Pub Date : 2021-07-08DOI: 10.1080/17510694.2021.1939545
Ali Kiresci
Abstract Throughout history, music has been presented to the audience in different ways, and technology has played an essential role in shaping the forms of music consumption. Each innovative process has led to new business models, socio-cultural changes and ultimately new entrepreneurial activities. This paper reviews the history of the music recording industry from the perspective of innovation and entrepreneurship. It examines how small independent record labels periodically emerged and filled the creative and commercial gaps within the music recording industry’s history. It also explores the philosophy of independent music, the do-it-yourself (DIY) ethos that rose to prominence in the 1970s with the UK’s punk music movement. This study shows that the independent music sector has continually displayed entrepreneurial reactions to the major corporations’ practices and market dominance. Independent musicians’ ups and downs have moved parallel to the sector’s technological developments and the ease of access to these innovative tools.
{"title":"The impact of innovative technologies on small players in the recorded music sector: a chronological overview","authors":"Ali Kiresci","doi":"10.1080/17510694.2021.1939545","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939545","url":null,"abstract":"Abstract Throughout history, music has been presented to the audience in different ways, and technology has played an essential role in shaping the forms of music consumption. Each innovative process has led to new business models, socio-cultural changes and ultimately new entrepreneurial activities. This paper reviews the history of the music recording industry from the perspective of innovation and entrepreneurship. It examines how small independent record labels periodically emerged and filled the creative and commercial gaps within the music recording industry’s history. It also explores the philosophy of independent music, the do-it-yourself (DIY) ethos that rose to prominence in the 1970s with the UK’s punk music movement. This study shows that the independent music sector has continually displayed entrepreneurial reactions to the major corporations’ practices and market dominance. Independent musicians’ ups and downs have moved parallel to the sector’s technological developments and the ease of access to these innovative tools.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"96 - 111"},"PeriodicalIF":1.1,"publicationDate":"2021-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939545","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48467425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.1080/17510694.2021.1939541
M. Ryan, Phoebe Macrossan, Sue Wright, Michael Adams
Abstract There is a small but growing volume of scholarly research and technological experiments in relation to blockchain and book publishing. However, to date, appropriate and feasible blockchain models for rights management and copyright exploitation remain largely untested. Furthermore, extant research has focussed on author-centred models of intellectual property and royalty management, with limited focus on publisher-centred models. Consequently, there are few practical prototypes and little understanding of blockchain models that are mutually beneficial for both writers and publishers. This article presents the findings of a two-year research project, No Point in Stopping, that explores a publisher-centred model of blockchain publishing that creates value for micro-publishers. The project developed a custom blockchain prototype and digital ledger to manage intellectual property agreements, royalty payments, and the tracking of both physical in-store and online purchases. The authors argue that for publishers, blockchain can create and monetise new digital publishing products from the drafting and editing process, thereby using intellectual property that would normally be an input into the publishing process rather than a commercial output. Blockchain can also create a new contract and revenue system that disrupts the current fee-for-service model by paying royalties to all creative professionals involved in this publishing process.
关于区块链和图书出版的学术研究和技术实验虽少，但数量在不断增长。然而，迄今为止，适当和可行的版权管理和版权利用模式在很大程度上仍未经检验。此外，现有的研究主要集中在以作者为中心的知识产权和版税管理模式上，而对以出版商为中心的模式关注有限。因此，很少有实用的原型和对区块链模型的理解，这些模型对作者和出版商都是有益的。本文介绍了一项为期两年的研究项目“No Point in stop”的结果，该项目探索了一种以出版商为中心的区块链出版模式，该模式为微型出版商创造了价值。该项目开发了一个定制的区块链原型和数字分类账，用于管理知识产权协议、版税支付以及实体店和在线购买的跟踪。作者认为，对于出版商来说，b区块链可以从起草和编辑过程中创造新的数字出版产品并将其货币化，从而使用通常是出版过程的输入而不是商业输出的知识产权。b区块链还可以创建一个新的合同和收入系统，通过向参与发行过程的所有创意专业人士支付版税，打破目前的服务收费模式。
