The creative industries have recently been identified as an exemplar of enterprising activity with workers in the sector being described as a 'creative class of entrepreneurs'. The digital sector is seen at the heart of these debates as political and media rhetoric has illustrated the wealth of opportunity, flexibility, freedom and control available to digital workers willing to take up entrepreneurial activity. However, contrasting accounts of enterprise are apparent in the creative industries that highlight unstable and insecure labour market conditions for all but 'star' performers. High levels of job insecurity prevalent in the creative industries are also visible in the digital games sector as project work, flexible employment models, and changes in the structure of the sector leave employment in the sector, at best, fragile and unstable for many workers. In the context of contrasting accounts of the impact of precarious labour market conditions on creative workers, the aim of this thesis is to examine the experiences of a cohort of digital game developers in the North West of England, in a sector that is, by contemporary prescription, both creatively empowered and entrepreneurial. Using in-depth interviews and an ethnography of networking events it will consider the consequences for work and employment in the local sectoral labour market. Empirical research reveals the exploitative and precarious nature of work in the experiences of self-employed digital game developers and charts the responses of developers to unstable and insecure working conditions. It is clear that the typical response to increasing instability in the labour market is to adopt more enterprising and entrepreneurial behaviour in order to find work. Using the Pongratz and Voß (2003) framework of the 'entreployee' this work illustrates the consequences for developers by highlighting examples of self-exploitation which has been fuelled by a passion and a dedication to the work but at the same time has led to long working hours, unpaid work, and a blurring of work-life boundaries. Faced with accounts which explain individuals' acceptance of self-exploitation through self-actualisation, a love of their craft, or a gift of autonomy, this thesis offers an additional understanding of self-exploitation by examining how individualistic values of passion, self-discipline, enterprise, and a strong sense of belonging have acted as a control structure and have given a convincing rationale for individuals to engage in these self-exploitative practices. Furthermore, this thesis demonstrates how the occupational community socialises developers' motivations towards sociality, altruism and enterprise. It is argued that the unintended consequences of these motivations have led to the normalisation and acceptance of self-exploitative practices.

In past decades, the location of resources was placed on building and guiding how to improve manufacturing in both cross-strait, and Taiwan and Mainland China were benefited from this. The characteristic of industry in cross-strait has no differentiation, and, because of raising cost for labor and rent, reduce the comparative advantages. Furthermore, Know-How is becoming main bargaining chip for this age, so the problems are how to solve crises caused by lacking of comparative advantages, how to transformation of industry, and how to ensure vitality of innovation to the primary industry or traditional industry. ¡§Cultural Industries¡¨ catches attentions from about 1994. This year, Council for Cultural Affairs of R.O.C. addressed an advocate for community building, and this idea attracted attentions from all circles, because it gathered culture and industry, industrial and local development together, to solve unemployment. In governmental project ¡§Challenge 2008 ¡V National Development Plan¡¨, ¡§Cultural and Creative Industry Development Plan¡¨ is one of ten key individual plans. And Office for Cultural and Creative Industries defines the industry as ¡§An industry accumulates of cultural and creative, knows where it originates and how it uses, has potential to create fortune and job opportunities, and promotes whole life.¡¨ The main purpose of Cultural and Creative Industries is trying to combine Creative, Science and Technology, and Humanity into industry and daily life, in order to fitful energy for creative and produce, to have a either rational and perceptual taste in a daily life, then to initiate a new civilization. Therefore, it is a best way to solve problems caused by transformation process in cross-strait. This essay hopes to find out some fields in Cultural and Creative Industries for cross-strait by studying this industry. Driven by Cultural and Creative Industries, there is a way to break the old manufacturing-first model into a high value-add model, and to provide more chances for the industry.

More and more traditional industries (especially have a own brand company) have invited their customers or suppliers to attend an activity which performs and coordinates new product innovation, thus, these all still have not a formal model to executed. This thesis is regarding that let company to aware demand and consuming behavior of consumer market as whole and seeking a new product creative from customer through establishing an innovation activity. This customer innovation activity model that is build up from an Ethnographic model combined with knowledge spiral and cultural creative industries for example. The combination reason is that both of ethnographic model and knowledge spiral need to supplementation with together, because its have each of advantage and disadvantage. An Ethnographic model, could be explore the customer behavior, need, taste and so on in the innovation activity; other more, knowledge spiral could be stimulate the company¡¦s staff and customer knowledge tacit. Whether the customer innovation activity model is practicable? In first step, it should verify and explore the phenomenon of cultural creative industries invited the customer to attend the innovation activities is exit. Therefore, the customer innovation activities models hypothesis verifies information is obtained by four companies or interviewers. Other than, it will be proof these hypothesis, if it has exits the phenomenon of customer attend to innovation activities invited by companies. However, the value of customer innovation activities model should within base of innovation concept, customer innovation, and customer orientation are necessary.

