In recent years the creative industries have become a focus of policy and academic discussion across the world. However, much of the existing literature has concentrated on national perspectives or on social and economic regeneration strategies in large cultural cities while data and understanding at the local level is more limited. This thesis aims to help redress this imbalance by focussing on the smaller and less established context of Urban South Hampshire on the central south coast of England. Longitudinal case studies are used to explore two key research questions, firstly, what are the needs, motivations and experiences of people hoping to develop careers and businesses in the sector; and secondly, how can local initiatives and public sector interventions support creative industries development. While some guidance is available to assist local and regional decision-makers there are few studies which follow the evolution of specific interventions over time to evaluate their effectiveness and inform future sectoral strategies. Although the urban bias of the creative industries is well documented this thesis argues that under the right conditions and with the right policies and initiatives towns and smaller cities can offer a more welcoming, affordable and socially cohesive creative milieu in contrast to the highly competitive environments of major cities. Demand for specialist initiatives with a dual focus on nurturing creative practice as well as promoting enterprise and business skills is also highlighted. This is especially relevant at the cultural-end of the sector which is becoming increasingly exposed to market pressures in part due to recent cuts in public sector spending. The thesis also argues that creative individuals are seeking new spaces to exist within the sector which allow them a level of creative autonomy over their practice while also enabling them to develop sustainable careers and successful businesses.

This study explored the processes of innovation among innovative rural manufacturing SMEs by using the narratives of the owner/mangers of case study firms and other actors involved in the innovation process. This was consistent with the ontology of critical realism that was selected which entailed the use of case study method as a tool for data collection. This study makes a number of incremental rather than radical contributions to innovation theory and our understanding of innovation among rural Manufacturing SMEs. The results of this study shows the importance of opinions of owner/managers in the measurement of innovation considering that the majority were either unaware of the need to register their innovation and the lack of support organizations in rural areas who can advice SMEs on the need for patents and the registration process. Regarding the characteristics of innovation in rural areas, the results showed that rural innovative SMEs are likely to be relatively strong in innovations where effects of scale are not yet important but where they can make use of their flexibility and proximity to market demand. The results of this study showed that SMEs received ideas for their innovations from various sources located both within and outside the case study area. The firms then used different approaches to develop their innovations including internalised design and externalised manufacturing, externalised design and internalised manufacturing, and internalised both design and manufacturing. Lastly, rurality did not appear to constrain the processes of innovation since SMEs had developed strategies that enabled them to adapt and adjust to their rural environment in order to remain innovative.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-04-18T18:22:06Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Luciana Correia Final.pdf: 2350041 bytes, checksum: 01d8771623dd07d963686cf6165fb941 (MD5) / Made available in DSpace on 2017-04-18T18:22:06Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Luciana Correia Final.pdf: 2350041 bytes, checksum: 01d8771623dd07d963686cf6165fb941 (MD5) Previous issue date: 2016-05-31 / Este estudo tem como objetivo compreender como acontece o processo social de aprendizagem organizacional nas empresas da economia criativa, a partir da atuação dos gestores. Para tanto, possui como objetivos específicos a identificação dos elementos que influenciam o processo social de aprendizagem organizacional no contexto criativo, a análise da gestão criativa a partir do processo social de aprendizagem organizacional, e a análise de como os gestores das empresas da economia criativa influenciam o processo social de aprendizagem organizacional. Para atender aos objetivos propostos, o estudo se caracteriza como descritivo e exploratório, utilizando como estratégia de pesquisa o estudo de caso múltiplo e como inspiração para a realização da pesquisa o modelo de aprendizagem dinâmico proposto por Crossan; Lane; White (1999), que também serviu de referência para a construção do questionário para as entrevistas semiestruturadas, que foram realizadas com dez gestores de