{"title":"Blockchain and publishing: towards a publisher-centred distributed ledger for the book publishing industry","authors":"M. Ryan, Phoebe Macrossan, Sue Wright, Michael Adams","doi":"10.1080/17510694.2021.1939541","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939541","url":null,"abstract":"Abstract There is a small but growing volume of scholarly research and technological experiments in relation to blockchain and book publishing. However, to date, appropriate and feasible blockchain models for rights management and copyright exploitation remain largely untested. Furthermore, extant research has focussed on author-centred models of intellectual property and royalty management, with limited focus on publisher-centred models. Consequently, there are few practical prototypes and little understanding of blockchain models that are mutually beneficial for both writers and publishers. This article presents the findings of a two-year research project, No Point in Stopping, that explores a publisher-centred model of blockchain publishing that creates value for micro-publishers. The project developed a custom blockchain prototype and digital ledger to manage intellectual property agreements, royalty payments, and the tracking of both physical in-store and online purchases. The authors argue that for publishers, blockchain can create and monetise new digital publishing products from the drafting and editing process, thereby using intellectual property that would normally be an input into the publishing process rather than a commercial output. Blockchain can also create a new contract and revenue system that disrupts the current fee-for-service model by paying royalties to all creative professionals involved in this publishing process.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"2 - 21"},"PeriodicalIF":1.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939541","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45878947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-22DOI: 10.1080/17510694.2021.1938925
A. Benson
Abstract This article examines the function of participatory event spaces as significant elements of emerging transmedia franchising strategies. Through analysis of the marketing and design of two events based on the Japanese girls’ series Purikyua, this article suggests that participatory spaces can be used to consolidate otherwise disjointed texts, advancing a specific interpretation of the franchise that may seek to guide participants’ engagement with the work. Through instruction-based marketing of the series’ merchandise, including activities that lead children in ‘practice’ sessions with the toys, Purikyua events articulate a single form of engagement with the text and its merchandise as ‘correct’ (in spite of its myriad, and often conflicting, textual elements). In the event space, emphasis on step-by-step instructions and learnable behavior positions Purikyua’s characters as celebrity role models whose lifestyle is attainable—dependent on precise adherence to a single model of textual engagement.
{"title":"Recipes for textual engagement: Accessing aspiration in girls’ character-based events","authors":"A. Benson","doi":"10.1080/17510694.2021.1938925","DOIUrl":"https://doi.org/10.1080/17510694.2021.1938925","url":null,"abstract":"Abstract This article examines the function of participatory event spaces as significant elements of emerging transmedia franchising strategies. Through analysis of the marketing and design of two events based on the Japanese girls’ series Purikyua, this article suggests that participatory spaces can be used to consolidate otherwise disjointed texts, advancing a specific interpretation of the franchise that may seek to guide participants’ engagement with the work. Through instruction-based marketing of the series’ merchandise, including activities that lead children in ‘practice’ sessions with the toys, Purikyua events articulate a single form of engagement with the text and its merchandise as ‘correct’ (in spite of its myriad, and often conflicting, textual elements). In the event space, emphasis on step-by-step instructions and learnable behavior positions Purikyua’s characters as celebrity role models whose lifestyle is attainable—dependent on precise adherence to a single model of textual engagement.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"257 - 271"},"PeriodicalIF":1.1,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1938925","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-21DOI: 10.1080/17510694.2021.1938926
Emma Duester, Michal Teague
Abstract Cultural professionals in the art and cultural sector in Hanoi, Vietnam, are carrying out digitization projects and utilizing digital platforms, tools and applications in order to curate their own narrative on Vietnamese art and culture. This can help to counter digital orientalism by redressing the imbalance in the amount of accessible content online as well as control over the production and circulation of cultural content. An increase in the amount of digitized cultural content can help to engage local audiences and introduce a contemporary image of Vietnamese culture to an international audience. Today, Vietnamese cultural professionals are able to decide what to digitize, what to make publicly accessible and how to curate it online. This paper presents findings from a case study on Manzi Art Space, including a digital ethnography of an augmented reality public art project entitled ‘Into Thin Air’ and 20 interviews with art and cultural professionals working in Hanoi. The findings show how digitization allows cultural professionals to shape the narrative on contemporary Vietnamese art and culture. However, the findings also show there are particular challenges faced by cultural professionals in Hanoi, including lack of human resources, technical resources and funding as well as concerns around copyright law and government permissions. These challenges are hindering the ability to utilize new digital technologies.
