Knowledge bases and regional development: collaborations between higher education and cultural creative industries

This paper builds on the assumption that cooperation between higher education institutions (HEIs) and creative and cultural industries (CCIs) stimulates innovation and economic growth at the regional level. It further assumes that HEIs and CCIs hold different perspectives on their intention to cooperate with external actors and, thus, there is a need for joint arenas to develop and integrate knowledge and practices among stakeholders across academia and industry. With this rationale in mind, the paper’s main objective is to discuss how universities’ roles in the establishment and development of locally embedded CCIs change or evolve over time. Taking a process economics perspective and building on a case study from the South of Norway, two questions are addressed: (1) What are the barriers – structural and cognitive-cultural – hindering cooperation between HEIs and CCIs in Southern Norway? and (2) How can long-term win-win cooperative arrangements between HEIs and CCIs be enhanced? Different knowledge bases, combined with lack of knowledge and understanding of the other sector’s expertise or knowledge content, and thus the lack of common language, were found to be the biggest barriers that must be overcome to stimulate strategic cooperation between HEIs and CCIs in Southern Norway. The findings support the need for a diverse and flexible policy where target initiatives are adjusted to CCIs’ needs and academic departments’ fields of knowledge to decrease barriers to cooperation, with the ultimate aim of moving from a situation of ‘lock-in’ towards the creation of new innovative and valuable relationships.     

Heritage transactions at the Festival of Pacific Arts

The Festival of Pacific Arts, hosted by a different Pacific Island state once every four years, is a prime site for the reproduction of the global discourse on heritage. Drawing on ethnographic research conducted at the festival, this paper focuses on how the concept of heritage is employed at the festival as both an instrument of statecraft and a tool for the assertion of grass-roots political and economic agency. We conclude that heritage in the context of the festival is a form of cultural practice involving relationships of power and inequality, expressed in transactions of ownership and value transformations that have become over determined by economic logic and the concept of property.     

20世纪50年代中国在引进基础上的技术创新

20世纪50年代中国的技术引进和技术创新活动集中在“一五”时期和“大跃进”时期,虽然这两个时期在引进基础上的创新活动都是在重工业优先发展战略下的体制框架内进行的,但在引进技术的行业构成、规模、项目建设的实施和技术的消化乃至技术创新机制、成效等方面都有所不同。“一五”时期采用了全面、系统、灵活多样的方式和重点攻关,在消化、吸收引进技术方面取得了明显的成效,某些领域实现了技术再造,技术创新能力得到了迅速积累,但从总体上看仍处于对引进技术的翻版、修改阶段。“大跃进”时期的技术创新机制被严重干扰,群众运动代替了深入细致的科学研究,在群众性技术革新运动中引进基础上的创新活动格外活跃,通过技术革新运动学会了自行制造一些成套设备、生产工艺,但并没有从产业部门或行业整体上真正实现引进基础上的再次创新,其整体水平依然停留在对引进技术的“初级模仿”阶段。     

Youthful Creativity in Regional Australia: Panacea for Unemployment and Out‐Migration?

This paper addresses the theme of youth out‐migration from rural Australia, in the context of recent policy discussions about creativity and its role in regional development. Ethnographic fieldwork in one rural location – the New South Wales Far North Coast – is drawn upon to highlight how creative industries are being cast as a potential way of promoting cultural activities and jobs for young people, and in turn, how they might be imagined as a means to mitigate youth out‐migration. Yet, creative industries have contradictory employment and social outcomes. Creative industries are likely to generate higher rates of youth participation in economic activities than public data reveal. However, strategies for future job growth should also consider the limitations and instabilities of creative industry employment. Second, and more broadly, the paper discusses those socio‐cultural dimensions of nascent creative industries that may have a more substantial impact when conceived as part of strategies to stem youth exodus from rural areas. Creative activities may contribute to rural development in indirect ways, especially if linked to policy goals of increased tolerance of youth activities, better provision of cultural services, and improved well‐being for young people. While formal job‐creation may be limited, creative industries could mitigate some of the impacts of youth migration to cities by enriching regional social life and mediating perceptions of the advantages and drawbacks of rural versus urban life. This kind of policy imagination requires a shift in attitudes towards young people and a more genuine commitment to encourage young people to feel that they belong in non‐metropolitan areas.     