empresas do segmento da moda da economia criativa, atendidos pelo Sebrae em 2014, enquanto que a apreciação dos dados ocorreu à luz da análise de conteúdo, conforme apresentada por Bardin (1977). A partir desta análise, surgiram quatro categorias analíticas que configuram os achados de pesquisa, sendo elas: a economia criativa como fonte de criatividade e ideais inovadoras, a gestão criativa como uma gestão flexível entre o criativo e o tradicional, a aprendizagem organizacional como prática social e dinâmica e o Sebrae como fomentador da aprendizagem tradicional nas organizações. Além disso, os dados revelaram também os elementos que estimulam e/ou inibem a criatividade nas empresas da economia criativa, os elementos que influenciam o processo de aprendizagem organizacional nestas empresas e como os gestores influenciam o processo de aprendizagem organizacional. / This study aims to understand how the social process of organizational learning does in the companies of the creative economy, from the performance of the managers. To this end, has the specific purpose identifying the elements that influence the social process of organizational learning in the creative context, the analysis of creative management from the social process of organizational learning, and the analysis of how managers of companies in the creative economy influence the social process of organizational learning. To meet the proposed objectives, the study is characterized as descriptive and exploratory, using as research strategy the study of multiple case and as inspiration for the research realization the dynamic learning model proposed by Crossan; Lane; White (1999), which also served as a reference for the questionnaire construction for semi-structured interviews, which were conducted with ten managers of companies in the fashion segment of the creative economy, attended by Sebrae in 2014, while the assessment of the data took place at light of the content analysis, as presented by Bardin (1977). From this analysis, there were four analytical categories that make up the research findings, which are: the creative economy as a source of creativity and innovative ideas, creative management as flexible management between the creative and the traditional, organizational learning as a social and dynamic practice and Sebrae as developers of traditional learning in organizations. In addition, the data also revealed the elements that stimulate and/or inhibit creativity in the creative economy companies, the elements that influence the organizational learning process in these companies and how managers influence the organizational learning process.

創意商品的開發一般而言不但要兼顧新奇、效率而且還要面對較高的不確定性、較短的開發期。像工業設計，是一種需要不斷產生產品變異的同時，又要維持一定開發速度與產品風格的開發方式。由於創意商品的生產具有不確定性特徵，即投入產出之間的關係不再是簡單的線性關係，而是非常複雜的多元關係。 過去的產品開發研究，大都未考慮到不確定性問題，某些研究雖考慮到不確定性問題，但是卻沒有兼顧新奇問題的探討，更有一些研究強調過去經驗的重要性，但是進一步將過去經驗納入管理機制中的研究也不多見。由於創意商品開發的特性，有別於過去生產線式的產品開發，若以一般的管理型態並無法完全掌握這些特殊性，且在工業設計對企業的重要性和密切關係與日俱增之下，設計活動似乎有必要加以有效的管理。 基於上述原因，本研究主要是以演化觀點為理論基礎，透過演化因素的探討，並藉由創意產生機制(變異)、評價機制(選擇)與共同知識的結構及存量(保留)，以說明創意產業中知識或創意的變異、選擇與保留之管理，以及這些因素對於創意商品開發績效的影響。簡單地說，整個創意商品的開發過程，可以視為是一個創意元素受演化因素影響，達到改變其商品效果與開發速度的過程。而組織中經理人的角色便在於藉由操控演化影響因素，有意識地管理創意活動過程，進而提高組織生存與發展的機率。 本研究針對國內設計服務業為研究對象，進行問卷調查研究。從結果中發現，首先，在創意產生機制中的平行專案(水平變異)和團隊交換(垂直變異)的目的，前者是藉由加入複數之個人將創意之池擴大；後者是透過團隊交換的方式增加創意碰撞的機會，以擴大創意之池。而由統計分析可知，兩者在一定程度上都有助於擴大創意之池，進而提高產出符合品質要求的設計成果之機率。 其次，在評價機制部分，藉由設計過程中頻繁地查核及多重評價準則的篩選，有助於符合條件的設計創意加速脫穎而出，但是其彼此間的關係並不是單純的線性關係，而是先升後降的倒U型關係。再者，共同知識的精細化程度越高，越能促進創意產生機制中創意發想的開展，而知識存量越高，越能促進評價機制對於開發速度的正向影響。本研究的貢獻，在於補充了產品開發研究中，缺乏處理模糊前端的問題、對於創新與創造力研究，補足缺乏有效管理機制的問題、對於組織內層次演化觀點之研究，提供了可操作性的量化研究、對於設計產業的創意管理提供了初步的解答。 / Generally speaking the development of the creative products should not only give consideration to the novelty, efficiency and face higher uncertainty, shorter life cycle. Like the industry design, it is one kind of development way, while needing to produce the products and make a variation constantly, and also it is need to keep develop speed and products style. Because the production of the creative products has uncertain characteristics, that relation between the input and output is no longer simple linear relations, but very complicated multiple relations. Products developmental research in the past, not mostly considering the uncertain problem, some studies may consider the uncertain problem, but there is not discussion which gives consideration to the novel request, some studies may puts emphasis on the importance of experience even more, but they seldom put the previous experience into the mechanism of management. Because the development characteristic of the creative products, is different from the product development of the production line type, if with the general management type will be unable to completely keep the particularity, and under the circumstances that the industry design, more and more to the importance of enterprises, it need to manage effectively in design activity. As stated above, this research is mainly to regard the evolutionary view as the theoretical foundation, through the discussion of the evolutionary factors, and