摘要越南河内艺术和文化部门的文化专业人员正在开展数字化项目，并利用数字平台、工具和应用程序来策划他们自己的越南艺术和文化叙事。这可以通过纠正在线可访问内容数量的不平衡以及对文化内容的生产和流通的控制来帮助对抗数字东方主义。数字化文化内容数量的增加有助于吸引当地观众，并向国际观众介绍越南文化的当代形象。如今，越南文化专业人士能够决定数字化什么，让公众可以访问什么，以及如何在网上策划。本文介绍了Manzi Art Space的案例研究结果，包括一个名为“Into Thin Air”的增强现实公共艺术项目的数字民族志，以及对河内艺术和文化专业人士的20次采访。研究结果表明，数字化使文化专业人员能够塑造当代越南艺术和文化的叙事。然而，调查结果也表明，河内的文化专业人员面临着特殊的挑战，包括缺乏人力资源、技术资源和资金，以及对版权法和政府许可的担忧。这些挑战阻碍了利用新数字技术的能力。
{"title":"Redressing digital orientalism: how Vietnamese cultural professionals are harnessing new digital technologies to reclaim the narrative on Vietnamese art and culture","authors":"Emma Duester, Michal Teague","doi":"10.1080/17510694.2021.1938926","DOIUrl":"https://doi.org/10.1080/17510694.2021.1938926","url":null,"abstract":"Abstract Cultural professionals in the art and cultural sector in Hanoi, Vietnam, are carrying out digitization projects and utilizing digital platforms, tools and applications in order to curate their own narrative on Vietnamese art and culture. This can help to counter digital orientalism by redressing the imbalance in the amount of accessible content online as well as control over the production and circulation of cultural content. An increase in the amount of digitized cultural content can help to engage local audiences and introduce a contemporary image of Vietnamese culture to an international audience. Today, Vietnamese cultural professionals are able to decide what to digitize, what to make publicly accessible and how to curate it online. This paper presents findings from a case study on Manzi Art Space, including a digital ethnography of an augmented reality public art project entitled ‘Into Thin Air’ and 20 interviews with art and cultural professionals working in Hanoi. The findings show how digitization allows cultural professionals to shape the narrative on contemporary Vietnamese art and culture. However, the findings also show there are particular challenges faced by cultural professionals in Hanoi, including lack of human resources, technical resources and funding as well as concerns around copyright law and government permissions. These challenges are hindering the ability to utilize new digital technologies.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"272 - 292"},"PeriodicalIF":1.1,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1938926","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42108433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-21DOI: 10.1080/17510694.2021.1939540
S. Keith, S. Collins, Adrian Renzo, A. Mesker
Abstract The term ‘creative industries’ describes a policy-based view of multiple creative sectors, which in turn are linked to higher education and training, digital technology, and economic outcomes. The term ‘creative industries’ (as opposed to cultural industries) is ‘a shorthand reference to the information society and that set of economic analyses and policy arguments to which that term now refers’. The music industry, as part of the broader creative industries, has been profoundly affected by the ‘information society’; technological changes to production and distribution over the last two decades have radically reconfigured the sector. At the same time, the importance of digital technology within the interdisciplinary creative industries has allowed audio technology manufacturers to claim a central role. This paper examines the nexus between technology and participation in the creative industries, namely how the discourse of industry and professionalism is used by audio technology manufacturers to construct an idealised image of the creative music industries. We investigate how notions of ‘industry’ and ‘professionalism’ relate to disruptions within the creative and media industries more widely, and how it serves the corporate interests of Digital Audio Workstation (DAW) manufacturers.
{"title":"Industry standard? Technocapitalist depictions of music production","authors":"S. Keith, S. Collins, Adrian Renzo, A. Mesker","doi":"10.1080/17510694.2021.1939540","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939540","url":null,"abstract":"Abstract The term ‘creative industries’ describes a policy-based view of multiple creative sectors, which in turn are linked to higher education and training, digital technology, and economic outcomes. The term ‘creative industries’ (as opposed to cultural industries) is ‘a shorthand reference to the information society and that set of economic analyses and policy arguments to which that term now refers’. The music industry, as part of the broader creative industries, has been profoundly affected by the ‘information society’; technological changes to production and distribution over the last two decades have radically reconfigured the sector. At the same time, the importance of digital technology within the interdisciplinary creative industries has allowed audio technology manufacturers to claim a central role. This paper examines the nexus between technology and participation in the creative industries, namely how the discourse of industry and professionalism is used by audio technology manufacturers to construct an idealised image of the creative music industries. We investigate how notions of ‘industry’ and ‘professionalism’ relate to disruptions within the creative and media industries more widely, and how it serves the corporate interests of Digital Audio Workstation (DAW) manufacturers.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"317 - 331"},"PeriodicalIF":1.1,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939540","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41839779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-18DOI: 10.1080/17510694.2021.1939539
M. Chamorro-Koc, G. Caldwell, Alejandro Villaneda Vasquez, Ivan Franco Rodriguez, C. Nates
Abstract Short term, collaborative, immersive and situated learning experiences through cross cultural design projects are key to elevating design students’ global perspectives and ability to perform in international contexts. In this article we examine students’ experiences during an international study tour that took Australian university undergraduates to collaborate with peer students in a design project at a university in Colombia. Our examination identifies three key dimensions contributing to the enhancement of students’ global perspectives: 1) intercultural engagement through peer-to-peer exchange, 2) cross cultural collaboration during remote and immersive design work, and 3) immersing in place-based experiences that enable cultural sensitivity. An analysis of students’ essays and design work demonstrates how these three dimensions were fundamental to broaden their worldviews and ability to perform globally. In the context of increasing participation of graduates from the Creative Industries in the global economy, this article contributes to the discourse about the value of short-term mobility programs in Design in Higher Education.