This thesis explores the forms, fields and forces that relate to state governance of ‘the creative industries’ in South West England (1997-2010). Focusing on regional agencies that were involved in delivering Labour’s agenda for a ‘creative economy and elements of Creative Britain (DCMS et al., 2008), questions of multi-scalar governance, spatial-temporal ‘fix’ and re-scaling state space (Goodwin et al, 2005; Jessop, 2007) are examined. Despite the reported economic importance of ‘the creative industries’ (The Work Foundation, 2007), ‘joined up’ governance at the regional scale proved difficult to manage. A congested and turbulent institutional landscape at national and regional level was compounded by lack of fit between cultural and economic policies (Jayne, 2005; O’Connor, 2007; Pratt, 2005). Towards the end of Labour’s rule, Government fiscal reform and economic recession further threatened both economic and cultural 'state spaces' (Brenner, 2004) and by mid 2010 the regional experiment was over. Using a multi-level and in-depth case study approach, the thesis looks at how ‘historically specific configurations of state space are produced and incessantly reworked’ (Brenner, 2004: 76). Following discourse on ‘new state space’ (Jones and Jessop, 2010), a political geography of a state landscape is explored. Of particular significance, and highlighting the problematic interface between the economic and cultural spheres, are Culture South West, South West Screen and the South West Creative Economy Partnership. An argument is made that state bodies are both reactive and proactive mediators, whose ‘imaginaries of power’such as ‘the creative industries’, are hegemonic devices that evolve over time and space. Whether intentional or serendipity, the effects of structural and processual inter-relations are occasional ‘moments’ (Jones, 2009a) of coherence when governance success prevails. These moments are critical to state bodies for (re)producing hierarchies, (re)affirming power relations and (re)aligning political goals.

Nos últimos anos, as indústrias criativas brasileiras impactaram positivamente o Produto Interno Bruto e o número de postos de trabalho. A criatividade, por sua vez, é insumo para a criação de produtos nas indústrias criativas, sendo essencial para criar uma diferenciação frente à concorrência. Diante disto, buscou-se responder ao seguinte problema de pesquisa: como uma organização promove a criatividade em seu ambiente de trabalho? Assim, o objetivo principal da presente dissertação foi entender como uma empresa pertencente a um dos segmentos das indústrias criativas promove criatividade em seu ambiente de trabalho. Foi realizada uma pesquisa exploratória pautada em um estudo de caso em uma empresa do setor de Tecnologias da Informação e Comunicação (TICs), especializada em soluções para educação à distância, a Quantica. Com esse propósito foram adotados métodos de observação não participante e de pesquisa qualitativa, com a realização de entrevistas em profundidade. Da análise emergiram diversos fatores principais que podem promover a criatividade, classificados nas categorias: \"pessoas\", \"liderança\", \"espaço físico\" e \"práticas de gestão\". No que tange às \"pessoas\", os fatores evidenciaram a atitude comportamental dos funcionários, indicando que uma empresa criativa deve contar com colaboradores dispostos a aprender, a realizar múltiplas atividades e a assumir riscos, além de serem proativos e interessados em diversos assuntos. No que se refere à \"liderança\", destacaram-se as atitudes tomadas pelos gestores na rotina corporativa como confiar na capacidade de execução dos colaboradores, respeitar as ideias divergentes e serem acessíveis, evitando barreiras hierárquicas entre eles e seus colaboradores. Em relação ao \"espaço físico\", foram destacados: a localização, o ambiente descontraído e os recursos materiais disponíveis. Por fim, no que tange às \"práticas de gestão\", emergiram a valorização do capital intelectual, comunicação interna, diversidade no perfil dos empregados, liberdade de ação, flexibilidade para execução das tarefas, aceitação das falhas cometidas pelos colaboradores, administração da pressão de tempo e metas, remuneração e benefícios. A partir dos resultados obtidos, propôs-se um modelo que leva em conta esses quatro fatores supracitados que, ao final, podem afetar a criatividade nos processos e que resultarão em soluções inovadoras disponibilizadas ao mercado. Os resultados obtidos deixam como contribuição ao mercado das indústrias criativas a percepção de que os fatores organizacionais podem ser trabalhados no sentido de estimular a criatividade e a inovação, haja vista a relevância dos governos em apoiar essas indústrias. A pesquisa contou também com um caso de empreendedorismo que explora a criatividade e o conhecimento humano para gerar um negócio bem-sucedido no contexto tecnológico. Como limitação da pesquisa, destaca-se que os resultados são restritos à empresa analisada, no entanto, podem ser úteis para futuros estudos no mesmo segmento ou em outros setores das indústrias criativas. / In the last years, Brazilian creative industries had a positive impact in the gross national product and in the employment numbers. Creativity, in turn, is an input for the creation of products in the creative industries, being essential to create differentiation against competition. Given this, it was sought to answer the following research problem: how an organization promotes creativity in your workplace? In this way, the main objective of this dissertation was to understand how a company that belongs to one of the segments of the creative industries can promote creativity in its work environment. It was executed an exploratory research based on a case study in a company that belongs the sector of Information Technology and Communication (ITCs), specialized in solutions for distance learning, the Quantica. With this purpose, it was adopted a non-participative observation and qualitative research method, with the execution of in-depth interviews. From the analysis emerged several main factors that can promote creativity such as: \"people\", \"leadership\", \"facilities\" and \"managerial practices\". In regards to \"people\", the factors were around the behaviour of the company\'s collaborators, indicating that a creative company should have collaborators willing to learn, to execute multiple tasks, and to take risks, besides being proactive and interested in several topics. In regards to \"leadership\", it is highlighted the attitudes taken by the managers that demonstrate in the corporative routine, how to trust on the capacity of execution of their collaborators, respect ideas when facing divergences and be accessible, avoiding hierarchical barriers with them and their collaborators. In regards to the \"facilities\" category, it was highlighted the localization, the informal environment and the material resources available. Finally, in regards to the managerial practices, it emerged the valuation of intellectual capital, internal communication, employees diversity, freedom to act, flexibility to execute tasks, acceptance of fails made by collaborators, management of pressure regarding timelines and goals, remuneration and benefits. From those findings, it was proposed a model that considers those four factors mentioned that, at the end, might affect the creativity in processes that will result in innovative solutions deployed in the market. Those obtained results leave as contribution to the market of the creative industries the perception that the organizational factors can be modified in a way to stimulate creativity and innovation, considering the relevancy of governments in supporting these industries. The study also counted on a case of entrepreneurship that explores creativity and human knowledge to generate a successful business in the technological context. As limitation of this study, it is emphasized that the results are restricted to the company analysed, however, they can be the basis to future studies in the same segment or in other sectors of the creative industries

