Rethinking industrial relations: Policy ecologies, cultural work and artificial intelligence

Urgency of the research. In the context of the Ukraine’s integration into the European Union, it is necessary to take into account the advanced western experience in the development of the cultural sector, to rethink it taking into account our native, ethno-mental specifics. Target setting. The study of the processes of social transformation in modern Ukraine involves the development and analysis of new concepts that can reproduce them and comprehensively present them theoretically. They include the concept of cultural and creative industries. Actual scientific researches and issues analysis. The theme of the culture-creating potential of creative industries is developed by such scientists as Ye. Bohatyrova, O. Lazarieva, S. Oliinyk, I. Petrova, V. Solodovnyk et al. Uninvestigated parts of general matters defining. Consequently, the priority for the research are the concept, prerequisites for the emergence and prospects of the formation of creative industries. The research objective. The purpose of the publication is the study of the role of creative (cultural) industries with the analysis of the origin and semantic layers of the concept "culture", "creativeness", "creativity" and derivatives of the terms "cultural industries" and "creative industries", which today are often used in scientific studios. The statement of basic materials. There are significant differences in the interpretation of the term "creative industries" even at the initial stage of its study. The great attention of scientists to the problems of the creative economy and creative industries, a wide range of approaches and the phenomena under investigation generate the ambiguity of this concept, which is relatively new in the Ukrainian scientific discourse. An analysis of the semantic load of the term “creative industry” and the peculiarities of its interpretation by foreign and domestic scientific thought allows us to state that the problem of interaction between culture and economics at the present stage of social transformation becomes common in the aforementioned studies. Conclusions. A comprehensive study of the phenomenon of creative industries is possible only if we take into account the multiplicity of approaches to the interpretation of culture in Western European philosophy and the peculiarities of the interpretation of culture in the context of domestic worldview tradition.

This study aims to reconsider the cultural and creative industries’ role within the sustainable development of Turkey. Although Turkey is one of the most important countries in cultural and creative industries ecosystem, she’s facing some significant problems such as insufficient creative human sources, lack of well-tailored cultural policies and maybe most importantly, the culture’s implicit role in the sustainable development of Turkey. For a proper understanding of cultural policies’ role on sustainable development, especially in the developing countries, the present article inquiries primarily UNESCO’s cultural policies and culturally sustainable development notion. Then, the present study will be headed towards a re thinking of creative industries and sustainable development nexus in the case of Turkey. In this sense, this article explains the challenges and jeopardies in the creative industries within Turkey’s creative ecosystem. My study would conclude that the development of creative industries mainly relies on remarkable groups of creative entrepreneur’s endeavours rather than “appropriate” cultural policies in Turkey. While cultural and creative industries have been evaluated as new sources of employment and welfare for countries, the present study argues that these industries need a “well –tailored” cultural policy and the inclusion of culture into development paradigm. In this sense, towards a sustainable development in Turkey, this study would offer some recommendations for Turkey’s newly established creative industry policies.

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.

This paper analyses the development of China's creative and cultural industries using the city of Shanghai as a case study. The authors argue that while the difficulty of applying a uniform policy to the whole of China has created ambiguities which creative workers can exploit for their own ends, the opportunities that these afford are more economic in orientation as creativity still takes place within the parameters laid down by the Chinese government.