{"title":"Wearables of the past and the future: an immersive and cross-cultural learning experience of undergraduate students in an international design collaboration","authors":"M. Chamorro-Koc, G. Caldwell, Alejandro Villaneda Vasquez, Ivan Franco Rodriguez, C. Nates","doi":"10.1080/17510694.2021.1939539","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939539","url":null,"abstract":"Abstract Short term, collaborative, immersive and situated learning experiences through cross cultural design projects are key to elevating design students’ global perspectives and ability to perform in international contexts. In this article we examine students’ experiences during an international study tour that took Australian university undergraduates to collaborate with peer students in a design project at a university in Colombia. Our examination identifies three key dimensions contributing to the enhancement of students’ global perspectives: 1) intercultural engagement through peer-to-peer exchange, 2) cross cultural collaboration during remote and immersive design work, and 3) immersing in place-based experiences that enable cultural sensitivity. An analysis of students’ essays and design work demonstrates how these three dimensions were fundamental to broaden their worldviews and ability to perform globally. In the context of increasing participation of graduates from the Creative Industries in the global economy, this article contributes to the discourse about the value of short-term mobility programs in Design in Higher Education.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"293 - 316"},"PeriodicalIF":1.1,"publicationDate":"2021-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939539","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45406819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-16DOI: 10.1080/17510694.2021.1939543
J. Klaehn
Abstract This article presents a conversation with Mark Yohalem, an award-winning computer game story-writer, co-founder of Wormwood Studios, and a highly regarded attorney. Using Yohalem’s successful adventure game Primordia as a point of reference, the interview covers such topics as how player agency differentiates interactive media from traditional storytelling; the history and evolution of adventure games; the relationship of trust, affection, and collaboration between designer and player; the role of fan communities in game development; digital games within the context of politics of struggle; and adventure games in relation to diversity, gender, identity, race and ethnicity.
{"title":"Making digital adventure games: a conversation with Mark Yohalem","authors":"J. Klaehn","doi":"10.1080/17510694.2021.1939543","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939543","url":null,"abstract":"Abstract This article presents a conversation with Mark Yohalem, an award-winning computer game story-writer, co-founder of Wormwood Studios, and a highly regarded attorney. Using Yohalem’s successful adventure game Primordia as a point of reference, the interview covers such topics as how player agency differentiates interactive media from traditional storytelling; the history and evolution of adventure games; the relationship of trust, affection, and collaboration between designer and player; the role of fan communities in game development; digital games within the context of politics of struggle; and adventure games in relation to diversity, gender, identity, race and ethnicity.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"332 - 341"},"PeriodicalIF":1.1,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939543","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47668355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-12DOI: 10.1080/17510694.2021.1939544
C. Parnell, A. A. Trinidad, J. McAlister
Abstract Live literature – events where literature is the dominant art form presented or performed – is a highly visible form of contemporary book culture. In this article, we examine the live reading events organised by #RomanceClass in the Philippines as a case study, using a digital ethnography method which draws on fieldnotes, interviews, social media content, a decibel reader, and a bingo card; and grapple with some of the methodological challenges of researching post-digital literary events. By doing so, we seek not only to explore these fascinating live reading events as specific local phenomena, but also the ways in which the characteristics of a given genre world shape the phenomenology of live literature events more broadly.
