Industri Kreatif

The Mystique of Customers’ Saturation in Online Brand Communities

Zahy B. Ramadan, Ibrahim Abosag

<p>Most research studies in the area of online brand communities have largely studied the positive aspects of online brand communities, ignoring the negative influences, mainly the growing threat from customers' saturation within these communities. Given the lack of understanding on the concept of customer saturation in online brand communities, this study establishes the necessary early understanding on this important concept by combining various streams of marketing and brand literature as well as information system. This study enhances understanding through the development of five propositions focusing on the role of customers' saturation on (1) customers' experience within online brand communities, (2) brand relationship, and (3) the co-creation of value. The discussion and review of the current literature produces five important propositions. The propositions develop the direction that customer saturation in online brand communities is likely to impact three key areas.<br></p>

Art-Based Social Enterprise, Young Creative and the Forces of Marginalisation

Grace McQuilten, Amy Spiers

<p>This book explores the opportunities and challenges faced by art-based social enterprises (ASEs) in engaging young people in education and training and supporting their pathways to employment.1 It also explores the dynamics and implications of 'enterprising' artistic practice for these and other social purposes. This study is thus set against the backdrop of what is termed the social turn in contemporary art, in which mainstream artistic practices have become more engaged with the lives of people and communities and with a spirit of collectivism aimed at addressing a range of issues from social exclusion to climate change. This social turn is not, in itself, new-and draws upon histories and traditions of collectivism in arts and cultural practices across the globe and histori- cally. What is new is the ways in which these more social and collective practices have infiltrated the more hierarchical and market-driven aspects of the contemporary art world. In addition, the study is set against the backdrop of rapid growth in social enterprise models across a range of sectors, including the creative industries. This is a growth spurred, in part, by increasing economic pragmatism in the state funding and delivery of welfare, cultural and community services. Finally, this study has taken place in the context of significant 'fourth industrial revolution' disruptions and transformations in the nature of work, a shift that has disproportionately affected young people globally in terms of their access to employment and education opportunities (Neufeind et al., 2018; Panth &amp; Maclean, 2020).<br></p>

Creative Industries for Youth

UNIDO

<p>CREATIVITY is the untapped and innate human resource that economies have yet to harness for its potential that can contribute to prosperity for cultural exchange and social justice. Creativity is the inspirational energy and knowledge that spur many individuals, including young men and women, to new industrial ventures with a vision for future transformations of societies.<br></p><p>While no nation inhabited by the people can be short of creativity, innovation tends to emerge where the value of creative is favourably perceived with high degree of freedom to set one's agenda, where creative talents are better organised through business and supported by the institutions, where competition encourages but most importantly rewards creativity and entrepreneurship. The institutionalization of creativity explains why certain society is able to productively organize creativity to solve society's most pressing problem and achieving progress, when others have lagged behind in spite of abundant creativity and a rich civilization.</p>

Entrepreneurship and Creative Professions — A Micro-Level Analysis

Jürgen Schupp, Gert G. Wagner

<p>It has widely been recognized that creativity plays an immense role not only for arts, sciences, and technology, but also for entrepreneurship, innovation, and thus, economic growth. We analyze the level and the determinants of self-employment in creative professions at the level of individuals. The analysis is based on the representative micro data of the German Socio-Economic Panel (SOEP). The findings suggest that people in creative professions appear more likely to be self- employed and that a high regional share of people in the creative class increases an individual's likelihood of being an entrepreneur. Investigating the determinants of entrepreneurship within the creative class as compared to non-creative professions reveals only some few differences.<br></p>

Proceedings DRS Learn x Design 2019

Naz A.G.Z. Börekçi, Dalsu Özgen Koçyıldırım

<p><br></p><p>Interestingly, the largest contribution of designers is to intervene in social problems trying to shape culture and environment of community as stated by the political scientist Herbert Simon that design is "changing existing situations into preferred ones". In this direction, when more focus is made on social, ethical and communal issues than on individual ones, values are more tangible, thus the shift from user centric design towards community centred design is achieved. Moreover, Manzini explains social innovation should interplay between autonomous initiatives that create social enterprises. These entities grow better in a favourable economic ecosystem, which is the national institutions' responsibility to provide. Besides when it comes to the design, designers are urged to prioritize recognizing existing social inventions and develop them into more effective, marketable, sustainable solutions. Therefore, branding and social media marketing strategy where taken into consideration in this research in order to create a lasting impact.</p>

