Culture, Creativity and Environment: New Environmentalist Criticism is a collection of new work which examines the intersection between philosophy, literature, visual art, film and the environment at a time of environmental crisis. This book is unusual in the way in which the 'imaginative', 'creative', element is privileged, notwithstanding the creativity of rigorous cultural criticism. Genuinely interdisciplinary, this book aims to be inclusive in its discussions of diverse cultural media (different literary genres, art forms and film for instance), which offer thoughtful and thought-provoking critiques of our relationships with the environment. Our ability to transcend the ethical and aesthetic categories and discourses that have contributed to our alienation from our environment is dependant upon an enlargement of our imaginative capacities. In a modest way this book might contribute to what Ted Hughes, speaking of the imagination of each new child, described as "nature's chance to correct culture's error".

This book nuances our understanding of the contemporary creative economy by engaging with a set of three key tensions which emerged over the course of eight European Colloquiums on Culture, Creativity and Economy (CCE): 1) the tension between individual and collaborative creative practices, 2) the tension between tradition and innovation, and 3) the tension between isolated and interconnected spaces of creativity. Rather than focusing on specific processes, such as production, industries or locations, the tensions acknowledge and engage with the messy and restless nature of the creative economy. Individual chapters offer insights into poorly understood practices, locations and contexts such as co-working spaces in Berlin and rural Spain, creative businesses in Leicester and the role and importance of cultural intermediaries in creative economies within Africa. Others examine the nature of trans-local cultural flows, the evolving "field" of fashion, and the implications of social media and crowdfunding platforms. This book will be of interest to students, scholars and professionals researching the creative economy, as well as specific cultural and creative industries, across the humanities and social sciences.

The book explores the relationship between cultural heritage and local economic development by introducing the original idea that one possible mediator between the two can be identified as creativity. The book econometrically verifies this idea and demonstrates that cultural heritage, through its inspirational role on different creative talents, generates an indirect positive effect on local economic development. These results justify important new policy recommendations in the field of cultural heritage.

Culture and creativity have untapped potential to deliver social, economic, and spatial benefits for cities and communities. Cultural and creative industries are key drivers of the creative economy and represent important sources of employment, economic growth, and innovation, thus contributing to city competitiveness and sustainability. Through their contribution to urban regeneration and sustainable urban development, cultural and creative industries make cities more attractive places for people to live in and for economic activity to develop. Culture and creativity also contribute to social cohesion at the neighborhood level, enable creative networks to form and advance innovation and growth, and create opportunities for those who are often socially and economically excluded. The ongoing COVID-19 pandemic has had a deep impact on the cultural sector, yet it has also revealed the power of cultural and creative industries as a resource for city recovery and resilience. More generally, cities are hubs of the creative economy and have a critical role to play in harnessing the transformative potential of cultural and creative industries through policies and enabling environments at the local level. 'Cities, Culture, and Creativity' (CCC) provides guiding principles and a CCC Framework, developed by UNESCO and the World Bank, to support cities in unlocking the power of cultural and creative industries for sustainable urban development, city competitiveness, and social inclusion. Drawing from global studies and the experiences of nine diverse cities from across the world, the CCC Framework offers concrete guidance for the range of actors -- city, state, and national governments; creative industry and related private-sector organizations; creatives; culture professionals and civil society-- to harness culture and creativity with a view to boosting their local creative economies and building resilient, inclusive, and dynamic cities.

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.

This groundbreaking Handbook brings together leading international experts in creativity and culture research to provide an overview of current debates. It showcases the wealth of topics, approaches and definitions specific for this new, interdisciplinary field within creativity research. The theoretical and methodological innovations emerging from the joint study of creativity and culture highlight the role of creativity within today's innovation-based, multicultural societies. Drawing on theoretical and empirical reflections, including case studies from different continents and different creative domains, this Handbook provides a truly global outlook on current creativity research within an emergent, interdisciplinary field. This variety is highlighted by the Handbook's structure as it is divided into five sections: Creativity and Culture in the Psychology of Creativity; Creativity in Socio-Cultural Psychology; Creativity in Cultural Context; Creativity and Culture in Applied Domains; Cross-disciplinary Perspectives on Creativity and Culture. These sections provide a clear overview of the debates and questions of this research area as contributors share their interest in creativity not only as an individual but also a social and cultural phenomenon, and in culture as both the foundation and outcome of creative action. The Handbook will be an essential resource for researchers, particularly those based in social science and humanities disciplines.

This volume presents a collection of writings on the relations among creativity, culture and development. The editors invited “like-minded” researchers of creativity from around the world to share their respective notions of creativity. Given that human creativity is a potential that can and should be nurtured in the course of lifespan development and across all cultural backgrounds, the volume emphasizes the importance of promoting creativity in all cultures and through societal-educational opportunities, and offers a venue for the authors to make conceptual, empirical and practical inquiries into the relations among creativity, development and culture. The authors represent a varied “mix” of contemporary and emerging creativity researchers who use different methodologies to investigate the importance of culture in creativity development and the reciprocal role of developing creativity and cultural enrichment. The volume represents an attempt on the part of the editors and the authors to broaden our current understanding of creativity in the contexts of human and cultural development, and in so doing to enhance our understanding of creativity, culture and development in the contexts of flourishing human and societal activities. As the first volume in a book series on “Creativity in the Twenty-First Century”, the book invites readers and researchers to engage in future interdisciplinary and intercultural discourses and dialogues on the importance of creativity for human and cultural development.

"This book makes reference to the full spectrum of design disciplines, providing examples from architecture, interior, product, graphic and fashion design, from a variety of cultures. It provides examples and illustrations from a wide range of topics from the Big Bang to The Matrix, cave wall drawings to Twitter and Modernism to mass culture."--Publisher.

This volume offers a coherent set of articles on sustainable and creative cities and addresses modern theories and concepts relating to research on sustainability and creativity. It analyses principles and practices of the creative city for the formulation of policies and recommendations towards the sustainable city. It brings together leading academics with different approaches from different disciplines to provide a comprehensive and holistic overview of creativity and sustainability of the city, linking research and practice.

Creativity and culture are inherently linked. Society and culture are part and parcel of creativity's process, outcome, and subjective experience. Equally, creativity does not reside in the individual independent of culture and society.Vlad Petre Glveanu's basic framework includes creators and community, from which new artifacts emerge and existing artifacts are developed. He points to a relationship between self and other, new and old, specific for every creative act. Using this multifaceted system requires that researchers employ ecological research in order to capture the heterogeneity and social dimensions of creativity.Glveanu uses an approach based on cultural psychology to present creativity in lay terms and within everyday settings. He concludes with a unitary cultural framework of creativity interrelating actors, audiences, actions, artifacts, and affordances.