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Concerns with Generative AI and Counterpoints
Content Authenticity: Generative AI can create content that is indistinguishable from human-created content, raising concerns about authenticity. For example, deepfake technologies can create realistic videos and audio of public figures saying or doing things they never actually did, which can be used to spread misinformation.
Counterpoint: While generative AI can indeed create highly realistic content, its potential to spread misinformation can be controlled through stringent regulations, robust watermarking, and origin-tracking technologies. Rather than fearing the capability of AI to generate authentic-seeming content, emphasis should be placed on developing technologies and legal frameworks that enhance transparency and traceability. For instance, blockchain technology can be utilized to verify the authenticity of digital content and trace its origin, ensuring that generative AI's capabilities are used responsibly and ethically.
Intellectual Property Issues: Generative AI raises complex questions about creativity and ownership. If an AI generates a piece of music or a novel, who owns the copyright? This challenges traditional notions of authorship and intellectual property.
Counterpoint: Intellectual property concerns raised by generative AI challenge us to rethink and potentially expand our understanding of creativity and authorship. This can lead to new legal frameworks that recognize both human and machine contributions. Furthermore, generative AI can be viewed as a tool that extends human creativity rather than competes with it. The AI itself does not "create" in the human sense but rather processes human input and existing data to produce output. Therefore, the output could be treated similarly to how copyright laws treat works made for hire or joint authorship, attributing rights based on the original human input and intent.
Economic Impact: There is also concern about the economic impacts of generative AI, particularly its potential to replace human jobs in creative industries. This includes roles in writing, journalism, art, and more, where generative AI can produce content at scale, potentially reducing opportunities for human creators.
Counterpoint: Although there is a concern that generative AI may replace jobs in creative industries, it can also be seen as a tool that enhances productivity and allows for new forms of artistic expression and innovation. Generative AI can remove mundane and repetitive aspects of creative work, freeing human artists, writers, and creators to engage in higher-level conceptualization and complex problem-solving. Moreover, it can democratize creation, enabling individuals without traditional training in certain arts to express themselves creatively and generate new business opportunities. The net effect could be an expansion of the creative industries rather than a contraction, as more people can participate and innovate.
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The recent paper by Helgesson, G., & Bülow, W. (2024), Responsibility is an adequate requirement for authorship: a reply to Levy, Journal of Medical Ethics.". illustrates the debate that animates the scientific community on Ethics and its relationship to scientific production and publication when AI is involved in the elaboration process.
There one may read: "Neil Levy argues in a recent JME ‘Current controversy’ paper that responsibility is not an adequate authorship requirement for human researchers, which makes it unjustified to require it from artificial intelligence contributing to research and scientific paper production, although he softens his stance towards the end and accepts that a limited responsibility requirement might after all be reasonable. The main argument provided by Levy against a more extensive responsibility requirement in science is that there are many cases where not all researchers listed as coauthors can assume responsibility for the entire paper or even the central research questions." To be requested on:
Article Responsibility is an adequate requirement for authorship: a ...
Linked Articles to the Current controversy: Neil Levy, Responsibility is not required for authorship, Journal of Medical Ethics 2024; - Published Online First: 15 May 2024.
Helgesson, G., & Bülow, W. (2024). Responsibility is an adequate requirement for authorship: a reply to Levy. Journal of Medical Ethics
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Hello everyone,
I'm currently conducting an academic research project on artists' books as part of my studies at the Institute of Creative Industries Design at National Cheng Kung University. I've created a survey to explore the factors that make these unique books captivating and engaging.
I would greatly appreciate it if you could take a few minutes to fill out the questionnaire. Your responses will provide valuable insights and greatly contribute to my research. Additionally, there may be a follow-up interview for those interested, so please provide your contact information if you're willing to participate.
Thank you so much for your help and support! If you have any questions or feedback, feel free to reach out to me.
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Why do you need the names of participants? And has this study been approved by the appropriate ethics review committee? It is an interesting topic.
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Dear Colleagues,
I'm currently researching the relationships between participation in creative-cultural activities, the mental well-being of individuals and the influence of this link on the individuals' work/study performance.
To do so, I developed a questionnaire which combines already validated and well-known scales into a unique framework.
However, to proceed further with this investigation, I need thousands of answers to the questionnaire to perform statistical analyses properly.
Thus, I would be immensely grateful if you could spend a few minutes of your time completing the questionnaire (https://forms.gle/J5ey26y5nmFbEfhE8) and if you could share your observations and suggestions with me.
