Abstract

It has now been over a decade since the concept of creative industries was first put into the public domain through the Creative Industries Mapping Documents developed by the Blair Labour government in Britain. The concept has developed traction globally, but it has also been understood and developed in different ways in Europe, Asia, Australia, New Zealand and North America, as well as through international bodies such as UNCTAD and UNESCO.

Julian Thomas
The Australian
February 22, 2010 12:00AM

CONFUSION and disarray surround Stephen Conroy's decision to rebate licence fees for commercial television broadcasters.

The decision raises the most basic question that can be asked about government dispensation of any kind: what was this money for?

There are young Australians who are already making a name (and money) for themselves in the latest market for creative content – and it didn’t exist a moment ago. YouTube is a huge repository of amateur content, but it is also rapidly evolving into a site that has legally contracted Hollywood movies and TV shows but is working out ways to share revenues from advertising with gifted and committed amateurs whose creativity attracts a big following.

Can government play a role in assisting Australian creative talent to catch some of dynamism of emerging markets for culture?

Outlining their radical new roadmap for cultural R&D, the authors’ proposals challenge two entrenched prejudices, which block arts and cultural organisations from playing their full role in society and economy.

Australian Financial Review

Creativity is today’s ultimate black box a Rorschach blot onto which there are projected innumerable meanings. When academic Richard Green reviewed the literature recently, he found so much variation that he concluded the field was ‘so attenuated, extenuated, or misunderstood that operationalising of the key concepts is missing or impossible’. He tried to order the field, and constructed a profile of 42 models of creativity which, when combined with assorted variations and typologies, totted up 303 variables!

Faculty Seminar Series

Professor Justin O’Connor, Research Capacity Building Professor Tuesday 28th April 12pm-1pm The Hall (Z2-226) CI Precinct QUT Kelvin Grove

Creative labour: emancipation or honey-trap?

Download paper: Camera, set, action

Download paper: Bringing process to post production

Recent developments in the field of business process management have made it possible to effectively deal with large collections of process models that exhibit many similarities but also context-dependent differences. In this paper these developments are exploited in the domain of screen business.

Besides classical criteria such as cost and overall organizational efficiency, an organization’s ability to be creative and to innovate is of increasing importance in markets that are overwhelmed with commodity products and services. Business Process Management (BPM) as an approach to model, analyze, and improve business processes has been successfully applied not only to enhance performance and reduce cost but also to facilitate business imperatives such as risk management and knowledge management. Can BPM also facilitate the management of creativity?

Creativity as the prerequisite for innovation is a core competitive factor in contemporary organizations. When creativity happens this involves creative persons who produce creative products in a process of imagination. We introduce the concept of Pockets of Creativity for those sections of a business process where creativity occurs. These sections are characterised by a high demand for flexibility and knowledge of the involved creative persons. In Pockets of Creativity previous knowledge is retrieved, transformed and combined into new procedures or artefacts – in short – innovations.

The production of knowledge has become central to economic life. Competitiveness in the 21st century market place is now characterized by the ability to translate scientific and technological knowledge into innovation. But does this render cultural and social knowledge unimportant?

Reference models are a widely accepted means to facilitate reusable information system and organizational design. At present, besides domain knowledge, the configuration of reference models requires a thorough understanding of both the reference model and the language it is captured in. This hinders the involvement of domain experts without specialized modeling background, in the configuration of reference models. In this paper, we propose a questionnaire-driven approach to reference model configuration which abstracts away from the modeling language.

Processes in the screen business are characterised by their agile nature. First, the industry is constantly changing and recent technologies such as High Definition Television, digital production and new distribution channels are having deep impact on the industry’s value chain and processes. Second, processes contain tasks that are highly creative and involve different types of knowledge workers such as producers, animation artists or compositors.