Advertising as a Creative Industry

Izabela Derda

<p>At the crossroads of culture and commerce, the advertising industry is a regime of paradoxes. This book examines the place of advertising in today's creative industries, exploring the major challenges advertisers confront as they engage with other creative sectors. Izabela Derda, author, media scholar, and industry expert, offers insights into how the industry keeps deconstructing its own creative processes and collaborative models as it attempts to stay relevant.<br></p><p>Through extensive case studies and interviews with industry professionals and thought leaders, this book examines the sector's struggle to adapt to new business models and to monetize creativity in today's media landscape, from re-engaging audiences through media more typical of arts and entertainment to managing intricate cross-sectoral creative collaborations. From redesigning workplaces to satisfy the expectations of the youngest generations of creatives to reconsidering the paradigm of conventional creative teams, the advertising sector has swiftly adjusted to the seismic changes in today's media landscape. The book will be of interest to scholars and students of creative media, advertising, and media studies, as well as those interested in understanding the changing complexities and latest innovations of the creative industries. Advertising professionals, artists, and policymakers will find relevant insights and possible solutions for the major challenges facing the advertising industry today.</p>

CREATIVITY: Process and Personality

Larry Gross

<p>IN EXAMINING VARIOUS DEFINITIONS of the creative process, one is struck by certain assumptions that are common to most and by a basic disagreement which divides these definitions into two groups.1<br></p><p>The common assumptions are that products which are novel for a person or a culture and are considered valuable are "creative". The process that produces them is termed the "creative process" and is viewed as a distinct cognitive process, often involving distinct perceptual processes. A typical definition might be, then: "Creativity is that process which results in a novel work that is accepted as tenable or useful or satisfying by a group at some point in time” (Stein, 1963, p. 218).</p><p>Here, however, the agreement ends. The next step in some definitions is the proposition that creativity is a unique cognitive process, fundamentally different from all other forms of cognition, although it possesses certain similarities. Others propose instead that creativity is a special form of the cognitive process known as problem-solving, which, although it has certain distinct characteristics, is not essentially different from all other forms of "non-creative" problem-solving.</p><p>The first question that one must answer in order to proceed is whether these two positions are indeed, as they seem at first glance, irreconcilable. In order to resolve this we must discover if, in fact, they are describing the same process in the first place.</p>

The Creative and Cultural Industries towards Sustainability and Recovery

Marlen Komorowski, Justin Lewis

<p><br></p><p>We are delighted to introduce this Special Issue of Sustainability, entitled "The Creative and Cultural Industries: Towards Sustainability and Recovery". During the last several decades, the creative and cultural industries (CCIs) have increasingly been recognized for their role in local, regional, national and supranational economies; as drivers of economic growth, development and regeneration; and for their social and cultural impacts on well- being, place making, inclusion, sustainability, diversity and culture. On the other hand, the COVID-19 crisis has exposed the fragility and precarity of an industry dominated by micro-businesses, freelance and informal work practices and few tangible assets, calling into question the sustainability of economic models based on a high level of precarity in employment practices. This has led to some efforts (undertaken by governments and public bodies) to protect this industry from the pandemic's impact. At the same time, lockdowns have also highlighted the importance of creative activity in maintaining individual well- being and community resilience and the innovative potential of this industry.</p><p>In this context, this Special Issue addresses the broader research field of CCIs and its various subsectors, as well as its role in developing pathways towards sustainability, resilience and recovery. The articles featured in this Special Issue offer unique insights, methodologies and empirical evidence that contribute to our understanding of the creative and cultural industries' multifaceted nature.</p>

