The process of creation in creative industries

Research on creative industries (CI) has acknowledged the collective dimension of creation without addressing the crucial role of process and organization in handling such a collective endeavour. Indeed, this research stream has developed independently from the one on new product development (NPD), which focuses on the development process. Inspired by the NPD literature and anchored in the literature on CI, this article aims to enhance our understanding of the creation processes in CI in order to show how the challenges are overcome. Based on a large body of case studies carried out in 12 sub‐sectors of CI, we show that the projects developed in these industries follow a process that combines and iterates four elementary activities: inspiration, framing, prototyping and validation. These activities take place alternatively in a conceptual or a material world and combine collective and individual contributions. A critical player who gives the momentum and makes the crucial decisions heads this process.     

Artificial intelligence in the creative industries: a review

This paper reviews the current state of the art in artificial intelligence (AI) technologies and applications in the context of the creative industries. A brief background of AI, and specifically machine learning (ML) algorithms, is provided including convolutional neural networks (CNNs), generative adversarial networks (GANs), recurrent neural networks (RNNs) and deep Reinforcement Learning (DRL). We categorize creative applications into five groups, related to how AI technologies are used: (i) content creation, (ii) information analysis, (iii) content enhancement and post production workflows, (iv) information extraction and enhancement, and (v) data compression. We critically examine the successes and limitations of this rapidly advancing technology in each of these areas. We further differentiate between the use of AI as a creative tool and its potential as a creator in its own right. We foresee that, in the near future, ML-based AI will be adopted widely as a tool or collaborative assistant for creativity. In contrast, we observe that the successes of ML in domains with fewer constraints, where AI is the ‘creator’, remain modest. The potential of AI (or its developers) to win awards for its original creations in competition with human creatives is also limited, based on contemporary technologies. We therefore conclude that, in the context of creative industries, maximum benefit from AI will be derived where its focus is human-centric—where it is designed to augment, rather than replace, human creativity.

     

Motives for strategic alliances in cultural and creative industries

Cultural and creative industries are gaining importance in Western economies. In these industries, as in several other business sectors, micro‐firms, i.e., firms that employ fewer than ten employees, are the predominant firm type. As these industries have become an integral part of most economies, the literature has started to explore the strategic behavior of cultural and creative micro‐firms. Although micro‐firms are characterized by certain specificities that can affect how likely they are to engage in external relationships, there is a dearth of knowledge concerning collaboration through strategic alliances in this specific context. Seeking to advance the understanding of partnerships between micro‐firms in cultural and creative industries, the purpose of this article is to reveal the specific motives for engaging in strategic alliances in this context. In doing so, we focus on six case studies of strategic alliances between micro‐firms in cultural and creative industries in France. Our results show that strategic alliances involving creative micro‐firms seek the reduction of overspecialization, target a high degree of quality of life and pleasure at work, and are envisaged only if there is trust and mutual support among the partners. Moreover, opportunism and necessity motivations guide the creative micro‐firms' decision to enter strategic alliances.     

Innovation in the creative industries: Linking the founder's creative and business orientation to innovation outcomes

Creative industries contain paradoxes because conflicting tensions arise between the market and the arts. Entrepreneurs need to find and maintain a balance between those two sides to create innovation. This study tests the interaction between business and creative orientations of a founder in their influence on innovation in the context of creative entrepreneurial firms and provides recommendations for how creative agents can leverage and manage their innovations based on their creative visions. Determinants on the individual level, such as the founder's creative or business orientations, have a lasting impact on the practices and process of their venture. To trace the imprinting influence of the founder's orientation on innovation, the empirical setting is a time-lagged study of German firm owners in the cultural and creative industries surveyed 5 years apart. The results show a significant relationship between creative orientation and innovation, whereas business orientation does not significantly relate to innovation. However, creative and business orientations reveal a negative interaction effect. This study contributes empirical evidence to the paradox theory and the interaction between the opposite poles. Our findings provide valuable insights about the relevance of creative orientation and its visionary impact on the firms' innovation process. Furthermore, the results shed new light on the tension between art and the market, as different compositions of the two orientation poles seem to have a varying impact on the degree of innovation. Thus, the study reveals the complexity of creative entrepreneurship and provides managerial guidance for other knowledge-based industries.     

