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Recent years have seen the increasing valuation and promotion of 'creativity'. Future success, we are often assured, will rest on the creativity of our endeavours, often aligned specifically with 'cultural' activity. This book considers the emergence and persistence of this pattern, particularly with regards to cultural policy, and examines the methods and evidence deployed to make the case for art, culture, and the creative industries.

For more than a decade, co-working spaces have proliferated in cities worldwide. The paper discusses co-working as a critical urban practice because these spaces give support to the rising number of freelance workers in culture and creative industries. Freelance workers are an ‘invisible’ workforce whose impact often remains ‘hidden’ (Mould et al., 2014), who are not sufficiently protected through social welfare regulations and do not enjoy the same social entitlements as employed workers. This paper uses the concept of informality to highlight ongoing informalisation processes of employment relationships as well as informal working practices in creative labour markets. It discusses the emergence of co-working as a practice of collective self-help and self-organisation to cope with and to potentially overcome the informality, uncertainty and risks associated with independent work. It argues that co-working can be seen in line with other practices of informal urbanism that become more prevalent in European and North American cities because of the lack of affordable housing, the retrenchment of the social welfare state and the imposed conditions of ‘austerity urbanism’ (Peck, 2012). 十多年来，全球城市的共同工作空间激增。本文将共同工作作为一种重要的城市实践加以探讨，因为这些空间支持了文化和创意产业中越来越多的自由职业者。自由职业者是一种“隐形”劳动力，其影响往往是“隐藏的”（Mold et al.，2014），他们没有受到社会福利法规的充分保护，也没有与就业工人享有相同的社会福利。本文使用非正规性概念来强调就业关系的持续“非正规化进程”，以及创造性劳动力市场中的非正式工作实践。本文讨论了共同工作作为集体自助和自组织化的实践的出现，以应对和潜在地克服与独立工作相关的非正规性、不确定性和风险。本文认为，由于缺乏负担得起的住房，社会福利国家的紧缩以及“紧缩城市化”的强加条件，可以看到共同工作与欧洲和北美城市中更为普遍的非正规城市主义的其他做法一致。 （Peck，2012）。

\"Be creative! Contemporary society has seen an unprecedented rise in both the demand and desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture. More than that, it has become an imperative. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the\" ?creative industries?\" and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars and the urban design of\" ?creative cities?\". Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day, seeing it not as emancipatory, but rather as a very specific social and cultural phenomenon. Though we may well perceive creativity as the realisation of some natural and innate potential within us, it is far more a product of our surroundings, an attribute we find ourselves systematically admonished to develop and one which we fervently and compulsively desire to possess. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticisation. As such it will be a valuable contribution to those working across disciplines, from cultural and social theory to art history and aesthetics\"-- Provided by publisher.

This article discusses microlevel actions undertaken by owner-managers, and how such actions affect stakeholders in enhancing the sustainability of small and medium enterprises (SMEs), the knowledge on which is lacking in the extant literature. The paper, by adopting an inductive analytical approach, draws key insights from the literature on microfoundations and sustainability and evidence from representatives of 5 Cultural and Creative Industry SMEs in Italy and of 5 in the United Kingdom. The findings suggest that owner-managers play a crucial role when engaging in sustainability activities jointly with employees and other stakeholders, through which individual-level actions enhance collective organizational-level sustainability practices. The U.K. and Italian cases highlight 2 contrasting approaches to dealing with sustainability; thus, the paper contributes to the emerging literature on SME microfoundations and sustainability.

Cultural and creative industries are now an established area of academic research. Yet, the welcome innovations that are associated with the development of a new field of study are also matched by confusions and conjectures. The term itself, ‘cultural and creative industries’, is the subject of extensive debate. It goes hand in hand with closely related concepts such as ‘creative economy’, as well as reflecting definitional struggles aimed at conjoining or demarcating the creative and the cultural. Many of these debates have been the subject of sociological research and research in Sociology. This collection considers that specific role of sociology, and Sociology, to the study of cultural and creative industries. The e-special issue collects articles ranging from early empirical and theoretical precursors to the formal establishment of cultural and creative industries as a field of study, to more recent work considering the coherence and usefulness of the category itself.

