Nos tempos atuais, cada vez mais tem se discutido sobre a importância da Economia Criativa para países e regiões. De fato, praticamente toda atividade humana utiliza-se em alguma medida da criatividade, por isso, existe um movimento nos últimos anos para reconhecer em determinadas atividades conteúdo intelectual, cultural e artístico que agregam valor a bens e serviços. A partir dos anos 2000 surgiram diversas metodologias cujo objetivo era mensurar a Economia Criativa, isso despertou grande interesse dos governos locais e nacionais, pois isso poderia ser usado para direcionar esforços e investimentos públicos com a finalidade de alavancar o desenvolvimento econômico local. Dentre as metodologias lançadas, uma das primeiras, o Índice das Cidades Criativas desenvolvido por Richard Florida gerou grande repercussão na comunidade acadêmica e civil com a utilização de diversos indicadores divididos em três dimensões, Talento, Tecnologia e Tolerância (os 3 Ts). Diversas outras metodologias desenvolvidas posteriormente com o objetivo de mensurar a Economia Criativa foram fortemente influenciadas pela estrutura dos 3 Ts. Contudo, existe uma grande dificuldade para replicar qualquer uma dessas metodologias para as cidades brasileiras, em razão de diversos motivos, dentre eles a inexistência de dados públicos referentes aos indicadores utilizados. Com o objetivo de equacionar essa dificuldade, esse trabalho se propôs a identificar, a partir de quarto indicadores internacionais pré-selecionados, quais os dados que serão utilizados e compará-los aos existentes no Brasil, através da proposta de um índice chamado de Índice da Economia Criativa Brasileiro (IECBr). Após essa análise, foram escolhidas sete cidades (São Paulo, Rio de Janeiro, Curitiba, Brasília, Salvador, Fortaleza e Belém) para medir a Economia Criativa dessas regiões. Após o cálculo do IECBr foram utilizadas duas ferramentas estatísticas, o Coeficiente de Correlação de Pearson e a Análise de Clusters. A primeira ferramenta mostrou que existiam alguns indicadores contrários aos demais indicadores da mesma dimensão, por isso, optou-se por calcular novamente o índice sem esses indicadores. Por fim, foi utilizada a segunda ferramenta estatística para mostrar que as cidades escolhidas formariam dois grupos distintos, um grupo contendo as cidades do Sul e Sudeste do país e outro contendo as cidades das outras regiões. / In current times, the discussion around the importance of the creative economy for countries and regions has become notarial high. In fact, virtually all human activity has been used the creativity in some way, so there has been a movement in recent years to recognize certain activities in intellectual, cultural and artistic content that can add value to goods and services. Beginning in the 2000s, several methodologies emerged with the objective of measuring the Creative Economy, bolstered by high levels of interest on the part of local and national governments that are saw an opportunity to use direct efforts and public investments in order to boost local economic development. One of the first methods launched, the Index of Creative Cities, developed by Richard Florida, has generated significant repercussions in both the of academic community and civil society with the use of different indicators divided into three dimensions: Talent, Technology and Tolerance (the 3 T\'s). Several subsequent methodologies, with a similar goal of measuring the Creative Economy, were strongly influenced by the structure of the 3 T\'s. However, great difficulties are encountered when attempting to apply any of these methodologies to Brazilian cities, due to several reasons, most notably the lack of public data relevant to the indicators used. To mitigate this issue, this project aimed to identify, based on four international indexes previously selected, which data could be used to compare against the ones existing in Brazil, by proposing an index called the Brazilian Creative Economy Index (IECBr). After this analysis, we selected seven cities (São Paulo, Rio de Janeiro, Curitiba, Brasilia, Salvador, Fortaleza and Belem) to measure the Creative Economy. Two statistical tools were used, the Pearson correlation coefficient and Cluster Analysis. The first tool revealed that there were some indicators contradicted other indicators of the same dimension, so it was decided to recalculate the index without these indicators. Lastly, the second statistical tool showed that the chosen cities formed two distinct groups, one group consisting of Southern and Southeastern cities and the other consisting of all other regions.