[MUSIC] And right now, we'll move to creative industries and its origins. We will have a separate week dedicated to this term, creative industries and the logics of functioning. But at the beginning here, during the first week, we have to do some general conclusions about it. First of all, we should stress that the creative industries are coming not from the scholarly environment. As we know, cultural industry on the industrialization of culture is coming from the research field, from the field of scholars. It's not the case of creative industries, because creative industries concept is a political concept. It comes from new-labor party of Great Britain, which tried to justify the economic decline by the structural changes in economic structure of labor by saying that the contemporary economy is more creative, even if it doesn't generate a great profit. And of course, another book, which in great extent influenced this approach later was The Creative Economy: How People Make Money from Ideas by John Howkins. Of course, the general implication, the general term, idea, or making money from ideas is so general that by using this term, you can include absolutely anything into the creative economy. And of course, in European Union, we can speak about the so-called paper, unlocking the potential of cultural and creative industries, which was published in European Union in 2010. And they understand the creative industries as the new digital economy material value increasingly determines material value. And where the consumers are looking for new and enriching experiences. So for this paper, the creativity resides in enriching experience of people. So the ability to create social experience becomes the most important thing here. Of course, as you can see, a lot of such definitions are so blurred that statistically, it's quite difficult to evaluate such particular field such as creative industry. It's because, will takes statistics from China, I don't know, as example. We will find that it's 2% of economy, and it will be 10% in Brazil. Why? Because sometimes it's quite difficult to separate some branches of industries from creative industries. For example, how can you separate architecture from the building industry? Or how can you separate the fashion from the industry of clothes? And, of course, usually they're including some kind of fashion, architecture, gastronomy, craft production of souvenirs, designed into this definition. But it's still not completely defined at the same manner every way in different countries, so even different statistics use different kind of approaches. So from this point of view, we can focus on the idea that the creativity by itself become a particular ideology for so-called digital age. We'll look back into it during the sixth week of the course. And of course, we'll speak about the idea of so-called digital labor, or idea of being creative. Idea of the so-called digital workers, or creative workers, the idea of precariat. Once we will speak about this ideological dimension of creativity. The most probably known is the model of concentric circles, which was proposed by David Throsby, the economist of culture, who is trying to separate the core cultural expression, which is based on the main arts expressions, such as music, such as visual, etc, etc. And other core creative industries, such as audio-visual sector, printing sector, and wider cultural industries. Which includes more publishing sector, advertising sector, and, finally, related industry where he includes design, craft work, etc, etc. So we should separate the term, as I said at the beginning of this week, the term of creative industries from the term creative economy. Because the term creative economy means that everything is creative. That even by building houses, you can do it creativity. And from this point of view, made in this solution, we'll say, of the creativity in each industry. So from this point of view, understand by cultural economy or creative economy, activities of the cultural industries which involve some form of creativity in their production. The cultural industries are concerned with the generation and communication of symbolic meaning. And the output embodies, at least potentially, some form of intellectual property. And if we will take such three things, we can try to enlarge it for a large scale of other kind of economies. Such as, I don't know, economy over the natural parks or creation of the so-called urban spaces, etc. So from this point of view, we can distinguish more or less two ideas, two approaches to create for economy and to create for industries. First idea of first concept is the concept of the creative economy, is the concept proposed by the very known urbanist, Richard Florida, who is trying to say that creative economies everywhere, creativity is everywhere. We can speak even about creative class. So the class of creative workers. And from this point the view, such creative economies everywhere. And, at the same time, is nowhere. The second approach is the approach by David Throsby, which we cited initially, is that creative economy is a set of particular industries such as fashion, design, etc. And for Throsby, there are three main points by which he's trying to define creative industries, is the industries where the management of creativity occupies the central place. Is the industries where the result of production is the products with high degree of symbolic creativity. And third is that our products that are capitalized through the exploitation of the intellectual property, such as fashion, design, architecture, gastronomy, etc. What kind of critique we can do on such kind of approaches? Of course, one of such critique is the risk of political manipulation. Because a lot of regions, governments, companies are using this term, creative, in order to promote particular policies. In order to promote particular policies in social field, for example. Even in order to decrease the state intrusion into the market, for example, in field of labor protection. And we'll go back to it in the sixth week of the course. [SOUND]
