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.

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.

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.

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.

L'objectif de cette thèse est d'apporter de nouveaux éclairages théoriques et empiriques sur les mécanismes de construction de réputations et de célébrité dans les industries créatives. Particulièrement focalisée sur le champ organisationnel de l'architecture française contemporaine, cette dissertation traite de trois problématiques de recherche : Exportation d'une réputation auprès d'une audience externe à un champ organisationnel; Construction de plusieurs réputations dans un champ organisationnel; Réputations et célébrité : reconnaissance auprès d'un large public. Cette recherche propose de contribuer à la perspective institutionnelle de la réputation, à la théorie de la célébrité et à la sociologie de l'art en améliorant la compréhension des mécanismes de reconnaissance d'un artiste au sein d'une industrie créative. / The objective of my PhD is to better understand the theoretical and empirical mechanisms of reputation-building in creative industries. Especially focused on the organizational field of contemporary French architecture and on architects' professional trajectories, this dissertation centers on three research questions: Reputation-testing by an audience external to the organizational field; Construction of several reputations in an organizational field; Reputations and celebrity: recognition within a large public. This research aims at contributing to the celebrity theory and that of the institutional view of reputation, by improving our understanding of an artist's recognition mechanisms in a creative industry.

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

Drawing on 87 interviews with independent fashion designers and key informants, this thesis is a collection of papers which aim to explore the strategies, spatial dynamics and working lives of independent fashion designers in the Canadian fashion industry. The majority of fashion design firms in Canada are small independent businesses, typically run by an individual or pair of designers, with few employees. Independent fashion designers create unique small businesses, produce high quality garments defined by the label ‘made in Canada,’ strategically mobilize physical and virtual spaces within the national system, and yet, the long-term viability of these businesses is far from certain. The Canadian fashion industry is facing a number of systemic challenges relating to wider institutional and policy weaknesses that make it difficult to grow a long-term domestic or international fashion business. However, the findings also suggest that a key strength of the Canadian fashion system is that it offers a variety of spaces for designers of different sizes, scales, and motivations. Throughout this thesis lies the tension between the quest for independence and creative freedom, which often comes at the cost of highly precarious entrepreneurial and labouring conditions. This thesis contributes to our understanding of the dynamics of ‘second tier’ fashion cities and regional systems, the entrepreneurial motivations and working lives of independent fashion designers, the locational choice decisions and the mobility of patterns of creative workers in the digital age, and the evolving nature of intermediation and value creation within the fashion industry.

The diploma thesis entitled "Experience Economy. Danish Approach to the Cultural and Creative Industries" is primary concerned with mega-trend of experience economy in Denmark. Main purpose of this work is to analyze and intruduce specific Danish approach to the Cultural and Creative Industries. Author used diachronic and synchronic analysis. First chapter characterizes historical economic development of Denmark's state. Following chapter is focused on historical background of experience economy and on Danish approach to this concept. Third chapter discusses influence of Danish socioeconomic environment on Danish approach to experience economy. In the next chapter author analyzes Danish government's role in the development of this concept. Last chapter shows economic impacts of experience economy concept in Denmark.

The thesis "New forms of Commercial communications and their use in the Creative industries" is focused on two phenomena of our time. The new forms of commercial communication like response to the abandonment of traditional communication methods, channels and media. The second phenomenon is the creative industries as an opportunity for the new economy. This work includes the analysis of specifics of marketing communication in the creative industries, analysis of commercial communication and its selected new forms and practical examples of their use in the creative industries. Based on these analyzes, I draw general conclusions and specific use of new forms of commercial communications in the communication of creative industries.

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