Editorial: Innovative Technology and Creative Literature and Arts

This paper deals with the influence of open innovation in cultural and creative industries. Creative industries can often be characterized as territorialized industries. Their territorial anchor constitutes a structural characteristic, with a strong influence on the innovation process, and on the conditions of valorization of cultural goods. So, the interpretation highlights the privileged role of shared and situated innovation: concerning the construction of a cooperative model, intellectual property protection, risk reduction, influence of public policies, and conditions for developing and capturing externalities. By contributing to the deployment of specialized assets in cultural and creative industries, open innovation reinforces the factors for a differentiation advantage. The pervasiveness of open innovation and the diffusion of spillovers among creative industries also rely on the economy of contribution, in the framework of the digital economy, local systems of innovation and the third sector. The economy of contribution results from the relations between contributors and from the spillover effects, in creative industries. Thus, open innovation and contribution are increasingly involved in “cognitive-cultural production systems”, based upon the growth and spillovers of creative industries. The differentiation advantage linked to industries and territories now depends on territorial design, combining the driving forces of open innovation, creative entrepreneurship, and the metropolitan cultural governance.JEL Codes: A13, D62, D63, L86, R12, Z11

The purpose of the article is to analyse the potential effect of AI implementation in the creative sector or creative industries through consideration of new tendencies and challenges connected with applying this Industry 4.0 technology. Research methodology. The complexity of the topic related to the intensive implementation of computerisation in contemporary culture and the creative sector has necessitated the interdisciplinary approach. The methodological basis of the research on artificial intelligence as an integral socio-cultural phenomenon is a dialectical method and connected with it the principles of systematicity, development, determination, and unity of opposites. The scientific novelty lies in the analysis and theoretical reflection of the potential effect of the implementation an artificial intelligence in the creative sector with an accent on the key tendencies and challenges. Conclusions. The article emphasises that despite unsystematic and sporadic attempts to introduce technology within the creative industries, not only certain patterns and trends are being identified, but also a model of its participation in this sector is being formed. Though artificial intelligence is still not able to function as an autonomous creative subject in the creative spheres this concept may be realised in the future with the conditions of further technological development and risks decreasing. It was found out that one of the constraining factors is misperception of artificial intelligence as the main obstacle to the development of creative industries. These concerns are well-founded and arise from a lack of understanding of the technology and its capabilities. It was proved that to reduce the risks of applying this technology in the sector, it is necessary to co-operate with politicians and work out a regulatory framework that would help to regulate the development and implementation of this technology and, secondly, it is necessary to extend the cooperation as for the technologies exchange to avoid asymmetry inside the sector. Keywords: an artificial intelligence; digital technologies; creative industries; monoculturalisation; post-COVID epoch; mass implementation; generative model.

Background and Aims: This study aims to provide an overview of the creative potential of artificial intelligence (AI) within creative industries. Our scope encompasses the early demonstrations of AI's creative capabilities in the 90s, when prevailing thought maintained that AI could only explore creativity passively, rather than actively contributing to it. By "active contribution," we refer to an AI's capacity to generate its creative output. The technological evolution has led to an era where AI-generated multimedia creation has become both viable and valuable, exemplified by Runway’s Gen-4, which allows users to edit short video sequences through text and image inputs alone. This technology offers valuable opportunities for creative professionals but also raises ethical and legal concerns, particularly regarding bias and its potential to limit human creativity, thus reinforcing the importance of preserving human agency in the creative process. Methodology: This research employs a documentary and interdisciplinary methodology, integrating literature, human sciences, computer science, and evolving definitions of creativity to explore the creative potential of artificial intelligence (AI) within the creative industries. While acknowledging limitations due to reliance on publicly available materials, this approach provides a robust foundation for understanding generative AI's creative capabilities, considering factors such as data diversity, ethical oversight, and human collaboration. Results: This documentary and interdisciplinary research observe and examine GAI (Generative artificial intelligence) creative potential in the arts. Even though this research is non-exhaustive due to the selection of research and academic papers, it emphasized significant details on bias, authorship, and ethics, advocating for human oversight and governance. While AI can enhance creativity, it cannot replicate the cultural and emotional essence of human artistry. Conclusion: This research underscores the need to rethink creativity in the era of generative artificial intelligence, as traditional definitions overlook diverse and evolving forms of expression. Despite their coherence, AI models lack emotion, intuition, and genuine creative agency.