Thank you in advance for your precious help!
Regards,
Luna
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Methodologically, efficient questionnaire Luna Leoni ! Success 1
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In your opinion, what major cybersecurity work in "Industry 4.0" should we know first?
I need to read basic articles to get an idea about the cybersecurity problems of "industry 4.0.
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Like every great revolution, Industry 4.0 has its downsides. For instance, the risk of key components of a company’s network coming under cyber attack has increased significantly because of Industry 4.0 connectivity, making sophisticated cybersecurity an essential part of industrial control systems (ICS). Today, there are far fewer solitary industrial systems. Previously isolated systems are now connected to Ethernet-based networks, which eventually exposes them to the Internet and presents the risk of cyberattacks. Cyberattacks in any industry are extremely costly. In 2023, the average global cost of a data breach was USD $4.45 million, an increase of 15% over the previous three years...
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  • What is a 'creative ecosystem'? Why do we need it?
  • How can it help us understand and support enterprises operating within the creative industries?
  • Is there a problematic mismatch between current policy approaches to growth in the creative economy, and the intentions and motivations of the individual creative practitioners that dominate the sector?
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THE WGA/SAG STRIKE has brought into sharp relief the existential crisis of the writing and acting professions in today’s film and TV industry. What’s at stake is the very real possibility of a massive ecosystem collapse. The music industry—now a streaming and live-event oligopoly, in which most artists have no bargaining power and no chance to build enduring careers—offers a grim cautionary tale...
Despite the harsh economic reality, this is real change...
An entertainment industry dominated by a handful of megacorps, with a gig-economy model of employment, obscene income gaps between the top earners and everyone else, and human creativity sacrificed to an artificial simulacrum, is a very real danger. We’ve been heading that way at full speed, with no brakes.
But another version of the future has been visible from the picket lines—one where a collaborative medium fosters community, fairness is a shared value, transparency isn’t a controversial concept, everybody is rewarded for success, human creativity is protected and nurtured, and companies thrive when they treat their workers better, not worse...
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Hi All,
I’m often asked to suggest academic Design Journals, but find it hard to find a 'one-stop' list so researchers/ students can review and select. I’ve started a rough list in no particular order (link below). Any Design related journal suggestions would be welcome, from Innovation to engineering, education to ergonomics, UX to Design history, etc. Discipline-specific or Interdisciplinary.
Please offer some suggestions and Il add them to the list. Looking for quality, peer-reviewed offerings.
Thanks alot!
P.J.
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Hi all
I've added all your suggestions to the list of Design Journals and created a clickable table of categories for easier search:
Please feel free to add and share.
The categories include:
  • General Design Journals
  • Design in Business/ Management/ Strategy/ Innovation
  • Built Environment / Architecture/Interiors/ Planning
  • Social Design/ Sustainability
  • Product Design/ Industrial Design/ Ergonomics
  • UX/ HCI
  • Visual Communications/ Information Design
  • Fashion/ Textile Design
  • Art/ Philosophy
  • Design and Policy
  • Design History
  • Design and Engineering
  • Prototyping /3D Printing
  • Design and AI
  • Design and Health
  • Design Education
  • Design Creativity and Craft
  • Design and Food
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What are main sectors may be affected by COVID-19?
By other words, technology is one biggest filed will change the world in next years. Moreover it will affect on the shape of many jobs like Google, its employees will work from home all of them by the end of 2020 and expect the Facebook do as well. So what is your perspective?
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In Sri Lanka mainly apparel industry and travel and tourism industry. This pandemic situation affect other industries to a certain level as well.
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What future for industrial districts? We will discuss it at ERSA2020 in Bozen next August. Would you like to participate with a presentation? Submit an abstract! Here all information about the conference https://ersa.eventsair.com/60…/call-for-abstracts-and-papers #districts #industry4.0 #economicdevelopment #clusters #industry #industrialdevelopment #localdevelopment #papers #specialsession #urbanrurallinkages #sustainabledevelopment #paper #research #economics
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Peter F. Colwell Dear professor, your are right. A definition of industrial district is essential. This session would be a sort of starting point for the discussion. For this reason, it focuses on two pillars, the first is precisely methodological and wants to investigate the methods for the definition of districts. The second is structural because it wants to investigate the resilience of post-economic crisis districts. Thanks for your suggestions, they are very useful.