Art Markets and Digital Histories

Claartje Rasterhoff, Sandra van Ginhoven

<p>This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. As historical and contemporary data is rapidly becoming more available, and digital technologies are becoming integral to research in the humanities and social sciences, we sought to bring together contributions that reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources. The essays in this issue cover a wide range of topics and research questions. Taken together, the essays offer a reflection on what takes to research art markets, which includes addressing difficult topics, such as the nature of the research questions and data available to us, and the conceptual aspects of art markets, in order to define and operationalize variables and to interpret visual and statistical patterns for scholarship. In our view, this discussion is enriched when also taking into account how to use shared or interoperable ontologies and vocabularies to define concepts and relationships that facilitate the use and exchange of linked (open) data for cultural heritage and historical research.<br></p>

Fashion Communication in the Digital Age

Nadzeya Sabatini, Teresa Sádaba

<p>The Conference aim is to promote theoretical and empirical interdisciplinary work on how various communication practices impact upon the fashion industry and on societal fashion-related practices and values. In particular, the relation between tradition and innovation, as well as the impact of new technologies, digital media and the Internet will be under scrutiny.<br></p><p>Through FACTUM conferences, the organizers aim at consolidating Fashion Com- munication as an academic field and establishing an international and interdisciplinary network of related scholars.</p><p>In this 2023 edition, 28 papers have been accepted for publication. Full papers as well as research notes went through a rigorous double-blind review process. We greatly appreciate the considerable time put into the organization of the Conference by all the members of FACTUM23 Program Committee, who helped us to ensure high quality of all accepted contributions.</p>

The Future of Consumption

Kristina Bäckström, Carys Egan-Wyer

<p>It is often said that we live in a consumer society. This does not just mean that we buy things regularly but also that consumption is an integral part of our daily lives. We have learned to think of ourselves as consumers, rather than citizens, in a variety of situations. We are not only consumers of clothes and food but also of healthcare, wellness, and education. And we expect to be treated as such, safe in the knowledge that we can take our custom elsewhere if we are not. We increasingly exercise our political preferences as consumers, actively choosing to buy from producers whose views align with our own on topics such as environmental sustainability, human rights, privacy, and personal autonomy, and boycotting those who do not.<br></p>

Craftspeople and Designer Makers in the Contemporary Creative Economy

Susan Luckman, Jane Andrew

<p>This book is the culmination of four years of research undertaken across Australia into the experience of running a craft or design craft microenterprise. In many ways it, and the study it is based on, is the logical follow-up to the earlier book Craft and the Creative Economy (Luckman 2015a), which sought to capture and understand on a more theoretical level why we were witnessing rising interest across the Global North in craft and the handmade and what is at stake in terms of craft’s location within larger debates around what counts in the cultural and creative industries. Within this larger scholarly and practice context, that book also started to ask questions about what kinds of new work patterns and identities were emerging for creative workers—craftspeople in particular—in the face of the perfect storm of increasing casualisation, expectations of self-enterprise, portfolio careers, the rise of social media and internet ‘long tail’ distribution and desires for ‘good work’ (Hesmondhalgh and Baker 2011).</p>

Serious Games Development and Impact for Business Education

Dario Liberona, Aravind Kumaresan, ...

<p>Learning methodologies and experiences have changed over the recent years thanks to the incorporation of digital technology, among many of these technologies are Serious Games, that has a better opportunity to be used during recent pandemic times, the process of designing and incorporating games technologies is not easy and there are very few available development tools, this paper focus on basic guidelines and a practical experience. Review the process of developing a serious game and address some of the challenges of making a serious game from scratch. The objective is also to understand the challenges of developing and implementing gaming mechanics in Serious Games and the impact and results of the experience of using it with students’samples from Latin America and Europe. The results of this study is that gaming has a very positive impact in the learning process of higher educations students, whom value the use of this technologies in their education, however in general these technologies are not being use in higher education, there is more simulation type implementations, especially in marketing and logistic areas. There is a need to train teachers and create pedagogical departments that will enhance and develop this experiential learning tools.</p>