{"title":"Live literature in the Philippines: an ethnographic study of #RomanceClass and reading as performance","authors":"C. Parnell, A. A. Trinidad, J. McAlister","doi":"10.1080/17510694.2021.1939544","DOIUrl":"https://doi.org/10.1080/17510694.2021.1939544","url":null,"abstract":"Abstract Live literature – events where literature is the dominant art form presented or performed – is a highly visible form of contemporary book culture. In this article, we examine the live reading events organised by #RomanceClass in the Philippines as a case study, using a digital ethnography method which draws on fieldnotes, interviews, social media content, a decibel reader, and a bingo card; and grapple with some of the methodological challenges of researching post-digital literary events. By doing so, we seek not only to explore these fascinating live reading events as specific local phenomena, but also the ways in which the characteristics of a given genre world shape the phenomenology of live literature events more broadly.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"56 - 75"},"PeriodicalIF":1.1,"publicationDate":"2021-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1939544","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44460483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.1080/17510694.2021.1928420
S. McKerrell, J. Hornabrook
Abstract This paper examines the key issues that emerge in the understanding of traditional music as micro-enterprise in the rural creative economy of Argyll and Bute, Scotland. Using evidence from detailed ethnographic fieldwork, with musicians, festival organisers, tour operators, business owners and civil servants, this paper examines how issues such as geographical and social distance, internet connectivity, and cultural tourism are understood in relation to the musical life of Argyll and Bute. We advocate for greater ethnographic engagement with local communities in order to provide a more sophisticated, real-world understanding of rural cultural policy and the impact of current policies on local musicians. The paper therefore foregrounds ethnography as an important method in local, rural contexts such as Argyll and Bute, where typically, much of the creative economy is embedded in statistically invisible economic and cultural activity and portfolio employment.
{"title":"Mobilizing traditional music in the rural creative economy of Argyll and Bute, Scotland","authors":"S. McKerrell, J. Hornabrook","doi":"10.1080/17510694.2021.1928420","DOIUrl":"https://doi.org/10.1080/17510694.2021.1928420","url":null,"abstract":"Abstract This paper examines the key issues that emerge in the understanding of traditional music as micro-enterprise in the rural creative economy of Argyll and Bute, Scotland. Using evidence from detailed ethnographic fieldwork, with musicians, festival organisers, tour operators, business owners and civil servants, this paper examines how issues such as geographical and social distance, internet connectivity, and cultural tourism are understood in relation to the musical life of Argyll and Bute. We advocate for greater ethnographic engagement with local communities in order to provide a more sophisticated, real-world understanding of rural cultural policy and the impact of current policies on local musicians. The paper therefore foregrounds ethnography as an important method in local, rural contexts such as Argyll and Bute, where typically, much of the creative economy is embedded in statistically invisible economic and cultural activity and portfolio employment.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"237 - 256"},"PeriodicalIF":1.1,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1928420","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42313513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-22DOI: 10.1080/17510694.2021.1912536
A. P. Kuntjara
Abstract Art toys, often called designer toys, are three-dimensional figures of hybrid and stylised characters that are reproduced and commonly customised in limited quantities and sold among segmented hobbyists and collectors. Within this niche, however, there is an unexplored territory of art toy character design that is based on a city’s symbols. Such is the case with the city emblem of Surabaya, Indonesia, which already has the iconic images of a shark and a crocodile (Suro and Boyo). As Surabaya continuously focuses on its image, art toys based on the city’s symbols prove to be a potential platform and asset for engaging the public towards the city. If aligned and integrated well with tourism activities, licensing, branding, and various marketing communication media, it is a prospective resource and intellectual property for the city’s public diplomacy in local and global settings. This article traces and conveys the design process and investigates the possibilities and concerns of designing and promoting an art toy platform character named Subo, based on Surabaya’s city symbol.
{"title":"Art toy as a tool for engaging the global public on the city of Surabaya","authors":"A. P. Kuntjara","doi":"10.1080/17510694.2021.1912536","DOIUrl":"https://doi.org/10.1080/17510694.2021.1912536","url":null,"abstract":"Abstract Art toys, often called designer toys, are three-dimensional figures of hybrid and stylised characters that are reproduced and commonly customised in limited quantities and sold among segmented hobbyists and collectors. Within this niche, however, there is an unexplored territory of art toy character design that is based on a city’s symbols. Such is the case with the city emblem of Surabaya, Indonesia, which already has the iconic images of a shark and a crocodile (Suro and Boyo). As Surabaya continuously focuses on its image, art toys based on the city’s symbols prove to be a potential platform and asset for engaging the public towards the city. If aligned and integrated well with tourism activities, licensing, branding, and various marketing communication media, it is a prospective resource and intellectual property for the city’s public diplomacy in local and global settings. This article traces and conveys the design process and investigates the possibilities and concerns of designing and promoting an art toy platform character named Subo, based on Surabaya’s city symbol.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"146 - 159"},"PeriodicalIF":1.1,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1912536","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43310088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：