Para compreender a inserção de jovens grafiteiros no mercado de trabalho e o processo de construção de suas identidades estéticas e profissionais, investigaram-se os desdobramentos e os novos contornos que eles estão criando para suas inserções no mercado trabalho e divulgação de sua arte. O graffiti passa a ter novas configurações e novos sentidos no âmbito do trabalho, denominado aqui de pós-graffiti. Inicialmente, apresenta-se o contexto histórico do graffiti, suas questões em relação à política e estética, bem como discussões e interpretações em torno do graffiti. Em seguida, analisam-se as questões envolvendo o mundo do trabalho e como este impacta na cultura do graffiti e no perfil dos grafiteiros. Depois, contextualiza-se o pós-graffiti, um produto híbrido, de novas formações sociais e de novas identificações midiatizadas, constituindo-se como um caminho profissional aos grafiteiros. Quais estratégias são utilizadas para inserção e manutenção dos grafiteiros no mercado de trabalho no âmbito do pós-graffiti? Como se dá o processo de construções estéticas e identitárias dos grafiteiros pesquisados? Estas questões são objeto de discussão para que se viabilize a compreensão do processo de transição das identidades estéticas e profissionais de jovens grafiteiros em relação ao mercado de trabalho no âmbito da economia criativa. / To understand the insertion of young graffiti artists in the labor market and the process of construction of their aesthetic and professional identities, were investigated the unfolding and new contours that they are creating for their insertions in the labor market and for the dissemination of their artwork. Graffiti gains new configurations and new meanings in the work context, called here post-graffiti. Initially, is presented the historical context of the graffiti, as well as its issues in relation to politics and aesthetics and the discussions and interpretations around graffiti. Next, are analyzed the issues involving the world of work and how it influences the culture of graffiti and the profile of graffiti artists. Then, post-graffiti is contextualized, being a hybrid product, originated from new social formations and from the dissemination of new identifications, thus being a professional path for graffiti artists. What strategies are used for the insertion and the maintenance of graffiti artists in the post-graffiti labor market? How does the process of constructing the aesthetics and identities of the graffiti artists surveyed take place? These issues are the subject of discussion in order to facilitate the understanding of the process of transition from the aesthetic and professional identities of young graffiti artists in relation to the labor market in the framework of the creative economy.

abstract: There are many different approaches to the analysis of regional economic growth potential. One of the more recent is the theory of the creative class, and its impact on creative centers. Much of the criticism surrounding this theory is in how the creative class is defined and measured. The goal of this thesis is to explore alternate definitions to better understand how these variations impact the ranking of creative centers as well as their location through space and time. This is important given the proliferation of rankings as a benchmarking tool for economic development efforts. In order to test the sensitivity that the creative class has to definitional changes, a new set of rankings of creative centers are provided based on an alternate definition of creative employment, and compared to Richard Florida's original rankings. Findings show that most cities are not substantially affected by the alternate definitions derived in this study. However, it is found that particular cities do show sensitivity to comparisons made to Florida's definition, with the same cities experiencing greater variations in rank over time. / Dissertation/Thesis / M.U.E.P. Urban and Environmental Planning 2014

