Placing the Creative Economy: Scale, Politics, and the Material
Notice bibliographique
Résumé
Placing the creative economy: scale, politics, and the materialThe rise of the new `creative' imperative Recent interest in the role of creativity in economic development has sparked a host of conceptual and empirical studies seeking to document the rise of a creative economy, and its socioeconomic and spatial manifestations (for example, Florida, 2002;Grabher, 2001; O'Connor, 1999;Power and Scott, 2004;Pratt, 1997;Scott, 2000).Following from the work of Scott (2000), industries that are characteristic of such an economy represent a blurring of the cultural and the economic; their outputs are valued because of aesthetic rather than solely utilitarian functions.While conglomerates dominate some areas of the creative-economic landscape, creative industries are generally made up of small, agile firms that operate within a networked chain of interrelated activities.Along with creation and production, marketing and distribution are key links of this chain, critical to commodities that rely on capturing (and manipulating) consumer sensibilities (Hirsch, 1972;Pratt, 1997).The focus on creative industries in national or regional competitive strategies has been attributed to the demise of a Fordist mode of production, which was centered on cost imperatives and secured through a national, Keynesian regulatory regime.With integrated international markets and the advent of new technologies, there has been a search for new sources of competitive advantage.One critical arena for new forms of competition is an economy in which aesthetic qualities play a more prominent role and with an intensified focus on the signs and symbols of commodities (Lash and Urry, 1994).Planned obsolescence and economies of scope have become a means to fix (spatially and temporally) a crisis of overaccumulation through the marrying of the artistic with the technical and the commercial (Jameson, 1984).Indeed, a number of studies have highlighted the economic significance of creative (or `cultural') industries in late capitalism, documenting their contribution to employment, value-added production, and exports (Markusen and Schrock, 2006;Power, 2002;Pratt, 1997).Recent studies have also acknowledged that such industries tend to exhibit particular forms of socioeconomic organization, which promote innovation and experimentation.Such forms entail proximate and frequent relations among key actors along the supply chain (creators, producers, and buyers), as well as among competing actors within a particular field.A spatial concentration of such actors allows for face-to-face contact and the development of localized conventions or established `ways of doing business', including standards of compensation through `street rates'.By promoting trust and the exchange of information, these conventions help to reduce the risks of market uncertainty, making experimentation a more viable and worthy venture.Studies of the creative industries have not only privileged the `local' as the site for socioeconomic coordination but more specifically the `urban'.As a constellation of a diverse set of fields, the `urban' offers firms a range of supporting and complementary services, in addition to institutions (training, research, financial) and a significant pool of specialized workers, all of which facilitate creativity.Such place-based communities are not only a focal point for cultural labor; they are also centers of social reproduction in which cultural competencies are generated (Scott, 2000).In economic (and cultural) geography the interest in creative industries has promoted a reconsideration of the Guest editorial
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,004 | 0,005 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,003 |
| Études des sciences et des technologies | 0,007 | 0,072 |
| Communication savante | 0,029 | 0,022 |
| Science ouverte | 0,001 | 0,009 |
| Intégrité de la recherche | 0,004 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,019 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».