Submitted by Rodrigo Miranda (rodmiranda02@gmail.com) on 2013-12-09T18:33:48Z No. of bitstreams: 1 Rodrigo Miranda.pdf: 612478 bytes, checksum: 71e496507dd2bce8ec290a067a967714 (MD5) / Approved for entry into archive by Suzinei Teles Garcia Garcia (suzinei.garcia@fgv.br) on 2013-12-10T17:29:52Z (GMT) No. of bitstreams: 1 Rodrigo Miranda.pdf: 612478 bytes, checksum: 71e496507dd2bce8ec290a067a967714 (MD5) / Made available in DSpace on 2013-12-10T17:31:55Z (GMT). No. of bitstreams: 1 Rodrigo Miranda.pdf: 612478 bytes, checksum: 71e496507dd2bce8ec290a067a967714 (MD5) Previous issue date: 2013-11-08 / The creative industries became to be focus of studies in the business field due to the interest awaken by the so called new economy, in the end of the 90’s. However, little has been explored about their forms of organization, in special the daily work of the people working in these companies. These people by lifestyle seek in the creative process your core activity. The notion of common sense one gets is that creative organizations are more flexible and dynamic than those of other sectors. Thus, studying how is the process of organizing and sense making in these organizations can bring practical and theoretical contributions on this perception. Considering this context, our goal in this thesis is to investigate the creation of meaning in the process of organizing companies in the creative industry in São Paulo. We surveyed 18 companies and four professional freelancers, adding up the total of 32 women working directly in the creative economy, in order to seek understanding about what they do, how they do and what meaning they attach to the creation and (re) creation their daily work and companies. This thesis greatly influenced by the ethnomethodological studies of the everyday life. Keeping this in view, we used the Process Theory and Ethnomethodology as foundations, which begins with the idea that the routine phenomenon and imperceptible day to day activities are fundamentals to understanding a larger temporal and spatial reality. It is in the everyday life that social relations are truly built. Following this guidance, this study sought to identify biographical elements of the participants of these companies and in the everyday life of creative industries, through non-participant observation, semi-structured interviews and document analysis. With this, we seek to establish an understanding of the process of organizing and sense making in this specific sector of the economy in order to contribute to the understanding of these organizations and the complexity of their dynamics. As a result, we could identify the sense making about the process of organizing in different occupational groups: professionals who work as managers move away from the creative process, artists deviate from the activities of management and organization, and managers seeking management activities for the development of organizations. We also observed that complex relationships are established in informal networks and new forms of labor exploitation that makes the sector is weak. Some organizations achieve stability because they are organized around networks of relationships, knowledge and action, so that the information and experiences circulate enabling reflections on what is made. Despite the perception that these organizations are flexible, the professionals themselves need much effort to keep the group together in the face of environmental uncertainties and difficulties. The organization, the people and the creative process remain uncertain and susceptible to changes that impact negatively in the maintenance of groups and social relations. / As indústrias criativas passaram a ser foco de estudos na área de Administração em virtude do interesse despertado pela chamada nova economia, no final dos anos 1990. No entanto, pouco foi explorado a respeito de suas formas de organização, em especial, o cotidiano do trabalho das pessoas que trabalham nessas empresas e que, por opção de vida, buscam no processo criativo sua atividade principal. A noção de senso comum que se tem é que as organizações criativas são mais flexíveis e dinâmicas do que aquelas de outros setores. Assim, estudar como se dá o processo de organizar e a criação de sentido nessas organizações pode trazer contribuições práticas e teóricas sobre essa percepção. Considerando esse contexto, nosso objetivo nesta tese é investigar a criação de sentido no processo de organizar em empresas da indústria criativa no município de São Paulo. Foram pesquisadas 18 empresas e quatro profissionais free-lancers, somando