Emerging labour politics in creative industries

We critique the ways ‘creativity’ is harnessed by artificial intelligence companies, technologists, cultural producers, and even academics to justify a sense of urgency around the adoption of artificial intelligence tools in creative work. The creative industries have seen the rapid deployment of artificial intelligence-powered video generation tools such as Sora and Runway, accompanied by a broad communication and publicity campaign that emphasises artificial intelligence as a co-creative tool that enables human practitioners to ‘boost’ or ‘enhance’ their productivity. These discourses not only position and frame creativity as a uniquely human, cognitive trait that can now be extended, expanded, or even fully automated by artificial intelligence, but they also conjure imaginaries of artificial intelligence models as entities capable of simultaneously generating ‘original creative output’ while also acting as servile ‘assistants’ taking on rote tasks. Underlying these imaginaries is a model of creativity as a cognitive faculty is possessed by humans or replicated by machine algorithms; yet, this imagination dehumanises actual humans. Reflecting on our study of European film practitioners using artificial intelligence tools in their creative workflows, we argue that the dominant narrative of creativity as a faculty serves merely to cloak the material, networked, and relational nature of creativity. From this approach, the issue of labour is paramount to the conceptualisation of ‘creativity’ in the algorithmic age and we argue for a de-cloaking and re-materialisation of human creative labour. ‘Creativity’ is neither human nor machinic, but rather a networked and distributed form of agency.

The "New" as Technological InnovationIn the past couple of decades of the 21st century, we have witnessed the emergence and application of various "new" technologies, such as the Internet, smartphones, and artificial intelligence.These technologies have introduced significant innovations to literature and the arts in the Sinophone world.Web novels have become a major form of entertainment for internet users and readers; the widespread accessibility of smartphones has created new channels for the consumption of literature and art; and artificial intelligence has sparked new debates regarding the authority and authenticity of literary and artistic creators.Moreover, these new technologies have influenced changes in the socioeconomic, political, and cultural configurations of literature. 1 However, the first question this special issue asks is: what does the concept "new" mean to technology?The concept of "new" in technology can be defined as innovation. 2 In the People's Republic of China, in 2006, national guidelines were published which characterised technology as as both the foundation and outcome of original, integral, and open innovations, 3 thereby strengthening the relationship between technology and the concept of newness by affirming it as a form of innovation. 4 This encompasses the generation of new technologies that did not previously exist (original innovation), the application of existing technologies from one discipline to new disciplines (integral innovation), and an open-minded approach to fostering and embracing any genre of technological innovation (open innovation). 5A decade later, in 2016, the State Council launched the Internet Plus initiative to promote the creative use of the Internet in conjunction with other key sectors, such as cultural and creative industries, to stimulate economic growth. 6 Subsequently, in 2022, the Ministry of Culture and Tourism unveiled its 14th Five-Year Plan at the ministry level, which advocates for the research, development, and application of emerging interactive and immersive technologies, such as virtual reality, artificial intelligence, the Internet, social media, and streaming media, in cultural and literary products. 7 These types of innovations have also emerged in the creative and cultural industries of other countries or regions within the Sinophone world.In 2020, Hong Kong established its new museum, "M+," where literature and the arts are celebrated with the support of advanced museum technologies. 8 In 2022, the Ministry of Education approved a new private 1 Li, Xunnan, "How Theatre Is Applied by the Chinese State for Neoliberalism with Chinese Characteristics?The Role of Mass Entrepreneurship and Mass Innovation Policies in a Jingju (Peking Opera) Theatre Company",

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 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.

The purpose of the article is an analysis of the results of cultural and creative industries implementation in small towns of Ukraine. A methodology of the research is based on using the methods: search method, comparative, analysis, and synthesis. A source base consists of the appropriate documents (regulations, programs of development strategies of the united local communities, statistical and sociological researches) using which allowed us to reveal and justify an expediency of cultural and creative industries implementation in small towns. A scientific novelty of the research lies in the systematization of knowledge about cultural and creative industries as a way of small-town revitalization. Conclusions. In the article there were disclosed the definitions: «cultural industries», «creative industries», «small town»; researched and analyzed efficiency of cultural and creative industries implementation in small towns of Ukraine; proved that the small towns of Ukraine, having a potential for effective social and cultural development, do not use their possibilities. There was justified an opinion that an active community position of town residents; cooperation of community and representatives of state power and business plays a leading role in the development of small towns. There was proved that using the possibilities of cultural and creative industries in small towns will promote the revitalization of regions, in particular, positively affect the quality increase of the life of residents, the increment of working places, and the decrease of working migration.