the mechanism of creative generation (variation), the mechanism of evaluation (selection), and the structure and stock of common knowledge (retention), in order to explain the creative management of variation, selection and retention in creative industry, and the influence of the performance on the creative products in these factors. To put it shortly, Development process of the creative products, it is a creative element that is influenced by the factor of evolution, and change the outcome of the product effect and developing speed. And the manager's role is to enhance the probability that evolutionary process will generate organizational survival and prosperity. This research carries on the questionnaire and makes investigations to design company as the research object at Taiwan. Find from the result, at first, the purpose of the parallel project (horizontal variation) and the team exchange (vertical variation) in the mechanism of creative management, the former expands the pool of idea by joining the plural individual; The latter offers more opportunities that the idea collides by way of team exchange, in order to expand the pool of idea. And can know by statistical analysis, the two both contribute to expanding the pool of idea, and then improve the probability of design achievement that the output accords with the quality request. Secondly, in the evaluation mechanism, the screening of frequently checking and multiple evaluation criterion in the design process, that promote the suitable creative to appear with higher speed, but its relation between each other is not the simple linear relations, but the inverted-U relation. Moreover, when the categorical degree of common knowledge is higher, can promote the expansion of the idea in the mechanism of creative generation, and knowledge is the higher in stock, can promote the influence of the mechanism of evaluation on developing speed. The Contribution of this research, is supplement to study on new product development, which lack the problem of dealing with fuzzy front, study with creativity and innovation, fill the gap which lacks the effective mechanism of management under study creativity and innovation, to the research that the intra-organization evolutionary perspectives, have offered effective quantity studied, offered the preliminary answer to the creative management in design industries.

Nome completo do autor: Felipe Carvalhal Barbosa Nome completo do orientador: Henrique César Muzzio de Paiva Barroso / Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2017-05-30T18:30:31Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) / Made available in DSpace on 2017-05-30T18:30:31Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) Previous issue date: 2016-02-29 / Capes e CNPQ / Em um ambiente marcado por mudanças rápidas e pujantes gerir uma organização tornou-se um desafio, em especial no cenário da economia criativa, seja pela dinâmica do mercado ou pelas características dos trabalhadores, engajar-se nessa missão exige dedicação e preparo. É preciso conciliar os pressupostos de gestão, notadamente de ontologia objetiva, com uma característica puramente subjetiva, a criatividade, em busca de uma gestão criativa. Diante disso, esta pesquisa procurou saber como os líderes de organizações da economia criativa percebem a sua atuação em busca de uma gestão criativa. Para tal, foi realizada um trabalho caracterizado como exploratório e descritivo analítico de natureza qualitativa, por meio de estudo de casos coletivos com inspiração fenomenológica, adotando como ponto de vista ontológico a realidade como uma construção social. Foram realizadas semiestruturadas com um total de onze gestores de organizações da economia criativa em Recife-PE, Brasil. Foi possível denotar que os líderes das organizações pesquisadas percebem sua atuação voltadas para uma gestão criativa. Estas pessoas procuram pontuar suas práticas e ações tendo em vista à criatividade, a novidade e a inovação, tudo isso pautado em um ambiente que respira o respeito e a diversidade. Ficou evidente que os entrevistados e entrevistadas exercem uma liderança favorável ao afloramento da criatividade de suas equipes, mesmo que apresentem dificuldades em uma situação ou outra, explicada muitas vezes pela experiência de vida cada um. Elas e eles mostraram que a cultura organizacional de suas organizações, seu exercício de liderança e o modo como entendem seus colaboradores, podem sim, ser tratados e explorados para se chegar à uma gestão criativa. Em referência ao modelo é preciso repensá-lo no que tange a participação da classe de trabalhadores dita como não criativa, como ela interage nessa economia, quais são suas implicações e afins. É preciso elucidar a imbricação da cultura organizacional nos outros pilares propostos para uma gestão criativa, em especial em relação à classe criativa, pois mostrou-se que ambos compartilham valores e situações muito próximas. Faz-se necessário repensar o modelo considerando paradigmas modernos e não apenas com preceitos pós-modernos. Contudo, as práticas discursivas e