o total de 32 mulheres atuantes diretamente na economia criativa, com o intuito de buscar entendimento sobre o que fazem, como fazem e qual o sentido que atribuem ao à criação e (re)criação do seu cotidiano de trabalho. Esta tese teve grande influência dos estudos etnometodológicos sobre o cotidiano. Tendo isso em vista, utilizamos a Teoria do processo e a Etnometodologia como fundamentos, na qual se parte da ideia de que os fenômenos rotineiros e imperceptíveis do dia a dia são fundamentais para a compreensão de uma realidade espacial e temporal maior. É no cotidiano que as relações sociais são verdadeiramente construídas. Seguindo essa orientação, este estudo buscou a identificação de elementos biográficos dos participantes dessas empresas e do cotidiano das indústrias criativas, por meio de observação não participante, entrevistas semiestruturadas e análise documental. Com isso, buscamos estabelecer um entendimento sobre o processo de organizar e a criação de sentido nesse setor específico da economia, a fim de contribuir para o entendimento dessas organizações e da complexidade de sua dinâmica. Como resultados, podemos identificar a criação de sentidos no processo de organizar em grupos profissionais distintos: profissionais que trabalham como gestores se distanciam do processo criativo, artistas se afastam das atividades de gestão e organização, e gestores buscam atividades de gestão para o desenvolvimento das organizações. Observou-se também que relações complexas se estabelecem em redes de informalidade e de novas formas de exploração do trabalho que faz com que o setor se enfraqueça. Algumas organizações conseguem a estabilidade pelo fato de se organizarem em torno de redes de relacionamentos, de conhecimento e de ações, de modo que as informações e as experiências circulem possibilitando reflexões sobre o que se faz. Apesar da percepção de que essas organizações são flexíveis, os próprios profissionais necessitam de muito esforço para manter o grupo coeso frente às incertezas e dificuldades ambientais.

網際網路的發達，促成環境快速的變遷，單一化的企業經營型態，已無法在變動快速的商業生態圈中永續生存，而各國為了振新國內產業發展，與提升經濟水準，推出國家發展經濟政策，而在過去以代工為主的亞洲國家，為求轉型發展，文化創意產業，皆為亞洲各國近十多年來不可或缺的國家發展政策之一，以台灣為例，在2002年行政院即提出《挑戰2008：國家發展重點計畫》，「文化創意產業發展計畫」則為其發展計畫之一，台灣文化創意產業發展至今，文化創意結合青年創業，不斷出現更加創新的商業模式，與文創產業聚落和文創園區。 本研究以F公司為研究主題，F公司以活化空間改造，不動產租賃起家，但公司定位不以房東自居，以打造資源多樣性的平台為目的，提供微型創業者合適空間可發揮其才能。初階段平台打造過程中，F公司累積足夠各面向文化創意資源，進而成功轉型，以空間改造為核心，並發展文創聚落規劃設計與經營輔導，給予台灣更多老舊的建築，賦予新生命，在地創生，製造就業機會，吸引青年返鄉，扶植社會企業，讓人與人之間的美好，透過空間活化與街區的重新改造，而更加拉近關係，實現公司成立的主要訴求「創造幸福的小氛圍」。 本研究依個案研究法，深入訪談了解F公司創業初期至現今業務轉型的歷程，探討其經營困難因素與解決之道，本研究以商業模式圖分析其獲利模式，並以邱志聖(2014)策略行銷分析架構來探討其成效，其四種成本分別為：外顯單位效益成本、資訊搜尋成本、道德危機成本、專屬陷入成本。 研究發現F公司在現階段的業務主軸重心轉變為專案式業務，基石來自於初期的成功聚落典範標竿與將初期的目標客群文創業者，整合為關鍵合作夥伴，累積文創資源，形成資源庫，讓F公司有足夠實力可勝任各式在地化的專案街區活化或社區營造規劃業務。 研究結果認為，F公司在對應客戶的四個成本都具有相當大的優勢，以4C角度歸納出關鍵成功因素，並建議增加自媒體與年度節慶活動慶典持續舉辦的行銷宣傳，提高直接消費者粉絲數量，為微型創業者增加效益，更加降低承租人的C1，並且也將文創訊息與活動主動散播給更多一般直接消費者，而降低一般消費者的C2。 / In the past, the economic growth of Taiwan counts on exportation and OEM business, but this world is changing too fast when the internet comes into everyone’s life. The business model is also changing rapidly, too. Last 15 years, Most of Asia countries want to improve and invest culture and creative industry. In 2002 the Taiwan government decided to reform the system to promote and develop the cultural and creative industry. The development of "cultural and creative industry" was considered as one of the important tasks of Taiwan’s Challenge 2008 Six-Year National Development Plan established by Executive Yuan. And now, we can see many different types of business models in culture and creative industry in Taiwan. The Culture Creative Industry Park and Culture Creative Cluster with micro yang entrepreneurs are good examples. This study mainly focuses on the F company in culture and creative industry in Taichung. F company started up from refurbishing unused space and rent it to micro entrepreneurs. F company creates not only spaces but also a happy and creative platform where each entrepreneur can share the resource and ideas. It is exactly the mission F company wants to achieve. In this case study, F company is analyzed by "Business Model Canvas" and "Strategic Marketing 4C Analysis". It concludes F company have great 4C advantage for their clients. This study also suggests F company may consider expanding their "We-Media" and running regularly anniversary campaign to approach more potential clients and also enhance current client’s satisfaction and royalty. Therefore, C1 will be lower for the clients and C2 also will be lower for end-customers.