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O objetivo deste trabalho à analisar o processo de institucionalizaÃÃo da economia criativa do humor no Estado do CearÃ, à luz da teorizaÃÃo de Tolbert e Zucker (1999), que apresenta o processo sendo composto de trÃs fases: habitualizaÃÃo, objetivaÃÃo e sedimentaÃÃo. Foram utilizados tambÃm como referÃncia o modelo dos nÃveis de enlaces interorganizacionais, de Holanda (2003), e os indicadores de grau de institucionalizaÃÃo propostos por Scott (1995) e Dimaggio e Powel (2001). Os estudos organizacionais nas Ãltimas dÃcadas destacam a Teoria Institucional como abordagem centrada nas influÃncias do ambiente nas formas e nas estruturas de diferentes organizaÃÃes, especialmente naquelas que trazem em seu Ãmago a valorizaÃÃo de aspectos intangÃveis, simbÃlicos e culturais, tais como as que compÃem a economia criativa. No CearÃ, o humor se configura como um relevante campo da economia e cultura local cujo processo de institucionalizaÃÃo se configura como um salutar objeto de estudo. Para alcance do objetivo proposto, foi realizada uma pesquisa de naturezas qualitativa e quantitativa; exploratÃria e descritiva, quanto aos fins; e documental e de campo quanto aos meios. AlÃm de entrevistas realizadas com amostra nÃo-aleatÃria de quinze representantes organizacionais que compÃem o campo, foram respondidos questionÃrios por 67,4% dos humoristas em atividade no CearÃ. Os resultados da pesquisa indicam que o humor no Cearà tem raÃzes histÃricas que remontam aos sÃculos XVIII e XIX e foi protagonizado por diferentes cenÃrios â especialmente a PraÃa do Ferreira - e tipos populares que, por meio da irreverÃncia em um cotidiano de dificuldades, reforÃaram a vertente humorÃstica da imagem âCearà Molequeâ. A formaÃÃo do campo do humor como um negÃcio da economia criativa cearense se deu por meio do estÃmulo de forÃas de mercado e por situaÃÃes eventuais que emergiram hÃbitos sociais irreverentes da juventude alencarina na dÃcada de 1980. Nesse contexto, indivÃduos e organizaÃÃes inovaram e adotaram arranjos e estruturas comuns, especialmente em bares e restaurantes, caracterizando a fase de habitualizaÃÃo. No transcorrer das dÃcadas seguintes, com a atuaÃÃo consensual dos atores do campo monitorado, o padrÃo de estruturas bem sucedidas foi difundido, entretanto sem teorizaÃÃo formal. A partir da dÃcada de 2000, as concorrÃncias e as disputas por espaÃos geraram formaÃÃes de grupos, aumento dos enlaces interorganizacionais e da Ãrea geogrÃfica de ocorrÃncia do humor, alÃm do surgimento de novas e recentes estruturas organizacionais, tais como associaÃÃes, sindicato, fÃrum, teatros e museu temÃticos, dentre outras. Tais caracterÃsticas associadas Ãs dificuldades de comunicaÃÃo e teorizaÃÃo no campo indicam que essa economia criativa està entre as fases de objetificaÃÃo e sedimentaÃÃo do seu processo de institucionalizaÃÃo. Os resultados dos questionÃrios confirmaram esse grau intermediÃrio do processo, pois seis dos sete indicadores de institucionalizaÃÃo obtiveram mÃdias inclusas no intervalo central. Por fim, ressalta-se que o humor, enraizado na cultura do povo cearense, se configura como uma atividade da economia criativa que cresce em nÃmero e enlaces de atores do campo, mediante recentes estruturas interorganizacionais que geram divergÃncias entre grupos e visam a ampliaÃÃo de espaÃo mercadolÃgico junto ao pÃblico cearense e turista. / This paper aims to analyze the process of institutionalization of the creative economy of comedy in the State of CearÃ, in the light of theorizing Tolbert and Zucker (1999), which presents the process consisting of three phases: habitualization, objectification and sedimentation. Levels of inter-linkageswere also used as the reference model, from Holanda (2003), and indicators of the degree of institutionalization proposed by Scott (1995) and DiMaggio and Powell (2001). Organizational studies in recent decades highlight the institutional theory as an approach focused on environmental influences in the forms and structures of different organizations, especially those that bring in their core valuing intangible, symbolic and cultural aspects, such as those that make up creative economy. In CearÃ, comedy is set as a relevant field of economy and local culture whose process of institutionalization is configured as a salutary object of study. To reach the proposed objective, a survey was conducted qualitative and quantitative in nature, exploratory and descriptive, as to the purposes, and documentary and field as to the means. In addition to interviews with non-random sample of fifteen organizational representatives that make up the field, questionnaires were answered by 67.4% of comedians active in CearÃ. The survey results indicate that comedy in Cearà has historical roots dating back to the eighteenth and nineteenth centuries and was played by different scenarios - especially Ferreira Square - and popular typesthat, through irreverence in face of the daily difficulties, strengthened humorous aspect of the image âCearà Molequeâ (âJoking CearÃâ). The formation of the field of humor as a creative economy business of Cearà occurred through the stimulation of market forces and eventual situations that emerged irreverent social habits in Alencarinayouth in the 1980s. In this context, individuals and organizations have innovated and adopted arrangements and joint structures, especially in pubs and restaurants, featuring habitualization phase. In the course of the ensuing decades, with the consensual performance of actors in the monitored field, the pattern of successful structures was widespread, although without formal theorizing.From the 2000s, the competition and disputes over spaces generated group formations, increased inter-linkages and geographic area of occurrence of comedy, in addition to the recent emergence of new organizational structures such as associations, trade union, forum, theaters and thematicmuseum, among others. Such characteristics associated with communication and theorizing difficulties in the field indicate that the creative economy is among the objectification and sedimentation phases of its process of institutionalization.The questionnaire results confirmed this intermediate level of the process, since six out of seven indicators of institutionalization obtained averages included in the central range. Finally, we emphasize that the comedy, rooted in the culture of the people of CearÃ, is configured as an activity of the creative economy that is growing in numbers and links from actors in the field through recent interorganizational structures that generate differences between groups and aim to expand marketing among the native public of Cearà and tourists alike.