Japanese Media Cultures in Japan and Abroad

Manuel Hernandez-Perez

<p>This article introduces the special issue dedicated to global industries around anime, its theoretical commentary and its cross-cultural consumption. The concepts "anime" and "anime studies" are evaluated critically, involving current debates such as those presented in this volume. This discussion will employ the concepts of "manga media" as well as the "popular global", giving an account of the transmedia and transcultural character of these creative industries. The conclusion critiques the irregular presence of Cultural Studies in the study of Japanese visual culture and advocates for constructing an updated dialogue with this tradition in order to readdress the study of these media as a form of global popular culture.<br></p>

Music Creators’ Earnings in the Digital Era

David Hesmondhalgh, Richard Osborne, ...

<p>Not only has digital technology revolutionised the way we access music, it has also transformed how artists earn money from music. These changes have been rapid, meaning that there has been limited evidence and data that would show how money is made and distributed. This has in no small part led to a high profile and highly polarised public debate, with this lack of evidence and data contributing to misunderstandings and confusion.</p><p>Intellectual property (IP), especially copyright, trade marks and brands, provides creators with the tools to allow them to make money and protect their creativity. The Intellectual Property Office (IPO) has a role to play in understanding how those IP rights support the creative value chain. As such, the IPO has led the way by working in partnership with the UK music industry to commission this study to deliver robust and independent evidence. The following report is the most comprehensive piece of research on this topic, to date.</p>

Esports and the Media

Angel Torres-Toukoumidis

<p>The debate is open. In the last decade the opinions and criteria in favor of its recognition as a sport discipline has meant the upcoming inclusion in the 2022 Asian Games, the development of an official event around Paris 2024 Olympic Games and a possible inclusion in the Los Angeles 2028 Olympic Games (Álvarez, 2019). E-sports have been subjected to an analysis on the relevance of their conceptual definition by the academic community and experts, in terms of whether their characteristics agree or are comparable with the characteristics of other sports. Specifically, critics of e-sports emphasize the absence of the physicality that defines the semantic nature of the term and its relationship with physical exercise (Coakley, 2008). Undoubtedly, like chess, e-sports require fine motor skills that allow the fast and precise use of muscles (Haibach et al., 2017; Jenny et al., 2016), and involve a brain effort capable of assuming 20% of a person's energy, even more so when he or she is a professional (Álvarez, 2019). Also, they are charac- terized by the competitive level of their events, the formal organization of leagues and collegiate bodies, as well as their operation in relation to an industrial, commercial and economic system very similar to tra- ditional sports (Hou et al., 2020). Finally, it is not an individual sport, and its projection to competition has resulted in the highest revenues for professional players, organizations and sponsors (Newzoo, 2021).<br></p>

Designing the Music Business

Guy Morrow

<p>Music business research is a new multidisciplinary field that puts a number of different analytical approaches into mutual dialogue. It is located at the intersection of economic, artistic, musical, cultural, social, legal, and technological understandings of this cultural industry and it aims to generate a better understanding of the creation, distribution and consumption of music as a cultural good. As a field it is therefore characterised by methodological diversity and involves linking academic research with music business practices. The book series welcomes monographs and edited volumes that feature groundbreaking research into this dynamic and exciting field.</p>

Rethinking the Music Business

Guy Morrow

<p>In this chapter, we introduce the book by first outlining the challenges of designing, writing and editing a research-based book during the COVID-19 pandemic. We explain why Part 1 features six chapters that concern the impact of the COVID-19 pandemic on the music business, while Part 2 is comprised of six chapters that present original insights into the music business in general. We edited this book in solidarity with the various authors who managed to contribute chapters to this volume despite COVID-19-related disruptions and time out from work due to illness. We also edited this book in solidarity with all the participants who contributed to our own research projects that feature in this book and with the participants who took part in our contributing authors’ research projects. Our aim in this book was to provide as holistic a picture of the music business as we could at this time by gathering contributions from authors who were in the United Kingdom, Austria, Zimbabwe, Germany, India, Australia, Norway and the Philippines during the COVID-19 pandemic.</p>

SECURITY TECHNOLOGIES AND METHODS FOR ADVANCED CYBER THREAT INTELLIGENCE, DETECTION AND MITIGATION

GOHAR SARGSYAN, DIMITRIOS KAVALLIEROS, ...

