Global Cultural Economy

Beukelaer, Christiaan De; Spence, Kim-Marie

doi:10.4324/9781315617800

Cited by 22 publications

(15 citation statements)

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“…The "Big Three" of creative industries by income include: television ($ 477 billion), visual art ($ 391 billion), media -newspapers and magazines ($ 354 billion). Creative industries created over 30 million jobs worldwide (1% of the working population), including: visual art (6.73 million jobs), books (3.67 million jobs), music (3.98 million jobs) [15].…”

Section: Resultsmentioning

confidence: 99%

Investment priorities and investment potential of various infrastructure facilities of the city

et al. 2019

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The article discusses the investment strategies of university students in relation to the infrastructure of the city, the characteristics of which were evaluated from the point of view of respondents as suitable / not suitable in order to plan their own life in this city. It was proposed to evaluate the investment priorities and investment potential of various infrastructure facilities of the city and aspects of its life. Quantitative and qualitative research was carried out in relation to the investment priorities of the objects: transport infrastructure, urban amenities, urban recreation areas, cultural, art and patriotism development objects, sports facilities and leisure facilities on the example of St. Petersburg. As part of the study, students were also asked to assess the potential willingness to invest in the future as owners or managers of enterprises. The article analyses the significance of a number of urban projects for environmental planning for the development of the territory, including the elements of the Lakhta Center public space in St. Petersburg.

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Section: Resultsmentioning

confidence: 99%

Investment priorities and investment potential of various infrastructure facilities of the city

et al. 2019

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“…The invocation of the ‘cultural/creative economy’ in political and policy rhetoric is often treated as a neoliberalising over-simplification focused on ‘perpetual growth’ (Banks, 2018; Campbell, 2019) with parallel critiques of neoliberalism and economism in more focused cultural policy at national and regional levels (Belfiore, 2016; O’Brien, 2016). Some argue that the term ‘cultural economy’ is a more inclusive framing of the lived spectrum of global cultural practices – domestic, public, voluntary, commercial, hybrid – both within and beyond governmental influence (De Beukelaer and Spence, 2019). Cultural ecologies research explores this complexity of influence and attempts to situate it in terminology and methodology (Chapain and Sagot-Duvauroux, 2018).…”

Section: Artists and Policy In The Creative/cultural Economymentioning

confidence: 99%

“…Artists’ absence from policy processes may be a manifestation of the ‘Darwinism’ of a cultural ecologies discourse (De Beukelaer and Spence, 2019), which by extrapolation privileges natural orders of ‘survival of the fittest’. A conclusion of this would be that artists are weak or that the wider ecology will survive without them.…”

Section: Artists and Policy In The Creative/cultural Economymentioning

confidence: 99%

Making it up: Adaptive approaches to bringing freelance cultural work to a cultural ecologies discourse

FitzGibbon

Tsioulakis

2022

European Urban and Regional Studies

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In this article, a transdisciplinary cultural labour perspective is used to examine the evolving and spontaneous networks and grassroots collective movements of performing arts freelancers in two contexts: Belfast (Northern Ireland) and Athens (Greece) in response to the outbreak of COVID-19. With a principally methodological contribution, the article proposes that evolving cultural ecologies research should mirror the ecologies it studies by adopting more collaborative and improvisational research approaches, drawing on inclusive research methods from disability studies and decolonising approaches within anthropology to reveal deeper knowledge and offer mutual benefit. Furthermore, it proposes that artists, overlooked in cultural ecologies research to date, bring knowledge from their practice beyond lived experience of value to such inquiry. The researchers collaborated with practitioner experts, revealing insights to freelancers’ milieu; their alternate systems for inclusion, representation and radical mutual care; and their increasing vulnerability in the face of ongoing exclusion from cultural recovery strategies and wider political and policy apathy to their concerns. This raises important moral and ethical questions for how cultural ecologies research and researchers engage with practitioner knowledge and the purpose of research in rendering such groups as creative freelancers visible within research and in the implicit and explicit urban and regional recovery planning in different locales. In addition, it proposes the inter- or transdisciplinary nature of cultural ecologies research may be better served by keeping its boundaries fluid, not just in the potential strength of blending research disciplines but also in its boundaries between the formal academy and practice.

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“…The ideal form of ownership of news agencies has always been a contested issue among both academics and practitioners. It has not helped that news agencies are absent from so many studies of media ownership (see, for example, Djankov et al, 2001; Dragomir, 2018; Noam, 2016), of cultural economy and creative industries (De Beukelaer & Spence, 2019), and of media systems (Hallin & Mancini, 2004)—this although national news agencies are to be found in most countries around the world. Almost nothing has been written about news-agency governance since the UNESCO study in 1953 (UNESCO, 1953).…”

Section: Conceptual Frameworkmentioning

confidence: 99%

Toward Hybridity? Nationality, Ownership, and Governance of News Agencies in Europe

Rantanen

2020

Journalism & Mass Communication Quarterly

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This article explores the nationality, ownership, and governance of news agencies in Europe, and suggests that we need to rethink and problematize the categories previously used when studying these. Drawing on recent data from a pan-European study, the article suggests that the concept of hybridity could be applied to analyzing news agencies’ nationality, ownership, and governance. It reviews the concept through different fields: (a) cultural studies, (b) organizational studies, and (c) political-regime and media-system studies, each of these contributing to a complementary understanding of the concept of hybridity. It concludes that (a) the previously fixed categories of national and international news agencies have become more integrated, (b) the different ownership forms of national news agencies have been partly amalgamated in terms of both owners and clients, and (c) ownership category alone cannot determine whether governance is democratic or nondemocratic, so we also need to look at governance. The article suggests that, by using the concept of hybridity when analyzing news agencies, we are able to see crossing boundaries of earlier ideal types and even developing possible alternative approaches to studying news agencies in future.

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Global Cultural Economy

Cited by 22 publications

References 0 publications

Investment priorities and investment potential of various infrastructure facilities of the city

Investment priorities and investment potential of various infrastructure facilities of the city

Making it up: Adaptive approaches to bringing freelance cultural work to a cultural ecologies discourse

Toward Hybridity? Nationality, Ownership, and Governance of News Agencies in Europe

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