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2018-10-18T18:27:57Z No. of bitstreams: 1 2017 - Flora Thamiris Rodrigues Bittencourt.pdf: 983050 bytes, checksum: 4014b8d51ca901b4898e193bcbbc7328 (MD5) / Made available in DSpace on 2018-10-18T18:27:57Z (GMT). No. of bitstreams: 1 2017 - Flora Thamiris Rodrigues Bittencourt.pdf: 983050 bytes, checksum: 4014b8d51ca901b4898e193bcbbc7328 (MD5) Previous issue date: 2017-06-27 / CAPES / The concept of creative economy refers to a set of activities that depend on symbolic content, which includes creativity as a raw material, as well as being the most expressive factor for the production of goods and services, which potentially favors Generation of wealth and economic development. Consequently, it can foster gains in income generation, job creation and export, promoting social inclusion, cultural diversity and human development. We also observe the economic, cultural and social aspects that integrate technology and intellectual property. The creative economy encompasses activities related to performing arts; music; visual arts; Literature and publishing; audio-visual; animation; Games; Software applied to the creative economy; advertising; radio; TV; architecture; Design; fashion; gastronomy; popular culture; Tangible and intangible assets; Handicrafts; Entertainment; Events and cultural tourism. This work is justified to broaden the theoretical discussion about the work in organizations of creative economy, since this subject is still little explored in the area of Organizational Studies in the country. With regard to the practical dimension, it is expected that this study will contribute to an understanding of new forms of management for creative economy organizations and, consequently, be able to make possible new work practices in the work environment of this type of organization. The research has as general objective to analyze the configuration of the work carried out in organizations of creative economy. To fulfill this objective, a qualitative field research was carried out. As data collection instruments, this study adopted the documentary research and semi-structured interview. The method of analysis of the research was based on content analysis. The main results obtained were the predominance of operational administrative activities, from monitoring and drafting projects, to responding to emails and carrying out financial control actions linked to the routine work of employees within the sector. It was noticed that the performance of the artistic work, in fact, is in second place, since for the company to function it is necessary to take care of the operational part of management. In addition, the opportunities for creative business are increasing, but the internal market still needs to be developed and stimulated. On the other hand, entrepreneurs need to assume that their activities are small businesses, lacking structuring and, consequently, planning. In order to contribute to the institutional and organizational development of the creative sectors, it is necessary to invest in products and services with specific solutions that encompass the diversity of the creative economy. / O conceito de economia criativa refere-se a um conjunto de atividades que dependem do conte?do simb?lico, o qual nele est? inclu?do a criatividade como mat?ria-prima, al?m de ser o fator mais expressivo para a produ??o de bens e servi?os, que favorece potencialmente a gera??o de riqueza e desenvolvimento econ?mico. Consequentemente, pode favorecer ganhos de gera??o de renda, cria??o de emprego e exporta??o, promovendo a inclus?o social, a diversidade cultural e o desenvolvimento humano. Observam-se tamb?m os aspectos econ?micos, culturais e sociais que integram a tecnologia e a propriedade intelectual. A economia criativa abrange atividades relacionadas a artes c?nicas; m?sica; artes visuais; literatura e mercado editorial; audiovisual; anima??o; games; software aplicado ? economia criativa; publicidade; r?dio; TV; arquitetura; design; moda; gastronomia; cultura popular; patrim?nios material e imaterial; artesanato; entretenimento; eventos e turismo cultural. Este trabalho justifica-se para ampliar a discuss?o te?rica sobre o trabalho em organiza??es de economia criativa, posto que este tema ainda seja pouco explorado na ?rea de Estudos Organizacionais no pa?s. Com rela??o ? dimens?o pr?tica, espera-se que este estudo colabore para um entendimento de novas formas de gest?o ?s organiza??es de economia criativa e, consequentemente, seja capaz de possibilitar novas pr?ticas de trabalho no ambiente laboral desse tipo de organiza??o. A pesquisa tem como objetivo geral analisar a configura??o do trabalho realizado em organiza??es de economia criativa. Para cumprimento de tal objetivo, foi realizada uma pesquisa de campo de natureza qualitativa. Como instrumentos de coleta de dados este estudo adotou a pesquisa documental e a entrevista semiestruturada. O m?todo de an?lise da pesquisa foi baseado na an?lise de conte?do. Os principais resultados obtidos foram o predom?nio de atividades administrativas operacionais, desde o acompanhamento e elabora??o de projetos, at? mesmo responder e-mails e efetuar a??es de controle financeiro ligadas a rotina de trabalho dos funcion?rios inseridos no setor. Percebeu-se que o desempenho do trabalho art?stico, de fato, fica em segundo plano, uma vez que para a empresa funcionar ? preciso cuidar da parte operacional de gest?o. Al?m disso, as oportunidades para os neg?cios criativos s?o crescentes, mas o mercado interno ainda precisa ser desenvolvido e estimulado. Por outro lado, os empreendedores precisam assumir que suas atividades s?o pequenos neg?cios, carentes de estrutura??o e, consequente, de planejamento. Para contribuir com o desenvolvimento institucional e organizacional dos setores criativos, tona-se necess?rio investimento em produtos e servi?os, com solu??es espec?ficas, que englobem a diversidade da economia criativa.