<p>The "Security Technologies and Methods for Advanced for Advanced Cyber Threat Intelligence, Detection and Mitigation" book builds on the experience of the Cyber- Trust EU project's (grant agreement 786698) methods, use cases, technology development, testing and validation and extends into a broader science, lead IT industry market and applied research with practical cases. Cybersecurity is gaining momentum and is scaling up in very many areas, as this publication will show. We provide new perspectives on advanced (cyber) security innovation (eco) systems covering key different perspectives. How to build and run them from the process and skills perspective is of great importance when developing, applying and scaling up innovative security systems.<br></p><p>This book is comprised of 12 chapters, consisting of independent parts, which provide complete view both on their own and interconnected with relevant parts within the book. Below we briefly summarise the contents of each chapter.</p>

E-Journal of International and Comparative LABOUR STUDIES

Laurence D. Dubuc

<p>Artists have traditionally been depicted in academic literature as younger and more educated workers who gain less economic returns from their human capital investment and earn significantly lower self-employment income than workers showing similar human capital features on more traditional labour markets. Filling an important gap in the literature relating to Canadian artists and their financial situation on the labour market, this article estimates the effect of human capital features and other socio-demographic variables on self employment income of 9 categories of artists using data drawn from the Canadian census of 2006.</p>

Arts and creative industries

Justin O’Connor

<p>This study by Professor Justin O’Connor was commissioned by the Australia Council as part of a long-running and productive relationship between the council and the ARC Centre of Excellence on Creative Industries and Innovation at the Queensland University of Technology (QUT). Our previous collaborations have looked at the contribution of creative activities to health care and, more recently, an analysis of census data on artists’ employment, What’s your other job?, as part of our Artist Careers research. The council is also a partner with QUT in two current Linkage research projects supported by the Australian Research Council.</p><p>Our impetus is to add constructively to the long-running discussion about the relationship between the arts and the relatively newly termed creative industries.</p>

Corporate Social Responsibility: Organizational Strategy for Sustainable Growth

Byung Il Park, Shufeng Xiao

<p>Current discussions dealing with corporate social responsibility (CSR) have concentrated on solving queries, such as what promotes a firm's citizenship, under which environments firms conduct ethical management, what the primary determinants affecting a certain CSR (e.g., philanthropic CSR) are, and how it strategically enhances corporate performance, but such discussions tend to overlook its effect on long-term sustainable growth.<br></p><p>Thus, we do not yet know enough about CSR from a long-term perspective and its relationship with long-term sustainable growth. We should also acknowledge that a firm's unethical management is a primary cause and a result of poverty in our economy, which means that a firm's irresponsible activities (as an antonym of CSR) cannot be justified by any reason. This also represents the importance of research exploring CSR.</p>

Celebrity Endorsement: Developing A Brand Image in Housing Ads

Füsun Çizmeci Yöreş

Tourism, nature and sustainability

Hogne Øian, Peter Fredman

<p>Tourism is one of the fastest growing economies of the word. This does not only imply that economic growth is increasing, but also that more travellers demand a greater variety of destinations and attractions and that the experiences tourists are seeking are becoming diverse. In view of these changes sustainable development of tourism are becoming an increasingly complex matter to achieve. Recently, the Nordic countries have experienced a rapid growth in numbers of visitors. At some popular nature attractions this has resulted in crowding, environmental damage, costly rescue operations and overload on public infrastructure. Economic instruments such as entrance fees are frequently proposed to regulate and manage the volume of tourists to vulnerable sites and nature in general. While being common in many countries throughout the world, economic policy instruments seem to have a somewhat limited applicability in the Nordic countries, mainly due to the public rights of access. In view of this, the aim of this report is to make some assessments of the extent to which economic instruments can be implemented in the various Nordic countries. This question is approach not only by looking into the effects economic instruments in view of management goals, but even by considering consequences within a broader sustainability perspective.</p>