Why 'speculation as a mode of production'? The formulation conjoins the two senses of speculation pertinent to this thesis – the speculative praxis of art, and the speculative logic of capital. It also attempts to give a specific critical valence to the phenomenon of the 'creative industries' which was based on the ideological elision of these two registers of the speculative with the goal of founding a new regime of accumulation on their union. Since that time, we have seen the global economic and social crisis displace this idea from the centre of policy-makers' agendas as the always-latent coercive side of 'creativity' is revealed: creativity as a survival strategy for disinvested populations as 'wealthcreators' go on accumulating. At the same time, there are attempts to re-start accumulation on ever more marginal and self-exploiting grounds, at best as homespun alternatives rather than organized challenges to the dominance of abstract value. In this situation, it is more than ever necessary to find the points of convergence between the desires for capital maximization and social emancipation, and ways to disentangle them which the impacts of the crisis may bring to light. I take artistic production as my field of analysis because this is where these ideologies intersect most dramatically. While speculative thought refers mainly to art and aesthetics, particularly in their connection to reimagining social relations, the 'speculative logic of capital' can be broadly defined as the selfexpanding, or self-valorising, dynamic of capital as such – speculation as social form - rather than a subset of it which can be named as 'the financial industry', although finance has specificities which are discussed in their own right. 'Speculation as a mode of production' thus refers to the open-ended processes of art and politics, as well as the overdetermined process of value expansion in capital. It seeks to encompass both a subjective and an objective mode for the social expression of capital in the ongoing era of neoliberalism. This period has witnessed the subjective qualities of creativity, flexibility and innovation become the objective factors of workplace productivity, while objective productivity itself shifts to the indeterminacy and risk associated with 'creative financial instruments' as the primary mode of capital accumulation. This thesis will draw a parallel between contemporary capital and contemporary art as they come to constitute the poles of a society structured around speculation.