确保创意投资基金安全的10条策略

从London Development Agenct赞助的gateway2investment项目中来的lan Shields为我们给出了10条能够保证创意项目资金安全的策略。     

Pricing strategies with reference effects in competitive industries

This paper examines the effect of reference prices on companies operating within competitive industries. We confirm that even with competition, firms optimally price high in the short term to generate a high reference price and then decrease this price over time. Competitors' prices converge toward each other over time, emphasizing the short‐term nature of reference prices. We then show that pricing optimally to take advantage of reference prices generates a positive externality for other firms in an industry, such that competitors may generate higher profit. The longer the focus of a given firm, the more profit the firm generates, but less relative to its competitors. This arises because the externalities created through pricing high to increase reference prices outweigh the benefits of the higher reference prices themselves. If pricing managers are compensated relative to their competition, this suggests that short‐termism may be implicitly encouraged to the detriment of profit.     

Toward a theory of managing creativity-intensive processes: a creative industries study

This paper reports the results of an exploratory, theory-building study on the impact of creativity on business processes, their management, and the use of information technology (IT) in particular. The empirical evidence was derived from organizations within the creative industries, specifically film and visual effects (VFX) production. An adapted grounded theory approach was employed in order to analyze the data. The study identifies the dynamics of business processes that can be described as highly dependent on creativity, intensively involving the client, complex, and interdependent. It explains the processes’ organizational context as well as strategies and IT systems that organizations use in order to manage these processes. The study suggests that creativity-intensive processes are characterized by high levels of uncertainty with regard to outcome, process structure, and required resources. Creative organizations pursue both creative and operational process performance while simultaneously mitigating creative and operational risk.     

Knowledge,meaning and identity: Key characteristics of entrepreneurship in cultural and creative industries

This article introduces the Special Issue, “Varieties of entrepreneurship: Exploring whether, how and why cultural and creative entrepreneurship differs from other varieties”. The aim of the Special Issue is to contribute to a more nuanced understanding of how this particular variety of entrepreneurship emerges, is affected and develops over time. We present the three broad topics addressed in the Special Issue—knowledge, meaning and identity—and position them in the wider academic context of understanding value realization through entrepreneurship in the cultural and creative industries. The six articles presented in the Special Issue come from and combine different streams of literatures, yet jointly they gradually develop their own, hopefully complementary, interpretations, which provide inspiration for a promising agenda for further research.     

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

We aim to shed light on the deep mechanisms that keep individual entrepreneurs in the creative and cultural industries motivated in this insecure and fast‐paced environment. We collect data through a survey of entrepreneurs working in the Dutch creative and cultural industries (CCI) and examine what motivates these professionals to work in an environment characterized by tough competition. Specifically, we analyse our respondents' self‐perceived (creative and entrepreneurial) competences and needs (for autonomy and relatedness) in relation to their motivation to execute creative work. We suggest a reading of our results through the lens of self‐determination theory. Our results show that the need for competence is a consistent predictor of an individual's motivation to work in the CCI. Furthermore, we find that although intrinsic motivation is very high among entrepreneurs working in the creative and cultural industries, those who have a relatively high esteem of their creative capabilities do expect external rewards as well. Our study suggests the existence of a trade‐off between autonomy and commercial viability rather than one between intrinsic and extrinsic motivations.     

Imprinting of founders' entrepreneurial motivations on enterprises' practices and processes: The context of creative industries

This paper explores the imprinting of entrepreneurs' motivations on the practices and processes of enterprises. We investigate the question in the context of creative industries (CIs) as an extreme case of entrepreneurial motivations (EMs) prevalence. We analyse the EM of 14 founders of design consultancies. Three EMs emerge: self‐fulfilment, freedom and financial motivation. The qualitative analysis reveals that the founders' EMs at the time of a venture's founding has a lasting impact on the characteristics of the venture (name, processes formalization, decision‐making processes, performance measures and growth strategies). Specifically, founders driven by self‐fulfilment tend to build ventures named after them. In these ventures, processes are informal, decision‐making is centralized, performance measures are based on personal satisfaction and recognition and enterprise growth is restrained. Founders who seek freedom tend to run enterprises with semiformal processes, semicentralized decision‐making, a client satisfaction focus, and slow growth strategies. In contrast, founders with financial motivations tend to create enterprises with formal processes, decentralized decision‐making, financial performance metrics and growth ambitions. By focusing on EM and adopting a holistic approach beyond some characteristics of the venture, we complement the imprinting literature.     