Purpose This paper aims to provide a comprehensive academic literature review on the relationship between knowledge management, knowledge transfer and organizational performance in a specific subset of the creative industry, i.e. arts and crafts organizations. Furthermore, this paper analyzes how knowledge management and transfer within arts and crafts organizations help increase performance and enhance the value of the activity of the so-called “knowledge workers” (i.e. craftsmen), who are the real knowledge owners in the process of value creation. Design/methodology/approach The literature review follows the model suggested by Vom Brocke et al. (2009). The review follows a five-phase approach so as to be systematic, transparent and replicable. Academic contributions published over two periods are taken into consideration. The first period covers the years 1990-2000, when the concepts of creative industry and knowledge-based economy were developed. The second period covers the years 2000-2016, when scholars started to investigate how to effectively transfer knowledge (very often in the form of “tacit knowledge”) retained by master craftsmen in arts and crafts organizations and the critical role played by craftsmen in the performance of such organizations. Findings Three main issues have emerged: how arts and crafts organizations manage and transfer knowledge internally; the effects of these activities on organizational performance; and the prominent role of craftsmen. The literature review shows how in arts and crafts organizations there is a considerable link between the concepts of “performance\" and \"tacit knowledge\", even though addressing such link is somehow hard to realize, for several reasons discussed in the paper. The measurement of performance in arts and crafts organizations has become an area of academic investigation only when both the role of knowledge management and transfer and the role of knowledge workers (i.e., craftsmen) have become evident for obtaining a competitive advantage. Research limitations/implications This paper has been an attempt to organize existing studies on knowledge management and transfer and to investigate the relationship existing between knowledge and performance in arts and crafts organizations. Nevertheless, the relationship between knowledge and performance is yet to be explored, as well as the development of techniques for measuring arts and crafts organizations’ performance effectively. The present contribution calls for a systematic reflection on how the transfer of traditional craftsmen’s skills impacts organizational performances in the long run. The definition and implementation of new performance evaluations criteria tailored to enhance the tacit knowledge of craftsmen as a real source of differentiation and competitive advantage for the arts and crafts organizations is somehow still missing. Practical implications By pursuing its objectives, the present contribution aims to represent a step toward enabling arts and crafts organizations to play a vital role in the modern society in a more structured way. This would help to build awareness of the potential of arts and crafts organizations for promoting economic growth, proposing a value proposition different from the one dictated by the globalization and by the triumph of product standardization and mass production. Originality/value Analyzing the knowledge management and transfer within arts and crafts organizations with a historical perspective, it appears that the recognition in academic literature of the centrality of knowledge management and transfer within arts and crafts organizations is only recent (i.e. from 2011 onward). Indeed, for approximately 20 years (i.e. 1990-2010), knowledge has been constantly related to technological paradigms and standardized results, with very little research and debate on craftsmanship and the role of craftsmen. Nevertheless, the research shows that over the years, the focus on knowledge in arts and crafts organizations and knowledge transfer has become progressively more detailed and precise: some authors have studied the role of craftsmen in the knowledge economy according to a historical perspective, while some others have analyzed different types of knowledge more thoroughly. For example, Sveiby (1997, 1996), analyzing the concept of \"knowing talent\" and \"tradition\", outlines a more prominent role of craftsmen in the knowledge economy and explain how, in sectors with a strong traditional background, the transfer of tacit knowledge is a meaningful challenge for many organizations.

Presents guidelines to help companies develop products and services customers will buy for premium prices, outlining a revolutionary approach based on a theory that companies are actually \"hired\" by their customers to perform specific jobs.

In this paper we highlight the importance of culture, cultural heritage and creative industries (CCI) in current European policies in relation to a number of societal challenges, and how the CCI are called to innovatively respond to such challenges. We distinguish four main societal challenges to which the CCI can strategically respond and significantly unlock the potential for innovation and smart growth in the EU. These societal challenges are addressed by four main pillars of the CCI, namely: (1) Europeans’ creativity, cultural diversity and values; (2) European identity and cohesion; (3) European employment, economic resilience and smart growth; and (4) Europe’s external relations. We address each societal challenge from the CCI perspective, indicating how the CCI can provide innovative responses to such challenges and enable strategic crossovers through networking and collaboration, but also referring to some criticalities. We further discuss how this CCI capacity needs public support and provide an overview of how this is undertaken via the main EU, national and international policies, with a focus on the latest trends.