2. Creativity
"There is a broad consensus that creativity is the capacity to
produce things that are original and valuable" (Gaut, 2010 p 039)
- Creativity as individual cognitive attributes and traits ( Sternberg 1985,
Tardif and Sternberg 1988, Glynn 1996)
- The network side of individual creativity (Perry-Smith and Shalley 2003,
Burt 2004, Perry-Smith 2006)
- "Creative individual be placed within a network of interpersonal
relationships” (Simonton 1984a, p. 1273). Creativity “is all in your social
network” (Brass 1995)
Creative labour force
- Creative Class (Florida, 2002 & 2005)
- Freelancers and flexiable labour (O’Connor, 2007)
3. Social network in CIs
• End of Fordism and “The Rise of the Network Society”
(Castells, 1996)
• Social Capital (Lin, 1999; Bourdieu 1986)
• Social network market (Potts, J., Cunningham, S., Hartley, J., &
Ormerod, P. 2008) and the role of network to reduce
uncertainty and risks (Banks et al, 2000; Raffo et al, 2000;
Shorthose, 2004; Bilton, 2007).
• Project-based and networked organisations (Christopherson,
2004; Grabher, 2004)
• Freelancers and Micro business (Banks, 2010)
• Creative city and Clusters (Lazzeretti, 2008; Landy, 2012)
4. Define Creative Industries
UK’s Department for Culture, Media and Sport (DCMS) as:
• “…those industries which have their origin in individual
creativity, skill and talent which have a potential for job and
wealth creation through the generation and exploitation of
intellectual property” (‘Creative Industries Mapping
Document’, DCMS, 2001)
• Advertising, Architecture, Crafts, Design,
Film/TV/Video/Radio/Photography, I.T./Software, Publishing,
Museums/Galleries/Libraries - DCMS 2015
• In 2012 8.5% of total U.K. workforce was employed in CI
• £71.4 billion and 5.2% of U.K. economy
5. What are the major themes being used by CI
research using SNA
Are some CIs using Social Network Analysis
more than other CIs
6. • Literature review: Creative & Cultural Industries
research using SNA perspective
• Bottom up approach: looking at individual
industrials
• Top down approach: looking at Creative and
Cultural industries as a whole
7. • Decision criteria used:
• 1) "design" + "social network analysis”
• 2) Advanced search [CI + social networks] - Title only
• Search engines used: 1) Google Scholar 2) Science Direct
• Issues of this approach
• CIs terms as verbs: e.g. design
• CIs terms that are the application or tool rather than industry. SNA
software, not the software industry
10. • Advanced search [CI + social networks] - Title only
• 38 papers (across disciplines)
• Qualitative analysis approach: looking for themes
• Diffusion and adoption, team collaboration, learning/skills
and social media
11. • Decision criteria used:
- Identify the application of SNA in the cultural and creative
industries
- All the papers published which explicitly methioned “social
network analysis”, “creative industries” and “cultural industries”
- Quality control by only looking at peer reviewed journals
- Initial number of papers 528
- 145 cleaned papers, of which 100 had keywords listed
• Search engines used: Google Scholar (title, abstract and full text)
• Issues of this approach
• Doesn’t look at specific industries
16. • Bearing in mind that the DCMS definition of Creative Industries
is very U.K. Centric and controversial , and each data collection
method has its flaws:
• Varying and conflicting results between two methodological
approaches
• Is the software industry a "creative" industry?
• Some industries are under-represented e.g. craft.
• Does the craft industry not utilise social capital in the same way
other creative industries do?
17. • What defines a creative network?
• What techniques are used and what are found in creative
networks?
• Look at abstract and title as well as keywords
• Discover themes from each paper found through the top down
approach.
18. Sian Joel-Edgar (Exeter University Business School)
s.joel-edgar@exeter.ac.uk @kurtesysian
Kai Liu (University of Greenwich)
k.liu@greenwich.ac.uk.
Notes de l'éditeur
Elsewhere, Gunnell and Bright (2010) find that 70 per cent of those regularly working in organisations funded by the Arts Council are employed on a freelance basis. Evidence from other (sub-)sectors councils, including the recently abolished UK Film Council, also serve to highlight the importance of freelancers for the growth of the creative industries.
8.5% of total U.K. workforce - 2012. 2.5 million people
£71.4 billion in 2012 and 5.2% of U.K. economy (GVA)
High level of novelty and uncertainty, the production and consumption of cultural good is thus governed by complex social networks