This thesis presents a methodology for soundscape research, utilising consumer mobile and internet technologies. This has been used to gather objective environmental data, as well as subjective data from participants in-situ. A total of 323 untrained members of the public have submitted soundscape recordings from around the world. For the first time, participant choice has been factored into soundscape research, where members of the public decide which sound environments are investigated. Human relationships with their sound environments have been investigated, with a number of findings corresponding with those of other studies utilising entirely different methodologies. In addition, a number of new findings have been made to contribute to the field. The two extracted subjective principal components of ’Appreciation’ and ’Dynamics’ has shown a solid validation of the project’s methodology, due to their similarities with a number of other studies utilising different techniques of data retrieval. The distinctive groupings of the different soundscape types within this factor space defined by the extracted components reveals the perceptual differences between the soundscape categories: urban, rural, urban public space and urban park. The activity a person is involved in while making their submission has shown to be influential in soundscape appraisal, with relaxation and recreation situations resulting in increased soundscape appreciation. The reasons behind a soundscape submission have revealed significant differences in subjective response. The positive interpretation of the term soundscape has resulted in a majority of positive reasons for participation. Soundscapes that arise from a participant’s daily routine are generally less appreciated than soundscapes containing a particular sound source focus. The highest levels of appreciation were observed in soundscapes whose focus is on a specific activity that the participant is involved in. The interest that a participant has on their soundscape is seen to result in raised levels of appreciation.

The diploma thesis deals with design as part of creative economy and design in the context of corporate innovations. The aim is to analyze the conditions and qualities of cooperations between companies and designers in the Czech Republic, to identify barriers to effective collaboration and to propose steps leading to development of cooperation between businesses and designers. Tool for the analysis is research in the form of a questionnaire survey among Design Competitiveness programme participants, which the agency CzechTrade implemented in 2013 and 2014 to support projects of cooperation between companies and designers. Conditions and qualities of cooperation is explored in the following aspects: establishment of cooperation, objectives and results of the collaboration, progress of the cooperation and obstacles to effective cooperation. The research is complemented by a case study of a specific project of such cooperation, the development of a new product line by the Mikov company.

Submitted by Maykon Nascimento (maykon.albani@hotmail.com) on 2014-09-29T18:43:57Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Larissa Comerio.pdf: 2160445 bytes, checksum: 0a11360a8da33eee557762b70f5b9277 (MD5) / Approved for entry into archive by Elizabete Silva (elizabete.silva@ufes.br) on 2014-11-17T20:10:27Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Larissa Comerio.pdf: 2160445 bytes, checksum: 0a11360a8da33eee557762b70f5b9277 (MD5) / Made available in DSpace on 2014-11-17T20:10:27Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Larissa Comerio.pdf: 2160445 bytes, checksum: 0a11360a8da33eee557762b70f5b9277 (MD5) Previous issue date: 2014 / FAPES / O presente trabalho pretende dedicar-se a discussão dos elementos que compõem a economia criativa, para tanto, utiliza diferentes conceitos de criatividade, indústrias criativas e cidades criativas. O termo economia criativa surgiu em 2001 com o livro de John Howkins, mas a idéia básica foi apresentada no estudo Creative Nation realizado pelo governo australiano em 1994. A partir de então, diversos países têm adotado o conceito como instrumento de fomento ao desenvolvimento econômico e social. Assim, a associação da economia criativa a uma economia voltada ao desenvolvimento está ligada, portanto, ao reconhecimento de que a criatividade humana pode ser um ativo econômico (REIS, 2012). Diferentes países e regiões podem utilizar essa abordagem com o objetivo de alcançar efeitos positivos sobre o emprego e como ferramenta para a promoção da inclusão social. A discussão é recente no Brasil, um dos estudos pioneiros foi desenvolvido pela Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN), intitulado “A Cadeia da Indústria Criativa no Brasil”. A partir desse trabalho e do banco de dados da Secretaria de Turismo, Trabalho e Renda – SETGER da prefeitura de Vitória foi possível desenvolver um estudo espacial dos empreendimentos criativos para Vitória -ES. Concluiu-se, então, que a desconcentração dos empreendimentos criativos nas diferentes regiões do município deve ser um dos objetivos buscados para que a cidade se transforme em um espaço mais colaborativo e coeso. / The present work intends to engage in discussion of the elements that make up the creative economy, therefore, uses different concepts of creativity, creative industries and creative cities. The term creative economy appeared in 2001 with the book of John Howkins, but the basic idea was presented in the Creative Nation study conducted by the Australian government in 1994. Since then, several countries have adopted the concept as an instrument to promote economic and social development. Thus, the combination of a creative and a development economy is linked, therefore, to the recognition that human creativity can be an economic asset (Reis, 2012). Different countries and regions can use this approach with the objective to achieve positive effects on employment and as a tool for the promoting social inclusion. The discussion is recent in Brazil, one of the pioneering studies was developed by the Federation of Industries of the State of Rio de Janeiro ( FIRJAN ) entitled "The Chain of Creative Industry in Brazil". From that job and the database of the Department of Tourism, Work and Income from the City of Vitória was possible to develop a spatial study of creative enterprises to the county. Then it was concluded that the deconcentration of creative enterprises in different regions of the municipality must be one of the goals pursued for the city to become a more collaborative and cohesive space.