Rural Transformation and Cultural Industries: Popular Music on the New South Wales Far North Coast

This article explores the emergence of popular music as a niche cultural industry, connected to economic and social transformations on the New South Wales Far North Coast (also known as the ‘Northern Rivers’ region). The various images of the New South Wales Far North Coast as a ‘lifestyle’ region, ‘alternative’ locale and coastal retreat have attracted a diverse mix of ex–urban professionals, unemployed persons, youth subcultures, backpacker tourists and retirees. Yet, despite population growth, the region continues to suffer unemployment rates among the highest in Australia. Against this backdrop, diverse popular music ‘scenes’ have emerged, constituting an industry with linkages to cultural production in Sydney, Melbourne and overseas. While the region’s unique cultural mix has been suggested as a key site of comparative advantage, future employment is likely to remain transient, insecure, and governed by industry–wide labour relations. This case study illustrates some of the complexities underpinning contemporary urban–regional change in Australia, and provides cautious assessment of the capacity of the cultural industries to reinvigorate rural economies.     

The new patron state in South Korea: cultural policy,democracy and the market economy

ABSTRACT

This article explores conceptual frameworks for understanding Korea’s contemporary cultural policy by looking into the historical transformation of the culture-state-market relations in the country. It argues that Korea has become ‘a new kind of patron state’, which emulates the existing patron states in the West firmly within the statist framework and ambitiously renders government-led growth of cultural industries (and the Korean Wave) as a new responsibility of the state. The formation of Korea’s new patron state has been driven by a ‘parallel movement’ consisting of democracy and the market economy, which has defined the political and socio-economic trajectory of Korean society itself since the 1990s. Democracy has been articulated in cultural policy as cultural freedom, cultural enjoyment and the arm’s length principle; meanwhile, the market economy of culture has been facilitated by a ‘dynamic push’ of the state. After discussing the parallel movement, the article points out the tension, ambiguity and contradiction entailed in cultural policy of the new patron state.     

东亚经济危机与东亚发展模式新探

本文从三个方面论述了东亚经济发展模式。首先,从历史的角度分析了东亚经济发展模式的产生、特点及其局限性。然后,进一步指出在经济全球化和信息化加速发展新的历史条件下,东亚发展模式已不能适应时代发展的要求,东亚发展模式与这次东亚经济危机存在着内在的必然的联系。最后,对东亚经济发展模式的发展与变革提出了自己的观点。     

Challenging the ‘absent state’: Neoliberal extractivist governance and state effects in the northwest Peruvian Amazon

Natural resource extraction has been the base of Peruvian economic growth, notably since the neoliberalization of the economy in recent decades. Academic and media accounts portray Peru as an absent state – one of weak institutions to exert environmental control and guarantee citizens' rights – particularly in remote resource extraction areas. This article scrutinizes this idea of absence in the context of neoliberal extractivist governance, via the case of a mining conflict surrounding the creation of the Ichigkat Muja National Park (PNIM) in the Cordillera del Cóndor, in the northwest Peruvian Amazon. We argue that the state is not absent: it is the outcome of contested and re-negotiated relations, institutions, and ideologies. We posit that the goal of guaranteeing private investment shapes state agents' attitudes and interventions to address conflicts. Based on key informant interviews and the review of official social conflict reports, we examine two roles of the state: as a protector of rights and a provider of basic services. We find that, in this case, the regional government's recognition of citizens' rights appears ambiguous, and in general, the state's role as a provider of basic services is deployed to mitigate conflicts that affect significant extractive projects or involve intense social protest. Thus, the neoliberal project of the Peruvian state is mediated in complex relations, constituting a particular and evolving form of neo-extractivism, where social investment is functional to guarantee mining.     

Putting the “art” back into arts policy making: how arts policy has been “captured” by the economists and the marketers

Abstract: This paper explores the current discourse about arts policy and funding and its placement within an economic paradigm. The models of “cultural industry” and “creative industry” are explored and how they affect arts funding discourse. Similarly the impact of the introduction of the language of industry and business to the arts sector is considered. If bottom-line arguments are used by funders, governments and critics to argue the merits or otherwise of arts activity, how does this affect arts practice? In recent times arts funding agencies have been restructured to reflect a market-driven agenda rather than an arts-driven agenda. The impact of all these issues is considered in the context of Australian arts' models in particular, but with reference to examples in the United Kingdom and the United States of America. The paper concludes with suggestions for a reassertion of core cultural values in future discourse.     

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.