This is a handbook for the cultural entrepreneur, offering some of the best examples on practice, franchises, research, innovation and business opportunities in the cultural sector. The key theme is the contribution and possibilities of the cultural economy as a business, with a strong supporting subtext on innovative practice. The book illustrates the theme by providing multiple practice-based and empirical examples from an international panel of experts. Each contribution provides an accessible and easily accessed bank of knowledge on which existing practice can be grown and new projects undertaken. It provides an eclectic mix of possibilities that reinforce and underscore the full innovative and complex potential of the cultural economy. Topics include a review of the global and regional economic benefits of the cultural economy, evidence-based analysis of the culture industries, and an outline of the top ten cultural opportunities for business. This collection transcends the space between theory and practice to combine culture and innovation and understand their importance to a wider economy. This is essential reading for researchers and practitioners interested in entrepreneurship, non-profit management, art and visual culture, and public finance.

This collection brings together international experts from different continents to examine creativity and innovation in the cultural economy. In doing so, the collection provides a unique contemporary resource for researchers and advanced students. As a whole, the collection addresses creativity and innovation in a broad organizational field of knowledge relationships and transactions. In considering key issues and debates from across this developing arena of the global knowledge economy, the collection pursues an interdisciplinary approach that encompasses Management, Geography, Economics, Sociology and Cultural Studies.

Why Enlightenment culture sparked the Industrial Revolution During the late eighteenth century, innovations in Europe triggered the Industrial Revolution and the sustained economic progress that spread across the globe. While much has been made of the details of the Industrial Revolution, what remains a mystery is why it took place at all. Why did this revolution begin in the West and not elsewhere, and why did it continue, leading to today's unprecedented prosperity? In this groundbreaking book, celebrated economic historian Joel Mokyr argues that a culture of growth specific to early modern Europe and the European Enlightenment laid the foundations for the scientific advances and pioneering inventions that would instigate explosive technological and economic development. Bringing together economics, the history of science and technology, and models of cultural evolution, Mokyr demonstrates that culture—the beliefs, values, and preferences in society that are capable of changing behavior—was a deciding factor in societal transformations. Mokyr looks at the period 1500–1700 to show that a politically fragmented Europe fostered a competitive "market for ideas" and a willingness to investigate the secrets of nature. At the same time, a transnational community of brilliant thinkers known as the “Republic of Letters” freely circulated and distributed ideas and writings. This political fragmentation and the supportive intellectual environment explain how the Industrial Revolution happened in Europe but not China, despite similar levels of technology and intellectual activity. In Europe, heterodox and creative thinkers could find sanctuary in other countries and spread their thinking across borders. In contrast, China’s version of the Enlightenment remained controlled by the ruling elite. Combining ideas from economics and cultural evolution, A Culture of Growth provides startling reasons for why the foundations of our modern economy were laid in the mere two centuries between Columbus and Newton.

Will innovators be forced to seek the blessing of public officials before they develop and deploy new devices and services, or will they be generally left free to experiment with new technologies and business models? In this book, Adam Thierer argues that if the former disposition, “the precautionary principle,” trumps the latter, “permissionless innovation,” the result will be fewer services, lower-quality goods, higher prices, diminished economic growth, and a decline in the overall standard of living. When public policy is shaped by “precautionary principle” reasoning, it poses a serious threat to technological progress, economic entrepreneurialism, and long-run prosperity. By contrast, permissionless innovation has fueled the success of the Internet and much of the modern tech economy in recent years, and it is set to power the next great industrial revolution—if we let it.

This second volume, The Cultural Economy, analyzes the dynamic relationship in which culture is part of the process of economic change that in turn changes the conditions of culture. It brings together perspectives from different disciplines to examine such critical issues as: The production of cultural goods and services and the patterns of economic globalization The relationship between the commodification of the cultural economy and the aesthetic realm Current and emerging organizational forms for the investment, production, distribution and consumption of cultural goods and services The complex relations between creators, producers, distributors and consumers of culture The policy implications of a globalizing cultural economy

"The most ambitious, thoughtful and internationally aware assessment to date of the creative economy. Defining creativity as the production of newness in complex, adaptive systems, the authors make the case that together the creative economy, along with other cultural outputs, represent a planet-wide innovation capability which marks an epochal turn in human affairs." – Ian Hargreaves, CBE, Professor of Digital Economy, Cardiff University Creativity, new ideas and innovation - and with them the growth of knowledge - have spilled out of the lab, studio and factory into the street, scene, and social media. Now, everyday life is productive, everyone is creative, and new ideas can come from anywhere around the world. Instead of confining cultural expression to talented artists and expert professionals, this book investigates creative new ideas from everyone. Instead of confining the ‘creative industries’ to one sector of the economy and one type of productivity, this book extends the idea of creative innovation to everything. Instead of confining the growth of knowledge to wealthy countries or markets, this book looks for it in developing and emergent countries, everywhere. The productivity of creativity can now be seen as a global phenomenon. It demands a systems-based and dynamic mode of explanation. Creative Economy and Culture pursues the conceptual, historical, practical, critical and educational issues and implications. It looks at conceptual challenges, the forces and dynamics of change, and prospects for the future of creative work at planetary scale. It is essential reading for upper level students and researchers of the creative and cultural industries across media and cultural studies, communication and sociology.