CAVALCANTE, Fernando Luiz Nobret. Start! Up? O arranque empreendedor do capitalismo informacional. 2015. 381f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-Graduação em Sociologia, Fortaleza (CE), 2015. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-10-10T16:13:39Z No. of bitstreams: 1 2015_dis_flncavalcante.pdf: 5148966 bytes, checksum: 57ed2d52c836576ef91e50a7ba65c587 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-10-11T14:34:07Z (GMT) No. of bitstreams: 1 2015_dis_flncavalcante.pdf: 5148966 bytes, checksum: 57ed2d52c836576ef91e50a7ba65c587 (MD5) / Made available in DSpace on 2016-10-11T14:34:07Z (GMT). No. of bitstreams: 1 2015_dis_flncavalcante.pdf: 5148966 bytes, checksum: 57ed2d52c836576ef91e50a7ba65c587 (MD5) Previous issue date: 2015 / In Brazil, and more recently in the city of Fortaleza, there is a new form of entrepreneurship that is focused on the information and communication technology service sector and that draws the attention of young people, investors, governments, authors and media companies: it is known as the start-up movement. Today, it is considered to be a driving force behind the creative economy. Rooted on progressive discourse, the words enterprise and innovation seduce new economic agents motivated by success stories from Silicon Valley in America along with increasing commercial activity for digital goods and services. This master’s dissertation assesses, from a sociological point of view, the new productive wave problematized by the light of Manuel Castells’ informational capitalism. Considering the skeptical as well as the optimistic opinions about the impact of this new entrepreneurial rearrangement, the following question is asked: does the startup movement rekindle the capitalist spirit or does it present roots which divert from its speculating essence? The raised hypotheses are based on employability factors as well as cultural, economical, and political matters related to innovation and technology. This study has produced a nationwide quantitative assessment with a special focus on the reality of these Ceará firms; as well as comparative qualitative interviews on American and Brazilian experiences lived by identified agents. This dissertation outlines the public incentive policy of the federal government, the Start-up Brasil Program, from the perspective of these companies and provides details as to the discipline methods of the new enterprising way born in the United States. The startups are very young companies that are headed towards the economic sustainment of the productive sector services. These companies are dropping the seeds that will produce the re-enchantment of young people and bring them back to participation in political debate; they provide relief and reheats the job market; and they produce a democratization of the entrepreneurial “Do-It-Yourself” culture. They capitalize the pivot of the wall street wolves and of agents being charged for new masks. There are developmental logic’s prophylaxis in the face of dreadful innovation stagnation. The lack of continuity in Brazilian governmental politics and cultural nuances related to entrepreneurship are barring the desired regional success of this ecosystem. / Emerge no Brasil, e mais recentemente na cidade de Fortaleza, uma nova forma de empreendedorismo voltada ao setor de serviços de tecnologia de informação e comunicação, que desperta a atenção de jovens, investidores, governos, autores e empresas midiáticas: o movimento intitulado de startups, hoje considerado como força motriz da “economia criativa”. Usados em discursos progressistas, os verbos empreender e inovar seduzem novos agentes econômico, embasados nos casos de sucesso da região americana do Vale do Silício, que está alinhada às crescentes práticas de consumo de serviços e mercadorias digitais. Esta dissertação de mestrado esmiuça, sob ótica a sociológica, a nova onda produtiva problematizada à luz do capitalismo informacional de Manuel Castells. Bifurcada em visões céticas e otimistas quanto ao impacto deste novo rearranjo empreendedor, questiona-se: o movimento das startups rejuvenesce o espírito capitalista ou apresenta raízes divergentes à sua essência especulativa? As hipóteses levantadas estão relacionadas a fatores de empregabilidade, culturais, econômicos, políticos e questões relativas à inovação e tecnologia. Neste estudo foi feito um levantamento quantitativo no âmbito do Brasil, mas focando especialmente na realidade destas