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I am comparing the existing methods of government support for creative industries. Could you tell me, in your view, what methods of quantitative analysis are reasonable to use to estimate the effectiveness of government support measures for the development of creative industries planned for implementation? Is it appropriate to use cost-effectiveness analysis method for this purpose? Is it possible to use any other methods and what kind of literature would you recommend for study practical examples of their use?
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Noemi, thank you for your questions! They helped me to refine my evaluation plan!
I would like to compare several different measures of state support aimed at increasing the contribution of the creative industries to the city's economy: subsidizing the creation of creative clusters, providing benefits for renting housing to specialists in creative professions, grant support for private cultural and creative initiatives, subsidizing additional education for adults and children. I put emphasis on forecasting for adoption decision making for the development of the government support program. Ideally, I would like to estimate the results in terms of monetary benefits. But it is also interesting to use "growth in the number of specialists per unit of money spent" as an indicator of effectiveness.
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I would like to discuss interlinks of Creative Industries and Digital Economy, primarily the spatial aspect and dynamics of Creative Industries in digital age. Furthemore, I see increasing role of creative clusters and hubs in terms of concentration and local buzz towards digitalization (access to internet, networks, R&D etc). I am eager to know what other perspectives and links might be evident in these two areas, or any other aspects connecting Creative industries and Digital economy together.
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That is an interesting perspective. Could you please recommend any papers or studies devoted to these interlinks? I tried to run search for the one you menrioned on databases but I did not find anything useful. Thank you in advance.
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Hi, I want to integrate the ressource-based view and effectuation for my theretical framework in the research of cultural entrepreneurship. Both theories deal with traits, skills and capabilities of the entrepreneurs/firms and their creative combination. But are there fundamental differences, which prevent the combination of the theories? Additionally, I want to integrate the creation theory (Alvarez/Barney 2007) and bootstrapping approaches, because I think they all are speaking about the same thing: a resource perspecitve, which is suitable for entrepreneurs in the arts, cultural and creative industry field. Thanks for any hints!
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Innovative new types of materials, new types of substitutes of existing raw materials that have been used in various branches of industry have often been created in laboratories of research centers, research centers of technology companies operating in the biotechnology sector, construction engineering, space exploration programs, etc.
In the 21st century, new material innovations will have to be created for the purpose of creating ecological substitutes for the exhausting traditional minerals of energy raw materials.
In addition, further material innovations will have to be created for the creation of ecological, biodegradable substitutes for hard-degradable plastic packaging, dishes and fast-moving products.
Material innovations are currently being created for the needs of construction, environmental protection, ecological energy, medicine, etc.
Will the observed trends in this field change over the next several decades?
Are material innovations mainly created as a result of deliberately planned research projects carried out in specialized research laboratories?
However, are they more often created accidentally in research projects, the aim of which was to explore a completely different issue, to create a technical invention or a completely different branch of innovation?
In addition, the question is also current: In what branches of industry will the most material innovations in the 21st century be created?
Please, answer, comments. I invite you to the discussion.
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I agree that the main methodology used to develop innovative substitutes is trial-and-error.
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I want to measure success in creative/cultural entrepreneurship. Besides economic growth, subjective perceived success and survival, "NON-TECHNICAL INNOVATION" and "ARTISTC MERIT" are my success/performance indicators. Does anyone know scales and constructs to measure them via questionaire? Thank you in advance.
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Appraisal theory / contextualised factor (sometimes called affective decision ecology) might be relevant. But you will need to bring these perspectives into your discourse.
Affective
Attitude
Emotion
and some other related concepts are used in art works. Movie industry uses this and observes what elicits response...e.g. music.
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What research exists on how business promotion and counseling services are organized and carried out in Cultural and Creative Industries?
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Interesting question.... but here in the United States you are asking about two different fields - so curious if these are combined in different companies.... Business Promotion is a huge Industry here in the US and there is a great deal of literature on Marketing and Marketing Research.... If by counseling you are refering to support Employees to remaining healthy enough both physically & mentally to be productive in the workplace... you are refering to the field of Employee Assistance which is international and there are 7 Professional Associations from Singapore, EU, Canada, South Africa and other continents..... Some EAPs specialize with working with very creative industries like those in the infamous Silicon Valley..... We are in the process of building an International Digital EA Archive out of the University of Maryland.... might want to check it out for references
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Hi everyone,
I think the approaches of policy mobilities and policy translation help us to understand the contextspecific assembling processes of "creative cities". In order to critically analyse "creative cities" and to develop progressive "creative cities" new perspectives and methods are needed.