何以跨國出版公司，能夠在國際市場成功經營? 經研究了解，除了選擇尊重智財權的市場，還有多元運用經營模式，皆是發展無形『智慧財產』的必要條件。二次世界大戰之後，歐美跨國出版公司對於全世界『智慧財產權』的法律積極運作，唯有在智財權受法律保護的國家之下，出版業才有利可圖。舉亞洲為例，日本是最先響應智財權的法令推動的國家，戰後的日本受到重創，從廢墟中重新建立，新法律的推動，不僅重視本土的智慧財產權外，更重視對外來智慧財產權的保護。推出這樣的法案無異是送了一個很強的訊號給美國；歐英跨國出版公司陸續在日本建立亞洲分公司，以日本為跳板，開啟亞洲其他的市場。 至於台灣的早期的出版發展，可以追溯到70、80時期日治時代的出版事業（參考註一 ），直到90年代台灣經濟起飛，帶動國內多項產業蓬勃發展。當時台灣的商業人士拎著公事包在全球做生意，國際貿易成為時代顯學；其中在台灣世貿每年舉辦的『國際書展』吸引了無數的愛書人，擁擠的會場，不因出版業文化與語言地域限制而限縮，版權（翻印與翻譯）交易熱絡，堪稱亞洲排名第一；在1992智財權法的實行，促使所有不合法的翻譯，以及翻印書籍在1994年 『612大限』以前清空，從此台灣揚棄『海盜王國』的名稱。 研究者試圖提出如何突破台灣有限市場，進入國際市場，並借鏡跨國出版公司全球化運作之經營模式，強化在國際市場運作實力，達成企業成長的目標與海外國際市場經營發展。 本研究論文案例，舉用台灣市場中對國際化方面有經驗並多元發展的原創出版公司四家為例，以及一家跨國出版公司為輔，進行質化研究分析，深入訪談做成紀錄，並對照比較各家執行國際化的現況與模式運用，同時另外分析整理出適合國內出版業者，便於採用的國際市場擴展的經營模式矩陣。研究者希望對業者可以產生輔佐參考的功用。 然而研究的部分限制是，無法進行全面性的訪談個案或因為時間、空間與能力的限制等；最後，研究者提出三項作為未來研究參考，數位出版在近幾年因為電信、電訊、與IT資訊的整合運用，ㄧ是、出版業國際購併案例的研究；二是、如何將文創產業數位內容作更廣泛運用與實際的發展；三是、未來華語的學習熱潮，是否可以透過歐美跨國公司的經營模式，作為參考。 / Why does the international publishers can manage the international market successfully? Through the study we can understand not only the enforcement of the intellectual property (IP) law in place is important, but also the practice of various of business models . After World War II, international publishing companies were aggressively engaged in the implementation of intellectual property (IP) law, in order to provide regulation and protection to ensure their business profits in global market. In Asia, Japan was the first country to deploy specific law to protect both local and foreign businesses that involve intellectual property, for those who intended to expand their business into Asia. As a result of that, Japan became their first priority of choice to setup the overseas branches. The development of publishing industry in Taiwan could retrospect to the 70’s to 80’s, the period of time that Taiwan was under the reign of Japan. Given the economic booming in the 90’s, Taiwanese businessmen thus had the opportunities to extend their antennae all over the world. International trading gradually became important and prevailing ever since. This annual event , International Taipei Book Fair (TIBF), held by the World Trade Center in Taiwan, always attracts vibrant attendance from both international traders and end customers. The trading volume in copyrights at the TIBF is huge and considered as the number one in Asian book fair markets. The enforcement of IP law in Taiwan in 1992 was a key action that helped to eliminate Taiwan’s notoriety as a "Piracy Kingdom." Pursuant to such law, all illegal translations and unauthorized copies must be destroyed before the D-Day "612 deadline" in 1994. Since then, Taiwan has successfully turned over its long-haunted negative image in IP protection. The business models are cited and organized from the interviews of four domestic and one international publishing company. The comparison of each Business models has summarized as a comprehensive chart for deduced case analysis. This study is conducted by a qualitative research method with the information abridged form in-depth interviews. It elucidates the current operation and unique internationalization experience of each referred company. Following the analysis of the Business model, current study gives a full set of internationalization model matrix suitable for domestic publishers who are interested in business globalization to use as a practical reference. By drawing references and citing the business models from some of the major international publishers, the author is trying to make points of the strategic proposition and maneuvers on how to efficiently and successfully reach beyond the domestic market and be possessed of considerable shares in the competitive international market. The conclusion and suggestion drawn from current research are based on representative cases, yet expected to be able to precisely indicate the essence of business acquisitions internationalization in publishing industry first. To envision the prospects of publishing industry advocated by technology advances, the transformation of digital contents and its impact on the development of digital publishing have been outlined and proposed as well.