As businesses undergo digital transformation, artificial intelligence (AI) is becoming an integral part of decision-making and operational processes.However, managing AI-driven systems effectively requires a multidisciplinary approach that blends technical expertise, strategic foresight, and adaptive management skills.This paper examines how open innovation contributes to the development and refinement of managerial competencies in organizations that incorporate AI technologies and the relationship between AI and open innovation, focusing on how the AI and open innovation concepts enhance decision-making and collaboration in business environments.By reviewing relevant literature and industry cases, we provide insights into AI's role in modern management and suggest directions for future research.The findings indicate that organizations leveraging open innovation strategies-such as collaborative research and development, external partnerships, and crowdsourced problem-solving-demonstrate greater adaptability and efficiency in AI-driven management.Furthermore, this paper proposes a framework for integrating AI capabilities with business management practices, emphasizing the role of dynamic leadership and innovation ecosystems.By offering insights into how firms can optimize their AI strategies through open innovation, this study contributes to both academic research and practical applications.The results suggest that organizations adopting these approaches can enhance performance, strengthen their competitive edge, and drive sustainable growth.

This study aims to investigates the influence of Open Innovation (OI), Customer-Centricity (CC), and Competitive Orientation (CO) on organizational resilience among creative industry and tourism-related MSMEs in Magelang, Indonesia. Using a quantitative approach with survey data from 161 respondents, the analysis, conducted via multiple linear regression, shows that OI and CO significantly enhance resilience, while CC does not have a statistically significant effect. Grounded in Organizational Resilience Theory, the study emphasizes that resilience is strategically developed through innovation and market adaptability. The findings contribute to resilience theory and provide practical insights for strengthening resilience in the creative and tourism sectors.

The article explores the evolution of the concept of creative industries, analyzing its historical development, conceptual approaches and current trends. This article examines the key stages of the concept formation – from the ideas of cultural industries in the 20th century to the modern integration of creativity with the economy, technology and sustainable development. The studying relevance of the evolution of the concept of creative industries is due to their significant impact on the modern economy, culture and society. Analysis of scientific sources shows that the study of creative industries is an important direction of the modern economy, covering a wide range of activities from museum, music, crafts and cinema to digital media, computer technologies and artificial intelligence, which requires the integration of knowledge from different disciplines. Understanding the history and evolution of the concept of creative industries allows us to integrate creative potential for economic development and find mechanisms for ensuring sustainable development. In addition, understanding the essence of creative industries is necessary for developing effective economic strategies to combat global political, military and climate risks. Based on scientific sources, it is proposed to distinguish categories of creative and cultural industries – their common and distinctive features. Despite significant potential, creative industries face challenges related to access to financing, digitalization, global competition and the need to integrate new technologies. This opens up prospects for further research, in particular in the direction of digital transformation of creative industries, development of creative ecosystems and assessment of the impact of culture on social cohesion. The study is also important for the formation of economic policy aimed at supporting the creative sector, which is becoming the basis for sustainable development, innovation and preservation of cultural heritage. The article is useful for scientists, representatives of the creative sector who seek to better understand the essence of creative industries.