This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

The purpose of this research is to study the practice of networks in the crea- tive industries, which are thought to carry great economic, social and cultural po- tential inherent in them. The creative industries are said to be valuable especially for the development of a small and open economy like Finland. Networks, on the other hand, are identified as important in the business of micro entrepreneurial firms composing the creative industries, but the practice is still less researched. Thus, in order to better understand and support the needs of the creative industries regarding networks this thesis aims to identify best practices of networks in one specific creative industry of the small and open economy of Finland, the Finnish music industry. Seven Finnish music industry professionals including both men and women and representing different roles, music genres, lengths of careers and aspects of the Finnish music industry are face-to-face interviewed according to the method of Appreciative Inquiry (AI) focusing on successes and positive aspects instead of weaknesses and limitations. That is, with AI the Finnish music industry profes- sionals were encouraged to discuss their networks as part of their lives and work as truthfully and naturally as possible without pushing them to list some sort of requirements or expectations. A comprehensive list of best practices of networks is identified. Additional- ly, aspects of a great networking seminar are included in the list. Most important- ly, networks and relationships are said to mean everything to the Finnish music industry professionals interviewed in terms of developing their career and busi- ness as well as adding to their personal well-being. The findings discuss the ap- preciated aspects of and the appreciated elements received through networks. Al- so, the findings show how different practices of networks are needed in different situations in the lives of the Finnish music industry professionals interviewed and how different aspects of networks best serve their needs. To give an example, ap- preciated elements received through networks include information, ideas, advice, support, increase in happiness, facilitation of the work load, identification of new business opportunities, new opportunities through being recommended, progress business-wise, results, increase in the effectiveness of business, increase in the feeling of belonging to a community and new additional network contacts, and whereas the need to recognize new business opportunities, for example, is best satisfied with weak links, the need for support is better satisfied with strong ties.

In the book Brand America, the author believes the US establishes and manages the country¡¦s image as a brand; in the long run, it imperceptibly boosts the national competitiveness of the US. In the meantime, the various phenomena in economy elicited by the cultural and creative industries and the general meaning of a ¡§National Image¡¨ at the conceptual level make people aware that the cultural creative industries have a great influence on a nation¡¦s competitiveness. The methodology of literature review is adopted. The researcher establishes indicators of cultural creative industries and indicators of the state branding, then makes assessments. The research purposively samples 45 countries in all from the three biggest economic areas (15 each), which are the European Union (EU), the Organization of American States (OAS) and the Asia-Pacific Economic Cooperation (APEC) and then makes comparisons. The result shows:¡]1¡^cultural creative industries are significantly correlated with the state branding.¡]2¡^cultural creative industries have the largest influence on one of the four main image aspects of the state branding: image of residential areas.¡]3¡^In the eleven cultural creative industries, music industry has the opportunity to advance the most in state branding.¡]4¡^The correlation of cultural creative industries and state branding will be influenced by the division of economic areas.¡]5¡^The best countries of state branding are Sweden, Australia and Canada.

The task undertaken in this dissertation is to determine the extent of the challenge facing the major firms (majors) who currently control over 80% of global sound carrier and publishing revenue in the popular (pop) music industry. The aim of this thesis is to explain the disorganising effects currently being experienced. Specifically, the central question guiding this thesis asks: what will be the effect of new technologies on the future organisation of the music industry? I focus broadly on recent universally accessible digital technologies which have raised questions about the future of the industry’s current organisational structure and processes both in terms of input (creation of music products in their commodified form) and output (access and consumption of music products). The industry’s processes are highly integrated and its business model is complex because it centres around the sophisticated management and aggressive appropriation of intellectual property (namely copyright) for repeated exploitation for decades after its initial acquisition. The purpose of this research, therefore, is to examine not only the tangible aspects of the manner in which the industry’s organises its products but also the intangible dimension. Significant recent changes experienced by the industry are identified. The literature is not conclusive in terms of explaining these developments. While existing research exists on recent developments, a comprehensive analysis of the organisation of the industry both in terms of input and output remains underdeveloped in the literature. In particular, in relation to product re-organisation and consumer behaviour, copyright development and corporate restructuring, the literature is not fully developed. Current research is focused on illegitimate technological attacks – namely digital piracy. However these do not adequately or comprehensively explain current disorganisation in the industry. This dissertation remedies this deficiency by proposing four separate but interconnected factors are affecting the highly concentrated status quo. Together, the positive and negative impacts of emerging technologies have created a serious dilemma in terms of product commodification for the controllers of the industry. I argue interconnected illegitimate and legitimate technological challenges are at play suggesting re-organisation is occurring multidimensionally. The research undertaken is empirically grounded, and though primarily based on qualitative data (and subsequent quantitative data for statistical corroboration), the current work has implications for understanding the industry’s methods. Together, these approaches form the basis of the dissertation’s methodology. The research reported in this dissertation attempts to determine to what extent the use and consumption of these different technologies can be regarded as the primary catalyst for the challenge to corporate control of the music industry, and the manner in which it is structured. If the dominant few intend to identify and rationalise challenges in terms of their corporate model, then they must understand the dynamic nature of interacting technologies.