The most common goal of professional sociology is to describe and or explain the social world. However, recognizing the performative aspects of science, and in keeping with Burawoy’s (2005) emphasis on “organic public sociology,” I ague that there is latitude within the discipline to design research with the aim of linking knowledge production and social change. I also argue that the discipline’s understanding of effecting change need not be limited to outcomes such as teaching, publication, or the creation of policy; the research process itself has social effects (Hesse-Biber, Leavy, and Yaiser 2004). Importing a performative research design from human geography (Community Economies Collective 2001, Cameron and Gibson 2001, 2005, Gibson-Graham 2006b), I co-designed a participatory action research (PAR) project with a graduate student in Geography. We hired 23 artists and artisans from Franklin County, Massachusetts forming a research team. Our goal was to act on the world in real-time through the use of peer-to-peer interviewing. In this paper I explore the outcomes, including the challenges, of researching from this approach. The research design and the ensuing process—training members of the research team, conducting interviews, and collaborating on projects—is the focus of my analysis. I discuss how aiming for transformation shaped our research decisions. Through my analysis of the research process, and in contrast to decision-making processes from a common sense epistemology, I argue that the interactions and connections engendered by the process itself matter just as much as the ensuing sociological understanding.

This is a concurrent, mixed methods study of the impacts of Austin, Texas’s cultural plan, CreateAustin. In the study, trend analysis and a t-test were used to examine variables before and after the cultural plan was in place. At the same time, interviews with cultural planners were used to uncover other effects. My research addresses a gap in the literature between understanding the desired and actual outcomes of a cultural plan. Cultural plans are being developed by many communities in an effort to attract creative workers but they are rarely evaluated. Evaluation using a mixed methods approach is necessary to capture all the outcomes of a cultural plan, rather than the limited scope of impacts that are captured by qualitative or quantitative analyses alone. My analysis of the quantitative variables showed some significant differences between when the plan was in place and the years prior to its creation. Interviews with key stakeholders revealed the formation of new networks as a powerful outcome of the planning process. The results allowed me to gauge the overall impact of CreateAustin and make some observations about the cultural planning process in general, as well as uncover new directions for future research.

No description available.

<p>My research examines the political role of unions, as the collective voice of Canadian cultural workers, in connection to the cultural policies that shape their memberships’ personal and professional lives. I examine the policy advocacy strategies of Alliance of Canadian Cinema, Television and Radio Artists; the Directors Guild of Canada; the Writers Guild of Canada; the Communication, Energy and Paperworkers Union of Canada; and the International Alliance of Theatrical and Stage Employees IATSE, as members of federal and provincial cultural policy networks.</p> <p>I argue that changes in cultural policy influence the level of participation and the political strategies of the unions and guilds in federal and provincial cultural policy networks. Shifts in organizational and political strategies affect the ways that unions articulate their interests as policy problems; this, in turn, affects the ways in which issues and problems are understood and acted upon by decision-makers in policy reforms. While most of the unions and guilds, particularly at the federal level, have been active in cultural policy networks for several decades, unions at both federal and provincial levels are increasingly partnering with the employers – the independent producers – in their policy interventions. Analysis of my case studies leads me to conclude that this strategy is paradoxical for unions. While a partnership approach from a “production industry” standpoint arguably increases union access to and credibility with policy decision-makers, it can compromise or obscure how unions articulate cultural policy problems as <em>labour</em> problems. When unions engage in policy advocacy either independently or as a labour coalition, the direct relationship between cultural policy and its specific impact on labour markets and working conditions is most evident.</p> / Doctor of Philosophy (PhD)