Culture as an Engine of Local Development Processes: System‐Wide Cultural Districts <scp>II</scp>: Prototype Cases

Sacco, Pier Luigi; Ferilli, Guido; Blessi, Giorgio Tavano; Nuccio, Massimiliano

doi:10.1111/grow.12021

Cited by 29 publications

(14 citation statements)

References 24 publications

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“…Culture-led local and regional development has been a policy and media buzz across Europe and almost elsewhere in the world in the last two decades [1], and there is ample evidence of success stories, as well as of instructing failures, that provides a basis for an understanding of the structural and contextual conditions that enable (or block) culture's capacity to generate social and economic value [2][3][4]. Despite this, and especially so in moments of economic stagnation where culture is the natural target of public budget cuts [5][6][7][8], there is a widespread perception that the role and potential of culture in long-term competitiveness strategies is seriously under-recognized, and this is especially true for Europe [9].…”

Section: Introductionmentioning

confidence: 99%

From Culture 1.0 to Culture 3.0: Three Socio-Technical Regimes of Social and Economic Value Creation through Culture, and Their Impact on European Cohesion Policies

2018

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We develop a new conceptual framework to analyze the evolution of the relationship between cultural production and different forms of economic and social value creation in terms of three alternative socio-technical regimes that have emerged over time. We show how, with the emergence of the Culture 3.0 regime characterized by novel forms of active cultural participation, where the distinction between producers and users of cultural and creative contents is increasingly blurred, new channels of social and economic value creation through cultural participation acquire increasing importance. We characterize them through an eight-tier classification, and argue on this basis why cultural policy is going to acquire a central role in the policy design approaches of the future. Whether Europe will play the role of a strategic leader in this scenario in the context of future cohesion policies is an open question.

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Section: Introductionmentioning

confidence: 99%

From Culture 1.0 to Culture 3.0: Three Socio-Technical Regimes of Social and Economic Value Creation through Culture, and Their Impact on European Cohesion Policies

2018

Self Cite

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“…In particular, innovation is not simply the generation of new ideas, but is socially transmitted and implies cooperation; new entrepreneurial models can improve the employability of graduates from the humanities; social cohesion can foster pro-social vocational orientation, with direct implications; and lifelong learning is not the explicit prerogative of universities. Overall, the social component characterises the system-wide cultural districts (SWCD), where network spillovers of creative practices take place in strategically complementary value chains [44,45].…”

Section: Cultural and Creative Spilloversmentioning

confidence: 99%

“…Although such a definition is still to be elaborated, especially for operational purposes, it accounts for a more recent focus shift from the definition and measurement of creative spillovers to their integration and, to some extent, their enabling. This would in part explain the absent or limited consideration of the explicit role played by universities and HEIs in fostering creative spillovers that still result in the literature, where also a few existing contributions [43,45,47,49,55] do not particularly focus on such a role.…”

Section: Cultural and Creative Spilloversmentioning

confidence: 99%

Linking the Creative Economy with Universities’ Entrepreneurship: A Spillover Approach

Lazzaro

2021

Sustainability

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In recent years the importance of the creative economy has also characterised the international higher-education sector through specialised education, research and entrepreneurship. In this paper I apply and discuss the concept of spillovers as a relevant theoretical framework to understand and foster the value generated by university programs in the creative economy. After introducing the main concepts of spillovers in relation to innovation and growth, I discuss the recent developments in the research on spillovers applied to the arts, culture, and creativity. Through a contextualised model of academic creative economy, the analysis is combined with that on knowledge spillovers in higher education and universities’ third mission, to fill a research gap that still exists in creative economy programs and their potential to generate creative spillovers. The study further integrates some more recent literature on university spillovers, which can provide useful methodological suggestions especially oriented toward internalising and enabling positive creative spillovers, in particular in an urban context.

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“…Academic work has established that culture can be a key tool for economic development (cf. Sacco et al ), and we can situate fashion within the category of cultural and creative industries that should be employed to bring about this kind of culture‐led growth. Whilst there have been numerous studies of economically important sectors in Canada, ranging from the knowledge‐intensive technology business sector (Britton ), furniture (Drayse ), and wine (Doloreux, Shearmur, and Guillaume ), as well as the highly innovative, successfully exported Cirque du Solei in Montreal (Leslie and Rantisi ), the fashion industry has received less attention.…”

Section: Theoretical Foundationmentioning

confidence: 99%

An “Orphan” Creative Industry: Exploring the Institutional Factors Constraining the Canadian Fashion Industry

Brydges¹,

Pugh²

2017

Growth and Change

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In recent years, tier‐two fashion countries have been making gains in the global fashion industry, with hip young brands, buzz‐worthy fashion weeks and export‐oriented designers. The Canadian fashion industry, on the other hand, continues to fall behind and instead has experienced recent high‐profile closures of leading domestic fashion names. This paper explores why this is the case by considering a wide range of factors from a historical and institutional perspective. We argue that Canadian fashion is facing a number of systemic problems relating to wider institutional and policy weaknesses, rather than a lack of talent and know‐how within the entrepreneurs and businesses in the sector. While the fashion industry is indeed global, we argue that it is in fact national and local level factors—political, economic, and cultural—that structure and constrain the Canadian fashion industry for independent designers. Through exploring the experiences of this group of actors—entrepreneurial fashion designers—in this particular context, we not only learn about Canada as an economy but also what is needed in order to develop the fashion industry more broadly. We provide a framework for analysing the range of socio‐economic, historical, and political factors at the national level which affect the performance of the fashion sector and the operation of fashion designers as the entrepreneurial actors at the heart of the industry.

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Culture as an Engine of Local Development Processes: System‐Wide Cultural Districts II: Prototype Cases

Cited by 29 publications

References 24 publications

From Culture 1.0 to Culture 3.0: Three Socio-Technical Regimes of Social and Economic Value Creation through Culture, and Their Impact on European Cohesion Policies

From Culture 1.0 to Culture 3.0: Three Socio-Technical Regimes of Social and Economic Value Creation through Culture, and Their Impact on European Cohesion Policies

Linking the Creative Economy with Universities’ Entrepreneurship: A Spillover Approach

An “Orphan” Creative Industry: Exploring the Institutional Factors Constraining the Canadian Fashion Industry

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