文化是一種民族精神、社會價值、生命哲學與生活方式的體現，而創意是人類文化定位的重要成份，而以各式各樣的形式表現，兩者皆能透過產業流程與全球分銷去複製、推廣。文創產業是「那些以無形、文化為本質的內容，經過創造、生產與商品化結合的產業」，因此文創產業不僅涉及文化與創意，也包含由創意衍生之「文化商品及服務」（cultural goods and services）的經濟價值與商業運作。 我國為使發展文創產業之政策制度在施行上於法有據，經濟部乃多次召集會議邀請各部會及學者專家討論研擬《文化創意產業發展法》（以下簡稱《文創法》），並於92年9月24日函報行政院審核修訂，經過多年的推動與研議，該法終於2010年1月7日三讀通過，完成立法程序，並於2月3日以華總一義字第09900022451號總統令制定公布，相關子法亦陸續公布施行。 然而《文創法》內立意甚佳的產業措施，因台灣加入世界貿易組織(World Trade Organization, WTO)而不得不受到WTO相關協定的規範。作為掃除關稅與非關稅貿易障礙、確保自由貿易之WTO，經由多回合的貿易談判逐步開放市場，並藉由對關稅與補貼之約束以及服務業市場准入、國民待遇之承諾等建立市場開放之可預測性。文化商品與服務在其規範下並無例外，同樣必須接受WTO上述原則，即最惠國待遇、國民待遇與市場准入等義務的檢驗。鑑於《文化創意產業發展法》所具備產業扶植之本質，及其涵蓋之16種文化創意產業多屬服務部門，本文遂將檢驗重點聚焦在該法之獎補助及租稅優惠措施與GATS的互動關係上，尤其是《文創法》在服務業補貼暫行定義、第17條國民待遇、國內規章第6.1條與第23.3條非違反協定控訴之適法性分析，以作為日後執法或修正之參考。 但值得注意的是，相對於WTO以降低貿易壁壘，促進貿易自由化為職志，文化商品與服務之雙重特質在WTO無法獲得特殊之待遇或保障，2005年10月UNESCO通過之《保障及促進文化表現多樣性公約》(以下簡稱《文化多樣性公約》)卻主張國家有促進與保護文化表現多樣性之權利，並具有採行其認為適當之政策與措施達成該目的之主權。若《文創法》有其適用《文化多樣性公約》之可能，則我國在採行諸多文創產業推展措施卻有違WTO內括協定所涉及之貿易原則或義務時，是否得根據《文化多樣性公約》正當化該等爭議措施? 當《文化多樣性公約》與WTO內括協定產生規範衝突時，兩者之適用與解釋是否有互補或調和之可能? 在文化產業與貿易活動上，《文化多樣性公約》若能正當化違反WTO規範之政策措施，則我國《文創法》所擬定之政策措施在GATS框架下之解釋與義務即有所不同。因此在檢驗《文創法》與GATS之互動關係前，本文將先簡單介紹《文化多樣性公約》之優劣特性，及公約與WTO規範競合之解決與適用結果。 關鍵字：文化創意產業發展法、世界貿易組織、文化多樣性公約、國民待遇、非違反協定控訴 / Culture is the embodiment of a national spirit, social values, people’s worldview and life style, while creativity in all its manifestations presents an essential constitution of human culture. By way of industrialization and global distribution, the two are allowed to copy repeatedly and promote worldwide. Cultural and creative industries are “those industries that combine the creation, production and commercialization of contents that are intangible and cultural in nature”, which involve not only abstract culture and creativities but also material economic value and commercial operations of cultural goods and services derived from human ingenuity and originality. To make sure the policy and measures implemented in Taiwan to promote and flourish cultural and creative industries are legally based, the Ministry of Economic Affairs had invited the relevant ministries, scholars and experts in the field to deliberate and prepare the Cultural and Creative Industry Development Act (hereinafter referred to as "the Act") since mid-‘90s, and finally submitted the draft Act to the Executive Yuan for review and approval on September 24, 2003. After years of promotion and negotiations, the Act was passed its third reading in the Legislative Yuan on January 7, 2010 and promulgated on February 3 by Presidential Decree Hwa Zong Yi Zi No. 09900022451. The related rules and regulations were also proclaimed in effect one after another ever since. However, as a WTO (World Trade Organization) member, it is our duty to keep the deliberately constructed measures set in the Act in line with the WTO-related disciplines. WTO, acting as an international forum calling for free trade, vows to eliminate tariff and non-tariff trade barriers, facilitate further market opening by multiple rounds of trade negotiations, and increase the predictability of market dynamics through the establishment of binding tariff rates, subsidy disciplines, specific commitments and various requirements such as most-favored-nation treatment, market access and national treatment. The same principles and obligations mentioned above apply to goods and services with culture