Cultural sector has become an important partner in the countries’ economical growth. Creative sector, creativity, culture and arts are becoming more important in the new millennium (2009 was named “Year of creativity” in the EU). In the IT age the accent was placed on logical, linear, transparently organized thinking and action, classic left–brain traits. In the dawning of the Conceptual age, right–brain qualities will be more valuable: inventiveness, creativity, empathy, all these attributes of culture and arts. The strength of the creative sector lies in its using of not only metropolitan cultural potentials, but especially those of local communities in order to improve their economical growth and development. Thus the development of cultural tourism, especially the festival (event) tourism, has to be supported by the wide cultural community, and by the state itself, because strong culture and arts are something that can represent us very successfully in the global world market.
Despite of the data concerning the creative industries high growth rate, enterprises in this sector continue to have difficulties in attracting investment. This is primarily due to an inadequate communication between companies and investors. The problem is turning creativity into a commercial product. Since the creative sector in the process of value creation relies mostly on intellectual assets, which are intangible by their nature, this sector entails a new kind of challenges in terms of determining value and potential in creating profit. For companies in the creative industries this is crucial, because only if you learn and understand how to identify, verify and transform intellectual assets into economic value, you will be able to manage the creating value process and potential intellectual assets, and create future cash flows and attract potential investments.
Subject of this work is the management of intellectual capital in the context of creative industries. The aim of the study is to explore ways of creating value and connection with specific management activities, especially those related to the creation of an appropriate business model.
Creative industries play an important role in creating arch of the third millennium architecture. The idea of new cities in digital age has transformed space and moving review of physical constraints of architecture. Direct reflection of the implementation of the futuristic concepts is expressed in the twenty first century, technological innovation and transfer of knowledge, using modern technology and materials to create new concepts of space of the city, which have anew visual, semantic, social, geopolitical and other messages.
The paper deals with characteristics of creative sector growth (and development) from the standpoint of economic efficiency of the engaged production factors. We are starting from the analysis of relevant literature that provides a variety of theoretical concepts of the creative sector and its structure. Distinguishing between types of growth (and development) was based on dynamics of labor productivity and capital efficiency.
Thanks to its economic potential, creative industries are considered the most promising form of enterpreneurship today, but also in the future. Development of creative industries is largely influenced by the position of creative workers, which, it appears, is defined by media culture that is oriented towards stars. Creative persons have never been famous as today. Even the artists who do not possess a top-class talent, have the opportunity to be in the media and present their creative work. The fact that creative workers are exposed in the media could have positive effects, related primarily to the possibility of mass audience to become acquainted with their work.
The concentration of economic activity in space, especially in cities, is specifically expressed in the process of globalization. Although there were expectations that the process of liberalization and the lowering costs of trade will contribute to a greater dispersion of production and people, in practice the opposite have happened. The number of large, populous, urban centers is increasing and the number of people in them, too. A possible reason why the production, wealth and people concentrate in cities is the evolution of business philosophy that occurred parallel to the process of globalization. The economy of knowledge and ideas replaced the traditional concepts. So-called creative era in which we live today has been created. Cities are becoming creative centers and places in which economic growth is created, mostly due to a number of creative people (members of the creative class) who have chosen to live and work in the modern urban environment. Creative cities are those that manage to attract and retain talent. A key factor in the above process is the (non)existence of tolerance. Creative people (talent) are a highly mobile factor, meaning they are very „sensitive“ to attractive terms and incentives of living and work provided by the environment. Creative cities are those that manage to secure all three growth assumptions („3T“ – technology, tolerance and talent). Successful cities differ from unsuccessful ones in that they are able to create adequate conditions for living and work for those who belong to the creative class. How cities can attract members of the creative class? Why some cities are more successful in that than the others? What members of the creative class are „looking for“ in the cities (places) in which they live and work? Those are some of the questions that we will try to answer in this paper.
The paper deals with the issue of urban development i.e.economic growth of cities from the perspective of cultural development and creativity market. In relation to that, the article considers different approaches and definitions of creativity, models and concepts of creative cities, especially from the position of town and spatial planning. The American and European continental development concepts of urban creativity are opposed. The main part of the article refers to the analysis of legislation and sub-legal acts and regulations that disable adoption, affirmation and application of the concepts of creative cities in Serbia, especially in practice. The author observes this problem in the field of public policies – as a continuity of disputes within public policies of a country in transition – a collision relation in the sphere of public and private interests and proposes a partnership of the two sectors as a possible solution to this problem.
The concept of corporate social responsibility has brought about fundamental changes regarding the approach of the private sector to various segments of society, and it represents one of the most dynamic and most complex processes that the private sector encounters in the world of globalization. It is considered a frame within which companies take responsibility for the consequences of the impact they have on society, economy and environment, at the same time increasing their profit, reducing the negative impact of their business, and ensuring sustainable development and ethical business. This article aims to explain the emergence of this phenomenon and its function in modern business, as well as present Telenor’s contribution to the development of cultural production in Serbia and its unique concept of socially responsible business, which the company has been successfully implementing in thirteen countries where it operates.
In the modern information and knowledge society, there is a strong affirmation of cultural phenomena, and the creative industries that have very great significance for the economic, social, political and general development of society. The term creative industries can be understood as a kind of antinomy, the unity of the opposing concepts – creatively as a reflection of authentic, individual, unique, creative act and industry that involves a unified, mass, schematic and continuous expansion of cultural, artistic, media content. Deregulation as a phenomenon of the nineties, brought to European media space clear delineation of public and commercial media. The differences are related: the question of the extent to which the creative and commercial activity in the media are in harmony or conflict, or whether a priori public broadcasters fulfill their program requirements as increasingly creative and that this component is expected to be completely ignored by commercial broadcasters. The current European and Serbian practices show that this conclusion is not always accurate, consistently and effectively implemented because the going to commercial broadcasters operates as appropriate to public service, that public media forget that their primary goal is quality and satisfaction of all public needs, and not the commercial success parameters. Open question is will the creative industries be influential enough to modify the financial aspects of the business media as well as the expectations in terms of aesthetic and ethical aspects of their program development.