Laia Alsina from The Crab Apples, September 2017.
Gabri Guerrero/Wikimedia Commons
Chokepoint Capitalism is a dark portrait of a cultural system where monopolies and monopsonies predominate to the detriment of artists.
Anishinaabe musician Melody McKiver.
plays at the Bus Stop Theatre in Halifax, May 2018.
Meditations on improvisation in a year of both COVID-19 and what some called ‘the other pandemic’ of racism push us to go deeper to find ways to sustain healthy public common life.
The pandemic has battered the arts and culture sector in Indonesia. Many producers and organizers have been forced to cancel events, concerts and movie releases.
Sydney Chamber Opera’s Breaking Glass online performance from Carriageworks.
COVID-19 has exposed the insecurity of the cultural workforce. Making the performing arts freely available online may further diminish their value, right when the sector is arguing its worth.
Jazz Gunung Banyuwangi 2012.
The number of tourists visiting Banyuwangi have jumped five fold in the last couple of years, thanks to the innovative local government.
Evidence should inform policies aimed at realising the benefits of the creative economy.
Trade in cultural goods and services offers emerging markets an opportunity to benefit from their cultural capital and globalisation.
A display at the Imperial War Museum North in Manchester.
David McKelvey via flickr
What does society want and need from the arts and humanities?
At first glance, old industrial sites, like this one in Carrington Street, don’t look like much. But they provide vital spaces for creative precincts to flourish.
A new project documents who uses urban industrial lands slated for redevelopment. It reveals a vibrant but largely hidden sector at the interface between creative industries and small manufacturing.
The creative economy is failing to live up to the fast-growing, young entrepreneurial image it promotes.
The notion of the creative sector driving fulfilling work as cities shed old industries has worn thin. But those creatives might be delivering value of a different kind, offering a more human future.
Edinburgh is one of the European cities that make the most of their creative and cultural assets.
A comparison of 36 Australian cities finds that, unlike Europe, the data on their creativity and culture are not closely linked to their capacity to generate economic value and social well-being.
How truly innovative are companies like Uber and Airbnb, super-monopolies that capture entire markets by locking vendors and customers into their platforms?
The digital pin-ups’ business models actually inhibit serendipity and, indeed, innovation by absorbing entire markets into the sealed-off space of their platforms.
When the smart city looks inhuman: a robot police officer from Dubai greets guests at last November’s Smart City Expo World Congress in Barcelona.
The corporate world has taken the lead in promoting various creative/smart city visions, which struggle to be inclusive, let alone entrust citizens with control over their lives.
At Tolhuistuin, the government provides the land, old building stock and a maintenance budget for a fixed period while the creatives develop the precinct themselves.
When municipal or state governments join forces with smaller creative communities to shape urban regeneration the results can be far-reaching.
City policymakers are realising creative workers don’t have to be permanently clustered together if they can collaborate as needed.
Cities seeking to attract creative industries have relied heavily on the cluster concept. New research suggests a technology-driven transformation of how the sector works calls for a new approach.
The relationship between the art world and the market economy has long been one of Sturm und Drang. Deep down, a battle of weltanschauung plays out between light and dark, sky and earth, imagination and…
The ride-hailing app Go-jek is part of Indonesia’s growing creative economy.
Creative industries have the potential to provide much needed jobs in Indonesia. But, without a law on creative economy, industries are being subjected to rigid sectoral regulations.
‘If these index findings are indeed true then our economic and cultural performance, our overall prosperity, should be better than it is.’
Usefulness and value extends far beyond the century in which they were created.
Artistic works in the public domain may be free, but they form the basis of derivative works worth millions to the economy.
Labour is putting creativity centre stage.
Hands with pain via michaeljung/Shutterstock
Labour has made a move to put creativity back at the centre of the education agenda in the lead-up to the May general election. In a recent speech, Ed Miliband drew attention to the reduction in arts education…
Creativity ‘does not somehow float free of economic gravity, miraculously aloft’.
The view that art is essentially unworldly and creativity is play has a long history, dating back to the Romantics in the 18th century. According to this view, art must be kept separate from money, lest…