The integration of Artificial Intelligence (AI) into the creative economy, together with its potential transformative effects on creative industries, represents a burgeoning and rapidly evolving area of research. This article aims at contributing to the ongoing debate by analyzing the latest and most relevant literature and providing fresh insights from experts in the field of creative industries. Semi-structured interviews were conducted with five Lithuanian experts selected through purposive sampling based on their engagement in public discussions on AI-related risks and opportunities. This study draws on expert interviews in order to identify problems and opportunities, provide suggestions, and build a theoretical framework for future research on the impact of AI on the creative economy. The findings reveal the significant role of AI in creative industries such as music, advertising, journalism, and design: experts agree that while AI expands creative possibilities, it also raises concerns about originality, quality, and market dynamics. Experts further highlight the potential of AI to globalize local creative industries but warn of risks like job displacement, declining artistic uniqueness, and ethical challenges in authorship and copyright. The economic value of AI-generated works remains open to debate, particularly due to unresolved copyright issues, extending to whether AI prompters should be recognized as authors. Regulatory frameworks, especially within the EU, are still evolving, with experts emphasizing the need for clearer guidelines and transparency regarding AI-generated content. Finally, this study underscores the necessity of balanced regulations, ethical considerations, and adaptive strategies.

The emergence of artificial intelligence (AI) has opened new creative possibilities, particularly in the visual arts. This study investigates the impact of utilizing AI-generated illustrations in the style of Studio Ghibli on the creative industry. The research aims to explore how such technology influences creative workflows, aesthetic values, and public reception. A qualitative approach was employed through interviews with illustrators, animation professionals, and digital content creators, combined with a case study analysis of AI-generated Ghibli-style artworks. The findings indicate that AI tools not only accelerate the production process but also inspire new forms of artistic expression. However, concerns were raised regarding originality, intellectual property rights, and the potential displacement of human artists. Despite these challenges, most respondents acknowledged the potential of AI as a collaborative tool rather than a replacement. This study concludes that the integration of Ghibli-style AI art into the creative industry can be a catalyst for innovation while also demanding adaptive strategies from practitioners and policy makers alike.

Literacy is now beginning to become a discourse in various media, both print and social media. This happened since Anies Baswedan, when he was Minister of Education and Culture, launched the School Literacy Movement (GLS). Trends in global currents and the Indonesian economy are also entering the era of the creative industry revolution, an era of revolution that relies heavily on the products of the creative industries. Creative industries can be defined as industries based on expertise, talent and creativity; such as fashion, crafts, publishing (books and print media), music, film and advertising. Literary works and creative industries are both based on talent and creativity and are equally cultural. The difference is, the process of creating literary works is more oriented to the interests of the literary (literary), while the creative industry is more oriented to the interests of the market. Local Wisdom is considered so interesting to be the main topic raised in literacy development because through learning in the classroom, students will indirectly get to know the local wisdom of each region. This paper seeks to reveal the steps that can be taken so that the culture of literacy or GLS can still go hand in hand with the development of the existing creative industries. The method used is certainly descriptive and through a qualitative approach. In conclusion, the Indonesian literacy movement still needs to be promoted, and Indonesian language learning in tertiary institutions still needs to be improved, so that people become more proficient in Indonesian and continue to love Indonesian as a means of communication, cultural imaging, and strengthening the national identity. The low ability of students in the field of poetry indicates the need to empower poetry writing for students. This article aims to illustrate how to empower the literacy culture of students writing poetry in the face of the era of the creative industry revolution.

The cultural industry has long been an important force driving domestic GDP growth. However, in today’s rapidly changing world of science and technology, consumer demands are becoming increasingly diversified, and the goods and services provided by traditional art industries are no longer sufficient to meet the market. Faced with this challenge, the cultural and creative industries have emerged and rapidly flourished in the 21st century. This industry cleverly integrates traditional culture with innovative art forms, opening up broader development space for creators and artists. Taking Beijing as an example, the cultural and creative industries have a profound and extensive impact on the regional economy, not only significantly increasing the GDP contribution rate, but also creating a large number of employment opportunities and enhancing the vitality of the regional economy. At the same time, the rise of cultural and creative industries has greatly enhanced Beijing’s attractiveness for investment. This article adopts a combination of literature research and case studies to explore this phenomenon in depth. In summary, the improvement of cultural and creative industries, especially driven by advanced technology, has indeed injected strong impetus into Beijing’s regional economic growth.