os contextos apresentados nos alertam para um caráter pouco difundido da economia criativa, em especial ao incentivo e valorização do empreendedorismo urbano neoliberal. Dando a entender que qualquer pessoa pode fazer parte desta economia, mesmo não sabendo as consequências pela escolha ou não escolha desta. O discurso promissor e bastante difundido acerca da economia criativa e sua relevância para o desenvolvimento global escondem um ambiente marcado por relações de trabalho mais precárias, aonde um ambiente agradável esconde uma maior carga horária, e uma flexibilidade de horários e liberdade se refletem em prazos mais curtos e metas mais audaciosas. Outra discussão importante é que muitos atores da economia criativa não foram educados para vender sua criatividade, tendo que aprender na marra, e com muito suor, a transformar uma ideia em dinheiro, destacando o quão desafiador é trabalhar num ambiente extremamente inovador, onde os erros constantes podem desestimular e frustrar estes profissionais. Por fim, destaca-se que harmonizar dois aspectos diametralmente opostos, gestão e criatividade, requer que os atores organizacionais atuem de forma a abranger as características da cultura organizacional aberta e flexível, aliadas ao exercício de uma liderança que promova a criatividade de seus liderados, conseguida a partir do conhecimento das características e anseios dos integrantes de suas equipes. / In an environment marked by rapid and vigorous changes manage an organization has become a challenge, especially in the scenario of the creative economy, either by market dynamics or the characteristics of workers, engaging in this mission requires dedication and preparation. We must conciliate the premises of management, clearly an objective ontology, with a purely subjective characteristic, creativity, in the search of a creative management. Thus, this research looked into how the leaders of the creative economy organizations realize their activities in search of creative management. For such, it was conducted a work characterized as analytical exploratory and descriptive qualitative nature through study of collective cases with phenomenological inspiration, adopting as an ontological point of view reality as a social construction. Semi structured interviews were conducted with eleven managers of organizations of the creative economy in Recife, Brazil. It was possible to denote that the leaders of the organizations surveyed perceive its actions focused on creative management. These people seek to punctuate their practices and actions with creativity, novelty and innovation in mind, all guided in an environment that breathes respect and diversity. It was evident that the interviewed respondents and exert a favorable leadership to the outcrop of the creativity of their teams, even if they have difficulties in one situation or another, explained many times through each of their life experiences. They showed that the organizational culture of their organizations, their exercise of leadership and understanding of how their employees can indeed be treated and exploited in order to achieve a creative management. Concerning the model, we need to rethink it regarding the participation of the class of workers considered uncreative, how it interacts in this economy, and what are its implications. We must elucidate the intertwining of organizational culture in the other pillars proposed for creative management, especially in relation to the creative class, as it was shown that they share values and very close situations. There is a need to rethink the model considering modern paradigms and not just postmodern precepts. However, the discursive practices and contexts presented alert us to some widespread nature of the creative economy, in particular the encouragement and promotion of neoliberal urban entrepreneurialism. Implying that anyone can be part of this economy, even not knowing the consequences of choosing or not choosing this. The promising and widespread discourse on the creative economy and its relevance to the overall development hide an environment marked by more precarious employment relationships, where a pleasant atmosphere hides a greater workload, and schedule flexibility and freedom are reflected in shorter deadlines and more ambitious goals. Another important argument is that many stakeholders of the creative economy have not been educated to sell their creativity, having to learn the hard way, and at the cost of a lot of sweat, to turn an idea into money, highlighting how challenging it is to work in a highly innovative environment where constant errors can discourage and frustrate these professionals. Finally, we must highlight that to harmonize two diametrically opposed aspects, management and creativity, it is required that organizational stakeholders act to cover the characteristics of opened and flexible organizational culture, combined with the exercise of a leadership that promotes creativity of their team, achieved from the knowledge of the characteristics and aspirations of the members of their teams.