Applicability of cultural and creative industries theory to the academic world

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Do curso por National Research University Higher School of Economics

Cultural and creative industries

2 classificações

National Research University Higher School of Economics

Cultural and creative industries

2 classificações

Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods. This course will help you to: - Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production. - Be able to analyze cultural products and symbolic goods from the organizational, economic, business model point of view. - Be able to invent new business models and analyze cultural products in terms of their productions risk. - Be able to analyze cultural policies and creative industries/clusters policies. Main prerequisite to this course is to be able to produce analytical texts in humanities. Normally the course addresses all students of master level interested in peculiarities of media and cultural economy and management. This course is strongly not recommended for those who: - Analyse any market or industry only in microeconomic terms (supply and demand, level of competitions etc). This course is not about market but about peculiarities of symbolic goods; - Try to interpret culture only in terms of marketing and management (i.e. culture is considered like a simple good to be sold to the consumer). This course considers it more broadly like a human agency to produce meanings of everyday life. That’s why cultural goods are different and can not be interpreted exclusively in terms of consuming and need more or less state support; - Try to interpret culture like pure “art” and consequently are absolutely not preoccupied by organizational aspect of its working. This course uses a large number of concepts coming from different fields of science: political economy of communications, cultural studies, sociology etc. Some aspects of the course are commented by known scholars in this field such as David Hesmondhalgh (University of Leeds), Phillipe Bouquillion (University Paris 13 Nord), Bernard Miege (Grenoble Alpes University).

Na lição

Education as creative industry

Theories of creative industries will be applied for analysis of education. Using the concept of creativity we'll explore new forms of education in universities.

Industrialization of education5:46

Academic creativity7:33

Evolution of different forms of creativity within university8:04

Creativity in scholastic university9:47

Creativity in Humboldt university5:06

Creativity in the universities of new forms6:48

Applicability of cultural and creative industries theory to the academic world9:48

Academic contract and contract in cultural industries11:23

Education from standard to blockbuster model7:40

Online education and creative industries challenges8:26

Creative writing as example of the creativity development in academia4:22

Critique of the new creative university8:24

Conheça os instrutores

Iliya Kiria
Professor
Department of Media

Now, let's analyze how we can apply

the categories of culture and creative industries to the academic world.

And first of all, we should stress that academic work would be considered as

a creative work just because it's realized personally by workers,

by themself, and mainly it is realized not on

the vertical hierarchical control but under

the horizontal collaboration based on networked relationship.

So, it's the idea that you should not constantly push, we'll say,

the people to work somehow,

they're pushed by themself because it's not

only the job for them but also a kind of self-expression.

So, another important thing is that

academic work is the production of immaterial goods with a high symbolic added value.

And from this point of view,

it could be considered as a creative work.

And as we know,

academia is considered as a very flexible regime of

work similar than in the lot of creative cultural industries.

It's a flexible work.

Sometimes very concentrated in particular periods of years.

For example, at first half of the year,

you have courses, and you have a lot of students, et cetera.

And a second half of the year, you have no,

and you are much more related towards, we'll say,

conference participation or towards the creation of scientific texts.

Some principles of cultural industries could be directly, we'll say,

applicable, pliable to the university,

to the academic realm.

First of all, as we know in cultural industries,

they use values non-predictable,

and it's used mainly after the consumption of the product.

So, it means that the marketing of demand is very difficult.

I think then, the complexity of education

result makes the education very similar for students.

It means that, yeah,

university use particular marketing form in order to attract students for the programs,

but university can't guarantee how students will use

this knowledge personally just because the ability

of people to use the political knowledge is not predictable in a particular way.

And another thing is, of course,

a particular system of risk curbing,

which is used in creative industries.

And I think that this quite similar model could be used in the university,

applied to the university system, especially, for example,

such models of risk curbing as the catalog.

For example, catalog of courses.

Catalog of courses is historical form coming from

the Scholastic University and the craft-based principal of creative work.

It means that the main concepts of

the cultural and creative goods are produced by a very narrow,

we'll say, craft-based groups and not massively.

I think in education is the same.

Education is mainly narrow group product.

It means that they've quite narrow groups of creative person creating something,

new cars, some new program,

et cetera, et cetera.

Yes, of course they have to approve this program on the committee,

for example, but at the same time, they should,

of course they're liberating

the project of this program by themself in a very narrow groups,

and this is very similar.

Let's take a look on our risk strategies inside

the academia and inside the cultural industries.

First of all, first model of curbing

the risk is the cost planning based on a series of product,

tube and catalog logics,

and not selling piece-by-piece.

I think that this principle of culture industry could

be completely pliable to the university.

University prefer not to sell the courses separately but to sell

their curricula entirely because it's

the possibility to curb some particular risks of course.

Another, it's the higher margin prices,

and I think that this strategy is also very used in universities because,

as we know, the difference of prices over

the university admitment fee in different university could be very, very different.

The difference between one university and another university in terms of,

we'll say, fee could be very,

very high, few times higher.

So, it means that some university using their brands,

using their good name,

et cetera are making a price with a high margin

in order to be able to improve the curricula,

in order to hire the best academics,

et cetera, et cetera.

Another strategy of curbing

the risk is also non-salary based remuneration for creative workers.

Probably, it's not completely employed by the university,

but we'll speak a little bit about the so-called "academic contract",

and we'll see some similarities.

Academic contract is a form of making academic people,

we'll say, free or independent in some way from the administration.

So, it's a kind of the same model than in creative industries.

But in creative industries,

it's ensurate especially in cultural industries.

This independence is ensurate by non-salary based remuneration.

So, the so-called free market relationship based on royalties project-by-project,

in university, this independence is guaranteed by the long-term contract,

even the life contracts.

Another is sharing the risk on the basis of specialized outsourcing.

Of course, for instance,

university are not doing these the good manner,

but we can see the rise actually of the new forms of the so-called

"networked education" when a part of curricular

is insured by one university and another by another university,

and it could be, we'll say,

they consider it as the development and introducing

this particular form of the curbing the risks.

Claiming state funding and support,

and this is not only for cultural industries,

it's not only could be applied to cultural industries,

but also to the university, to the academia.

System of stars, "starization".

I think that university is entirely responding to this condition,

a lot of universities.

We know in each discipline,

there're particular professor stars in

a particular universities who are considered to be best in their field.

Pilot projects, when you're launching the project,

which probably will be closed if it fails,

and if it, we'll say, improve some result,

demonstrating some particular objectives,

this project could be few times,

we'll say, reinvested and finalized.

So, I think that this model is,

for instance, not very largely used in universities.

And finally, the reproduction of successful forms,

which is very important in cultural industries when you're after

the first film on Pirates of Caribbean in launching the second film about them.

I think that the particular strategies or

similar strategies we can observe in the universities when

the university launching after

one successful program another program based on the success of this one.

So, as we can see,

a lot of risk strategies or strategies of risk curbing

coming from cultural industries could be

appliable inside the university, inside the academia.

And probably, we will observe the rise of these models

of risk curbing from the cultural industries

in education in the coming years just because of the,

we'll say, appearance of new forms of

the university's innovations in universities, et cetera.

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