Researchers are expected to produce original findings, yet nobody explains how original contributions are conceived in economics. Recently there have been calls for more creativity in economic research, yet there is no literature that explores creative research apart from collections of biographical essays. This book aims to address that gap, exploring the process of conceiving and generating ideas for interesting and original research contributions in economics (and potentially other social sciences too). Creative Research in Economics serves both a practical and theoretical purpose. Theoretically it presents a unique way of thinking about the nature of problems and questions in economics and the role of social science researchers in society. As such it offers an interesting way to think about the philosophy of science and methodology in economics, and how new ideas emerge in the discipline. Practically it develops techniques for finding interesting and original research contributions (as opposed to conventional data-gathering research). Whether you are a graduate student looking for that first interesting question, a novice researcher in search of fresh avenues for research after your PhD, or a seasoned academic looking to teach the philosophy and methodology of economics in more interesting ways, you will find this book of great use.

In 'The Architecture of Innovation', Josh Lerner explores what lies behind successful innovation, and what managers and companies can learn from successful and unsuccessful cases. He combines both analysis of in-house innovation in corporate research labs with finance-based venture capital investment in innovation.

"To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate."--BOOK JACKET.

The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.

"Innovation and entrepreneurship are ubiquitous today, both as fields of study and as starting points for conversations among experts in government and economic development. But while these areas on continue to attract public and private investments, many measurements of their resulting economic growth-including productivity growth and business dynamism-have remained modest. Why this difference? Because not all business sectors are the same, and the transformative gains of some industries have been offset by stagnation or contraction in others. Accordingly, a nuanced understanding of the economy requires a nuanced understanding of where innovation and entrepreneurship occur and where they matter. Answering these questions allows for strategic public investment and the infrastructure for economic growth.The Role of Innovation and Entrepreneurship in Economic Growth, the latest entry in the NBER conference series, seeks to codify these answers. The editors leverage industry studies to identify specific examples of productivity improvements enabled by innovation and entrepreneurship, including those from new production technologies, increased competition, new organizational forms, and other means. Taken together, the volume illuminates whether the contribution of innovation and entrepreneurship to economic growth is likely to be concentrated, be it selected sectors or more broadly"--

Craft and the Creative Economy examines the place of craft and making in the contemporary cultural economy, with a distinctive focus on the ways in which this creative sector is growing exponentially as a result of online shopfronts and home-based micro-enterprise, 'mumpreneurialism' and downshifting, and renewed demand for the handmade.

This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians’ work is performed, constructed and managed at different times and show that musicians’ working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to ‘be creative’. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives 4.0 license.

Much of the existing economic literature on innovation has taken a particularly functional viewpoint as to what innovation might be. This book explores 'soft innovation', found in the creative industries such as publishing, film-making, advertising, and architecture, which has been, hitherto, ignored in innovation studies.

This manual has been designed and written with the purpose of introducing key concepts and areas of debate around the "creative economy", a valuable development opportunity that Latin America, the Caribbean and the world at large cannot afford to miss. The creative economy, which we call the "Orange Economy" in this book (you'll see why), encompasses the immense wealth of talent, intellectual property, interconnectedness, and, of course, cultural heritage of the Latin American and Caribbean region (and indeed, every region). At the end of this manual, you will have the knowledge base necessary to understand and explain what the Orange Economy is and why it is so important. You will also acquire the analytical tools needed to take better advantage of opportunities across the arts, heritage, media, and creative services.