Compared to most industries, cultural and creative industries have stronger spillover effects and can better motivate rapid development in surrounding industries, urban and rural areas, regions, or even national economies by creating massive economic benefit and employment opportunities. This shows the potential for value creation and addition in cultural and creative industries. Even though various governments are proactively in using policy tools in this regard, there is limited research on related industries and management. In terms of academic theory, it is difficult to give further guidance and suggestions to governments and industries. Compared to traditional industries and e-commerce, only the logic of value creation in the cultural and innovative products has more discussion and empirical proof in the design industry. This study proposes four paradigms of value creation, which are value production, value co-production, value co-creation, and value appropriation. The various fields of cultural and creative industries can have a more complete picture through analysis of the four paradigms, and would create better points for exercising policy as well.

This article explores the ongoing relations between creative industries, cultural work and the formation of young Turkish creative professionals’ self- realization practices under the existing conditions of Turkey’s ‘neo authoritarian’ liberalism. Drawing on the relational work perspective from economic sociology and semi-structured interviews with the study’s respondents (N:120), this article will be headed towards the reconsideration of social, economic, political and cultural constitutions of Turkish creative professionals’ formation in the creative economies of Turkey. In contrast with the majority of existing studies on this topic, this study argues that, contemporary capitalism’s impact on the creative professionals’ formations is not the necessarily the same. Profound differences there exist. Especially, the cultural and economic constitutions of creative professionals’ in any given states creative economies conditions. Therefore, my study would conclude that the impact of late capitalism on creative labour is not unidirectional at least not in Turkish labours case. Conversely, the post Fordist service economies provide some positive contributions to Turkish young creative labourers’ subjectivities.

Enthusiasm, the Creative Industry and the 'Creative Tropical City: Mapping Darwin’s Creative Industries' Project

Zhao, C.; Zhang, Y.; Xue, Y., and Niu, T., 2020. Development of coastal city port cultural and creative industries and its key technologies. In: Yang, Y.; Mi, C.; Zhao, L., and Lam, S. (eds.), Global Topics and New Trends in Coastal Research: Port, Coastal and Ocean Engineering. Journal of Coastal Research, Special Issue No. 103, pp. 194–198. Coconut Creek (Florida), ISSN 0749-0208.In order to enhance the economic benefits of the cultural and creative industries of coastal cities and ports, the relevant technologies are used to realize the development of the port cultural and creative industries. Based on the financial support and talent support for industrial development, the basic route for the development of port cultural and creative industries is determined. According to the composition elements of the port cultural and creative industries, the port industrial structure is divided, and the factors affecting industrial development are analyzed. Utilizing technologies such as multimedia cultural processing, cultural and creative industrial park environment development, online cultural industry promotion, and SWOT industry assessment and other technologies to develop port cultural and creative industry development strategies. After applied research and analysis, it was found that the applied design of port cultural and creative industry development strategies can effectively increase the economic benefits of coastal cities by about 27%.

The fashion industry has created employment opportunities in the service class worldwide since last quarter of 20th Century. The fashion industry has created local and global networks among fashion clusters in different cities; moreover, cities can exchange information and knowledge of fashion to each other through dialogue of dynamic fashion clusters and networks. Over the last decade, Taiwan's central government has promoted the Cultural and Creative Industries (CCIs) as a national development policy. However, Taiwan still struggles with issues related to cultural policy and urban development. This study examines strategic planning and cultural policies as soft infrastructure that can promote urban economies. As a cultural industry, service sector is an important part of the fashion industry that is included in cultural policy. This study is focused on aspect of fashion professionals. Fashion professionals determine the distribution of fashion networks and clusters in Taipei City, Taiwan. A geographic information system is used to obtain data for the fashion industry in Taiwan. This study offers suggestions for how soft infrastructure can be utilized to create Taipei as a fashion capital.