firmas cearenses. Tal foram realizadas entrevistas qualitativas, comparativas com experiências americanas e brasileiras, entre os agentes identificados. A dissertação esboça a política pública do governo federal de estímulo a estas empresas, o Programa Start-up Brasil, e detalha os métodos disciplinadores da nova forma de empreender transferida dos Estados Unidos. As startups são as firmas infantes que caminham rumo à sustentação econômica do setor produtivo de serviços. Semeiam o reencanto à participação de jovens no centro de debates políticos; proporcionam o alívio que reaquece o mercado de trabalho; acessibilizam o escudo democrático da cultura do empreendedorismo “faça-você-mesmo”. Capitalizam o pivô dos “lobos” de Wall Street e de agentes que se vestem de novas carapuças. São profilaxias da lógica desenvolvimentista perante o temido atraso inovativo. A falta de continuidade das políticas governamentais brasileiras e as nuances culturais relativas ao empreendedorismo são barreiras ao tão esperado sucesso regional deste ecossistema.

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.

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.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-06-23T17:40:55Z No. of bitstreams: 1 2016 - Vanessa Faria Silva.pdf: 2965070 bytes, checksum: 0a53eb4e828e839fea364ac45122dc0a (MD5) / Made available in DSpace on 2017-06-23T17:40:55Z (GMT). No. of bitstreams: 1 2016 - Vanessa Faria Silva.pdf: 2965070 bytes, checksum: 0a53eb4e828e839fea364ac45122dc0a (MD5) Previous issue date: 2016-04-29 / CAPES / The financing of cultural projects for a long time, was characterized by reliance on public announcements and private companies. In this scenario, a limited number of projects received financial support, due to factors such as scarcity of resources and lack of appreciation of the cultural sector. However, from technological innovations and enhancement of the Creative Economy, occurred in recent years, changes in the funding dynamics of projects in this area, through crowdfunding platforms. Thus, the creative economy projects now have, in addition to traditional sources of financing, the online crowdfunding platforms as an alternative to request funding. Considering the important role that these platforms are playing in the dynamics of the Creative Economy project financing, and function-dependent manner to advances in Information and Communication Technologies, the present study aimed to analyze the organizational form of crowdfunding platforms available for financing Creative Economy projects in Brazil. For this qualitative research was conducted through the document content analysis and semi-open interviews and other data collected on the Internet. Finally, after analysis of the collected data, it was possible to consider that initially the platforms have a horizontal organizational form, and as they grow adopt vertical organizational models. / O financiamento de projetos culturais, durante muito tempo, se caracterizou pela depend?ncia dos editais p?blicos e de empresas privadas. Nesse cen?rio, uma quantidade limitada de projetos recebiam apoio financeiro, devido a fatores como escassez de recursos e falta de valoriza??o do setor cultural. Entretanto, a partir das inova??es tecnol?gicas e valoriza??o da Economia Criativa, ocorreu, nos ?ltimos anos, mudan?a na din?mica de financiamento dos projetos dessa ?rea, por meio das plataformas crowdfunding. Sendo assim, os projetos de economia criativa passaram a ter, al?m das fontes tradicionais de financiamento, as plataformas de financiamento coletivo online como alternativa para solicitar financiamento. Considerando o importante papel que essas plataformas est?o desempenhando na din?mica de financiamento de projetos da Economia Criativa, e que funcionam de forma dependente aos avan?os das Tecnologias da Informa??o e Comunica??o, a presente pesquisa teve como objetivo analisar a forma organizativa das plataformas crowdfunding dispon?veis para o financiamento de projetos de Economia Criativa no Brasil. Para isso, foi realizada pesquisa qualitativa, por meio da an?lise de conte?do de documentos como entrevistas semiabertas e outros dados coletados na internet. Por fim, ap?s an?lise dos dados coletados, foi poss?vel considerar que inicialmente as plataformas apresentam uma forma organizacional horizontal, sendo que a medida que crescem adotam modelos organizacionais verticais.

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.