologies and business convergence may affect the ‘trade and culture debate’ vis-à-vis the World Trade Organization (WTO), and how the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) may respond in a relevant manner to challenges brought therefrom. Despite its weakly binding language, the CDCE contains principles, objectives and rules that set a comprehensive framework for policy ‘related to the protection and promotion of the diversity of cultural expressions’ at the national, regional and international levels. A fundamental piece in such an approach is the explicit integration of cultural concerns into the concept of sustainable development. This article argues that the material and economic perspective adopted in the CDCE, based on the production and consumption of cultural goods and services, remains relevant and pertinent in the creative economy, despite business convergence. By prioritizing policy and regulatory coordination, it maintains that the main elements enshrined in the CDCE should be employed to contribute to greater coherence in view of the objective of promoting cultural diversity, including vis-à-vis the WTO and other international organizations, and puts forward potential paths for such coordination.     

The Dynamics and Evolution of Local Industries—The Case of Linköping,Sweden

This article aims to analyse how innovative, individual actions influence the evolution of local industries according to three stages. When discussing the evolution of industries or economies, the concept of path dependency is often a central element. Its vague nature makes it however difficult to be used as an interpretative lens when studying the evolution of local industries. In order to limit the broad concept, several aspects have been identified for discussion; all are explicitly linked to path dependency in economic geography literature and all are acknowledged to be of significance for stimulating the evolution of local industries. Based on a review of the evolutionary economic theory literature, the following three stages have been identified: first, the entering of new knowledge which may, or may not, be the starting point for a new local industry; second, the formation of the new local industry; third, the anchoring process of the new local industry. All three stages are intertwined and include the question how the new emerging industry and the existing local structures relate to each other. The three stages will be illustrated through the discussion of the evolution of the IT industry in Linköping, Sweden.     

Transformation,job creation and subsidies to creative industries: the case of South Africa’s film and television sector

Many governments have tried to stimulate economic growth via policy in the creative industries. South Africa is no different but additionally has an overarching aim of achieving social and labour market ‘transformation’ to move away from the legacy of the apartheid era. The effectiveness of incentives provided to the film and television sector in South Africa are considered in terms of their stated objectives of job creation, skills and knowledge transfer, and the attraction of foreign direct investment. Informed by empirical analysis of incentive scheme data and supplemented by elite interviews with key informants, some specific policy revisions are proposed.     

Cluster evolution and the change of knowledge bases: the development of a design cluster

Most studies portray cluster knowledge bases as a given resource, tied to specific industries and locations. However, this paper challenges that view and uncovers their dynamic nature by identifying endogenous and exogenous triggering events that influence and change the cluster knowledge base mix over time. This is done by building on the theoretical concepts of pre-existing conditions, triggering events and knowledge bases and by drawing on a case study of the design cluster located in the Triangle Area of Denmark. The paper concludes that the design cluster has changed its mix of knowledge bases several times during its evolution. Starting out as a firm-driven cluster with a dominant synthetic knowledge base, it then evolved into an artistic and creative cluster with a prevailing symbolic knowledge base. In the last few years, the cluster has increasingly adopted an analytical knowledge base at the expense of other knowledge bases. These developments have caused numerous changes in both knowledge building and the sources of knowledge in and around the cluster. These findings have implications for the framing of cluster knowledge bases, considering how they emerge, change and combine, as well as how that affects clusters’ composition of actors, activities and resources.     

BOOK REVIEW

This article examines the transition from cultural industries to creative industries policies in the English regions between 1980 and 2010. It argues that audio-visual policy in this period is best understood as a trajectory: the gradual, differentiated, contested, but overall coherent development of a policy discourse and corresponding institutional structure. This trajectory can be mapped onto the wider political economy of the period: the transition from social-democratic reformism to neo-liberalism at the end of the 1970s and up to the present. This process has resulted in audio-visual policy being determined to a large degree by the perceived needs of commercial interests, up to the point where regional cultural policy is virtually indistinguishable from economic policy. The transition from cultural to creative industries reflects the development of the neo-liberal state in which cultural policy has been instrumentalised within the larger project of the privatisation of public assets and the shift of relative power from labour to capital.     

Beach body work: Australian women’s experiences

This article examines Australian women’s complex relationship with the beach through a focus on affect and on what bodies do. Interviews with ten participants of diverse backgrounds and of different ages reveal that women understand the beach as a mediated and surveilled space where their bodies are foregrounded. In this environment, there is an intersection of women’s knowledge of the popular constructions of the archetypal Australian beach body, real women’s bodies, and interviewees’ experiences of the beach as a place of shame and pride. As a means of managing this affective landscape participants detail a range of bodily strategies enacted prior to going to the beach and once at the beach. This bodily labour demonstrates that for Australian women the beach is a dynamic and complicated site of both leisure and labour.     

Creativity gaps and gender gaps: women,men and place in the United States

This article situates Florida's (2002) work on creative regions in the United States in the context of a critical discussion of place and gender and investigates the gender–class structure of his most and least creative regions. It analyzes the distribution of creative class, working class and service class occupations by gender within those 21 regions as well as earnings, household income, poverty and educational attainment using data from the US Census 2000. Women and men are compared within and across the two categories of most and least creative regions. The major finding is that the gender gap in earnings within categories of regions is larger than the creativity gap, i.e. the earnings gap within genders across regions. As new technology industries have been layered over old industries, altering spatial divisions of labor, gendered labor remains integrated in largely traditional ways.