What is your research on "creative cities" about in particular? What informs your research? I'm looking forward to discussing our perspectives! 
Regards,
Moritz
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- Cultural industries and growth in the MENA region?
- Creative industries and employability for the youth?
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We have one case study on creative industry but in Slovakia (Europe)  
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The scholars speak about the different creativity indices in a region including Euro Tolerance Index (Florida, Tinagli), China City Creativity Index (Gong), Global City Index (Cetindamar, Gunsel). Are the creativity indices the same in respect to different regions around the world? What kind of problems do we have in each of mentioned indices? In general, is it possible to have the creativity indices in the sphere of creativity that is impossible to measure?
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The CREATIVITY RESEARCH JOURNAL had a good paper on Patents (as related to geography and politics) by McGann, and I think Huber and Simonton also used patents, also in the same journal.  The journal BUSINESS CREATIVITY & THE CREATIVE ECONOMY has a paper in press (next issue) comparing Florida's indices to various psychological measures of Creativity.  I can dig these up if you can't find them (if they are helpful).  Mark 
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I would like to study the reason why people have resistance to creativity in organizations to work groups therefore I need to have to measurement skills especially for those reasons which are related to environmental factors affecting the resistance.
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I will start again.  My E-mail address is arlynmelcher405@gmail.com.  If you will send me your address, I will attach the two articles and questionaire in my reply.
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Thank you everyone for your comments and ideas. The survey is now live and I would be very grateful if you pass it on to your networks! Dawn
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It looks like a fascinating subject. I play the guitar (though not as much as I would like to) and occasionally compose. On reading your research subject I dived into the Internet and discovered a wealth of women composers I had never heard of - with a few exceptions such as Clara Schumann and Hildegard von Bingen. After that, there is a huge jump to pop music and some wonderful compositions by Carole King.
Are there any composers you would like to recommend to me?
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The empirical literature on Network Revenue Management considers mainly passenger airline and hotel as the industries where arise this class of problems. To my knowledge, performing arts and sporting events are never mentioned in literature. However, also these industries offer products consisting of more than one resource (subscription, for example).
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Yes, of course it applies -- have a look at the paper with Sherri Kimes -- see:             Sheryl E. Kimes and Jochen Wirtz (2015), “Revenue Management: Advanced Strategies and Tools to Enhance Firm Profitability,” Foundations and Trends in Marketing, Vol. 8, No. 1, pp. 1-68.
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Creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information.
Coopetition Strategy: Cooperation + Competition
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Could "Make in India" Campaign be a good case of coopetition strategy?
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Interested in articles which describe psychological research in the area of design and invention.What diagnostic procedures should be employed for the analysis of creative thinking in this case?
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A huge thank you for opinion about Tesla. Of course, this is a great inventor and scientist. But a systematic research of the psychological mechanism of his inventions, I have never met. So I am interested in any publication in this direction.In turn, I believe creative thinking is due to cultural and activity terms of personal development. And in the context of this other point of view, I too interesting.
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I have read more intensely on "creative industries" for a recent research project and I have doubts about the definitions used. On the other hand, this is not a specific sector, or rather, it crosses traditional productive sectors. Does anyone know methodologies for measuring the sector and criteria for classification?
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Hi Marc,
I agree with Christine. If you want to compare different countries use international categorizations.
For Europe one of the first studies to define and categorize CCI was the one from KEA European Affairs in 2006. On the global level UNCTAD might be interesting. I do not know if again a new categorization adds value to the already existing blurried field. What did the guys said about this issue at the conference in Paris you mentioned?
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Any text, previous researches or ideas?
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Dear collegues,
I have a quite different point of view on this issue. The conventional frames of the corporate business limit the creativity of the artists, but at the same time they create the following challenge to artists: how to deal with pragmatic goals of corporate business without loosing creativity? I mean: how can artist be even more creative in order to adapt the market to himself goals? In my opinio, the answer is twofold:
1. In the first stage, when the artist is not yet consagrated, he can follow to opposite paths:
a) To adopt a high level of compromise with the criteria of industry; or
b) to refuse any compromise with these criteria...
Only after reaching success (following one of these opposite paths), and already beeing famous, the artist can pass to the next stage;
2. A famous artist can take the control on all the marketing tools ir order to decide how to interact with the creative industry. If a famous artist what to be really creative, this is his own business...
As an example, I can suggest Joana Vasconcelos, a portuguese artist Joana Vasconcelos: http://www.joanavasconcelos.com/biografia_en.aspx