in nature equally with no exception. In this regard, the paper will examine how the Cultural and Creative Industry Development Act, especially its subsidy and tax preference measures legally interact with the articles related including Article 15 Subsidy, Article 17 National Treatment, Article 6.1 Domestic Regulation and Article 23.3 Non-violation complaints (in view of the measures adopted in the Act are industry-supportive oriented and most industries categorized in the same act are belonging to service sector) in General Agreement on Trade in Services (GATS) for reference of law enforcement and further amendments in the future. But it is worth noting that, while WTO (the organization and covered agreements) are dedicated to exterminate trade barriers, promote trade liberalization and ignore cultural goods and services have both an economic and a cultural nature, the UNESCO Convention on the Protection and Promotion of the Cultural Expressions (hereinafter referred to “the UNESCO Convention”) adopted by the General Conference of the United Nations Education, Scientific and Cultural Organization (UNESC) on October 20, 2005 recognizes member countries have their sovereign right to formulate and implement their cultural policies and to adopt measures to protect and promote the diversity of cultural expressions when necessary. If the rules and principles of the UNESCO Convention apply to the Cultural and Creative Industry Development Act, then is it possible for the Convention to justify the measures we adopt to nourish the cultural industries, but somehow in violation of WTO principles and obligations? And if the answer is “Yes”, all the interpretation and obligations derived from the Act will not be the same as those covered by GATS only. Therefore, the potential conflicts and the harmonization between the UNESCO Convention and WTO covered agreements (GATS in particular) will be explored before the legal relationship between the Act and GATS is examined. Keywords: Cultural and Creative Industry Development Act, World Trade Organization, UNESCO Convention on the Protection and Promotion of the Cultural Expressions, National Treatment, Domestic Regulation, Non-violation complaints

The aim of the urban – architectural study is to connect the historic city centre with the so far problematic and neglected areas along to the viaduct via rehabilitation and conversion of industrial buildings and filling up the city structure with new volumes in order to integrate the area within the organism of the city. Creative efforts are supported by analysis of post-industrial cityscape generally and its problems. The focus will be on sustainable principles, connectivity, eco-friendly transport and creating quality public spaces.

First of all, the work should point out the possibilities of activating the non-functioning post-industrial area. The aim is to remove the “wedge” into the center and to bring missing urban activities to the site. For this purpose, I suggest the completion of a city blocks with a housing function, a square with a food market, a city park, and a connection to the surrounding of industrial buildings. The aim is to integrate the site into the city through the completion and rehabilitation of industrial houses. The great creative challenge is to preserve the genius loci of this post-industrial landscape.