Education in the Creative Economy explores the need for new forms of learning and education that are most conducive to supporting student development in a creative society. Just as the assembly line shifted the key factor of production from labor to capital, digital networks are now shifting the key factor of production from capital to innovation. Beyond conventional discussions on the knowledge economy, many scholars now suggest that digital technologies are fomenting a shift in advanced economies from mass production to cultural innovation. This edited volume, which includes contributions from renowned scholars like Richard Florida, Charles Landry, and John Howkins, is a key resource for policymakers, researchers, teachers and journalists to assist them to better understand the contours of the creative economy and consider effective strategies for linking education to creative practice. In addition to arguments for investing in the knowledge economy through STEM disciplines (science, technology, engineering and math), this collection explores the growing importance of art, design and digital media as vehicles for creativity and innovation.

Innovation is among the most important topics in understanding economic sustained economic growth. Jason Potts argues that the initial stages of innovation require cooperation under uncertainty and draws from insights on the solving of commons problems to shed light on policies and conditions conducive to the creation of new firms and industries. The problems of innovation commons are overcome, Potts shows, when there are governance institutions that incentivize cooperation, thereby facilitating the pooling of distributed information, knowledge, and other inputs. The entrepreneurial discovery of an economic opportunity is thus an emergent institution resulting from the formation of a cooperative group, under conditions of extreme uncertainty, working toward the mutual purpose of opportunity discovery about a nascent technology or new idea. Among the problems commons address are those of the identity; cooperation; consent; monitoring; punishment; and independence. A commons is efficient compared to the creation of alternative economic institutions that involve extensive contracting and networks, private property rights and price signals, or public goods (i.e. firms, markets, and governments). In other words, the origin of innovation is not entrepreneurial action per se, but the creation of a common pool resource from which entrepreneurs can discover opportunities. Potts' framework draws on the evolutionary theory of cooperation and institutional theory of the commons. It also has important implications for understanding the origin of firms and industries, and for the design of innovation policy. Beginning with a discussion of problems of knowledge and coordination as well as their implications for common pool environments, the book then explores instances of innovation commons and the lifecycle of innovation, including increased institutionalization and rigidness. Potts also discusses the possible implications of the commons framework for policies to sustain innovation dynamics.

Why are some countries better than others at science and technology (S&T)? Written in an approachable style, The Politics of Innovation provides readers from all backgrounds and levels of expertise a comprehensive introduction to the debates over national S&T competitiveness. It synthesizes over fifty years of theory and research on national innovation rates, bringing together the current political and economic wisdom, and latest findings, about how nations become S&T leaders. Many experts mistakenly believe that domestic institutions and policies determine national innovation rates. However, after decades of research, there is still no agreement on precisely how this happens, exactly which institutions matter, and little aggregate evidence has been produced to support any particular explanation. Yet, despite these problems, a core faith in a relationship between domestic institutions and national innovation rates remains widely held and little challenged. The Politics of Innovation confronts head-on this contradiction between theory, evidence, and the popularity of the institutions-innovation hypothesis. It presents extensive evidence to show that domestic institutions and policies do not determine innovation rates. Instead, it argues that social networks are as important as institutions in determining national innovation rates. The Politics of Innovation also introduces a new theory of "creative insecurity" which explains how institutions, policies, and networks are all subservient to politics. It argues that, ultimately, each country's balance of domestic rivalries vs. external threats, and the ensuing political fights, are what drive S&T competitiveness. In making its case, The Politics of Innovation draws upon statistical analysis and comparative case studies of the United States, Japan, South Korea, China, Taiwan, Thailand, the Philippines, Argentina, Brazil, Mexico, Canada, Turkey, Israel, Russia and a dozen countries across Western Europe.

This volume emphasizes the economic aspects of art and culture, a relatively new field that poses inherent problems for economics, with its quantitative concepts and tools. Building bridges across disciplines such as management, art history, art philosophy, sociology, and law, editors Victor Ginsburgh and David Throsby assemble chapters that yield new perspectives on the supply and demand for artistic services, the contribution of the arts sector to the economy, and the roles that public policies play. With its focus on culture rather than the arts, Ginsburgh and Throsby bring new clarity and definition to this rapidly growing area. - Presents coherent summaries of major research in art and culture, a field that is inherently difficult to characterize with finance tools and concepts - Offers a rigorous description that avoids common problems associated with art and culture scholarship - Makes details about the economics of art and culture accessible to scholars in fields outside economics