This article explores how, in reshaping creative labour in Australia's cultural and creative industries, artificial intelligence is exposing the limitations of the current industrial relations framework. Using a policy ecology lens and drawing on submissions from creative industries stakeholder groups to two parliamentary inquiries, the article maps the fragmented governance of creative labour across industrial relations, copyright law, cultural policy. As artificial intelligence is disrupting attribution, income, and authorship in the cultural and creative industries, many freelance and contract-based workers fall outside the core workplace protections afforded to employees. The article argues that a reimagining of industrial relations is required to ensure that creative labour is adequately protected in an economy increasingly driven by artificial intelligence.

This research aims to investigate the relationship between Artificial Intelligence (AI) competence and innovation, as well as the moderating effect of creativity in the context of Indonesian creative industries. The objectives are accomplished by conducting surveys and analyzing the data using a quantitative approach. The samples are people who are working in various sectors of the creative industries in Indonesia, with a minimum age of 18. The data was collected by using a non-probability, convenience sampling method. 268 completed questionnaires were collected from the eligible samples. The results of hypothesis testing using PLS-SEM indicate that AI competence has a significantly positive impact on innovation. While individual creativity moderates the relationship between AI competence and innovation. Intriguingly, this moderating effect goes in the negative direction. For the theoretical implication, the effect of creativity in enhancing competence, especially in using new technology, should be studied further by more rigorous research. In addition, this research suggests that the creative industries stakeholders should provide sufficient training for creative workers, allowing them to develop their competence in using AI programs related to their job or tasks.

Open innovation describes innovation processes that span across the boundaries of organizations or research and development (R&D) departments. It integrates different types of innovators—regardless of their institutional affiliations—to generate creative ideas, innovation concepts and novel solutions. The purpose of this chapter is to describe underlying mechanisms and strategic options for realizing open innovation. It presents three types of innovators and their functions in innovation endeavors and introduces five classes of tools that facilitate open innovation. Finally, challenges and core tensions are discussed as a basis for the successful management of strategic open innovation initiatives.

In recent years, ecological thinking has been applied to a range of social, cultural and aesthetic systems, including performing arts as a living system of policy makers, producers, organisations, artists and audiences. Ecological thinking is systems-based thinking which allows us to see the performing arts as a complex and protean ecosystem; to explain how elements in this system act and interact; and to evaluate its effects on Australia’s social fabric over time. According to Gallasch, ecological thinking is “what we desperately need for the arts.” It enables us to “defeat the fragmentary and utilitarian view of the arts that dominates, to make connections, to establish overviews of the arts that can be shared and debated” (Gallasch NP). John Baylis took up these issues in "Mapping Queensland Theatre" (2009), an Arts Queensland-funded survey designed to map practices in Brisbane and in Queensland more broadly, and to provide a platform to support future policy-making. In this paper, we propose a new approach to mapping Brisbane’s and Queensland’s theatre that extends Baylis’ ‘value chain’ into a ‘value ecology’ that provides a more textured picture of players, patterns, relationships and activity levels in local performing arts.

As both artificial intelligence (AI) and creativity are being foregrounded in UK policy agendas, this paper identifies a striking underrepresentation of artists and artistic practice in cultural policy discussing creative innovation. This is despite increasing academic literature, arts-led research, and case studies evidencing a close and dialogic relationship between art and AI. To illustrate this, we first call attention to the impact artistic practice has on AI, against the more common discourse of AI’s impact on the arts. We then review UK policy addressing the intersection of the cultural sector, creative industries, and digital sector. Taking this context into account, we argue that artists and artistic practice are currently underrepresented in cultural policy advocating for investment in creative innovation. We suggest this under-acknowledgement is embedded as foundationally as the policy language used to articulate the intersection of arts and technologies, foregrounded by the semantic separation of “Visual arts” and “Artistic creation” from the “Digital Sector” in UK Standard Industrial Classifications. This separation reveals a misalignment of policy and practice that risks underrepresenting the important contribution artists make to the development of AI, and discourse around its role in society. Addressing this misalignment requires a review of policy language used to articulate the intersection of the cultural sector, creative industries, and digital sector in order to more closely align artistic practice with the development of AI. This is an important first step in establishing cultural policy that recognises, prioritises, and invests in artists as the agents of creative innovation that literature and practice evidence them to be.