Skills,scope and success: An empirical look at the start‐up process in creative industries in Germany

Creative industries comprise enterprises focusing on the creation, production and distribution of creative or cultural goods and services. Following an explorative empirical approach, we analyse start‐ups in creative industries regarding three issues along the start‐up process: (1) personal characteristics of creative entrepreneurs, (2) their use of labour and capital as input factors, and (3) start‐up success as measured by start‐up survival, degree of innovativeness and change in household income. Based on individual‐level data from the KfW Start‐up Monitor, a large‐scale survey on entrepreneurship in Germany, our regression results show that entrepreneurs in creative industries tend to be younger and better educated than entrepreneurs in other economic sectors. Businesses in creative industries are prevalently started on a small scale, as part‐time occupations, and with less financial resources. Yet they show a higher persistence and an above‐average degree of innovativeness.     

Promoting creative confrontations

Abstract We outline a methodology for confronting students with the inconsistencies entailed by their own beliefs. We illustrate this with reference to one particular physics subdomain which stresses an understanding of process (how things are made to happen): the dynamics domain.
The aspects of the methodology described are: the construction of a variety of situations which are expected to cause a student some conceptual difficulty; the predictions made by the student prior to modelling; and the observations of the student's attempts to model the situation. We use a case study to illustrate the approach.     

Computerized predetermined motion-time systems in manufacturing industries

In recent years, a number of computerized work measurement systems have been developed. In particular, attempts have been made to computerize the manual versions of existing predetermined motion-time systems (PMTS). This can be attributed to the spread of computer technology in the last decade which may further the application of PMTS in manufacturing industries in terms of speed, ease of use, and minimization of degree of judgement on the part of the analyst in establishing time standards.

The main objective of this paper is to survey the various computerized PMTS. In particular, this study will examine the computerized systems of Methods-Time Measurement (MTM), Modular Arrangement of Predetermined Time Standards (MODAPTS), and Maynard Operation Sequence Technique (MOST) due to their popular and worldwide support. The background and computer application of the aforementioned systems are discussed. Furthermore, comparative examples are given to illustrate the advantages and limitations of each system.     

Design data requirements in the process industries

Design methods are discussed and the progress through the use of models to CAD outlined. A wholly 3D system, PDMS developed by the CAD Centre, Cambridge in collaboration with Isopipe Limited and AKZO is described, with its implications on design accuracy, the use of models and the cost of design.Impending British legislation, stemming from the Health and Safety at Work Act 1974, is noted and a method of storing and retrieving the required records is suggested.     

Trading order for degree in creative telescoping

We analyze the differential equations produced by the method of creative telescoping applied to a hyperexponential term in two variables. We show that equations of low order have high degree, and that higher order equations have lower degree. More precisely, we derive degree bounding formulas which allow to estimate the degree of the output equations from creative telescoping as a function of the order. As an application, we show how the knowledge of these formulas can be used to improve, at least in principle, the performance of creative telescoping implementations, and we deduce bounds on the asymptotic complexity of creative telescoping for hyperexponential terms.     

Supporting creative and reflective processes

Creativity has long been seen as a mysterious process. A better understanding of the nature of creativity and the processes that underpin it are needed in order to be able to make contributions to the design of creativity support tools. In this paper, current theories of creativity and models of the creative process are discussed and an empirical study outlined of participants individually and collaboratively undertaking two creative tasks in different domains. The tasks ‘write a poem’ and ‘design a poster’ were carried out via two media; pen and paper and with the use of a computer and software tools. Schön's theory of reflection-in-action is applied to the study results. The research has generated software requirements for tools to support these specific creative tasks, and also initial design features to enable support for group reflection of evolving creative artefacts.     

Competition policy for innovative industries

The topic is of competition policy for innovative markets is of central importance to innovation in the USA, and many firms and their representatives are taking part in discussions about it. A central question motivates the discussion: do large firms with market power deserve special anti-trust scrutiny in markets characterized by robust innovative activity? Recent thinking distinguishes between environments where intellectual property protection is effective and where it is not. Traditional analysis too narrowly frames policy issues for this setting. It is more fruitful to think about how competition policy works through two mechanisms, viz. (i) by altering entry conditions, and (ii) the bargaining terms between powerful incumbents and innovative entrants.