the entrepreneurial dimension of the cultural and creative … · 2015-08-12 · best case 1:...
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TheEntrepreneurialDimensionoftheCulturalandCreativeIndustries
Appendix1
Best Case 1: Flanders DC
Best Case 2: ArteEconomy
Best Case 3: AIE: Italian Publishers Association
Best Case 4: Cross Over Labs
Best Case 5: GATE: Game Research for Training & Entertainment
Best Case 6: b.TWEEN
Best Case 7: Architectuur Lokaal
Best Case 8: ESA: European Advertising Standard
Best Case 9: Disseny Hub Barcelona
Best Case 10: EDIMA
Best Case 11: MEDIA
Best Case 12: FEP: Federation of European Publishers
Best Case 13: IMAGINOV
Best Case 14: Dutch Media Hub
Best Case 15: Bandpool
Best Case 16: UPTEX
Best Case 17: OnlineArt
Best Case 18: Departure
Best Case 19: IFCIC
Best Case 20: ICO
Best Case 21: CultuurInvest
Best Case 22: Advantage Creative Fund
Best Case 23: Create Berlin
Best Case 24: Finpro
Best Case 25: Creative Depot
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 1
Best Case 26: Own It
Best Case 27: Kunst & Zaken
Best Case 28: Demola
Best Case 29: Helsinki School of Creative Entrepreneurship
Best Case 30: Firstport
Best Case 31: Creative Apprenticeship
Best Case 32: Creativwirtschaft
Best Case 33: Creative Industries Knowledge Transfer
Best Case 34: SEE
Best Case 35: IBBT
Best Case 36: TULI
Best Case 37: DigiDemo
Best Case 38: Inserralves Incubator
Best Case 39: Dutch Game Garden
Best Case 40: CITIES
Best Case 41: Cap Digital
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 2
BestCase1:FlandersDCCreativityforinnovationandmatchingservicesforfashion
FlandersDCBelgium
FlandersDistrictofCreativityisaFlemishgovernmentalorganisationthatpromotesentrepreneurialcreativityintheregioninordertoboostFlanderscreativityandinnovation.
Itprovidesactivitiestofostercreativityandinnovationprocessesinenterprisesthroughopeninnovationmethods,providingspeci<icinnovationmanagementandcreativitytechniquestraining,byprovidinganetwork,internationaltraineeshipopportunities,prizecontestaswellasitactsonpromotinghedesirabilitytobecomeanentrepreneurschools.Italsoaimsatbridgingthebusinessandmanagersclosertothecreativeeconomyandviceversaandtoprovidewithresearchandinformation.
“Thosearetheactualprojectsthatwearedoingontheborderbetween"creativeentrepreneurship"and"entrepreneurialcreativity".
Apartfromtheseactivities,FlandersDCalsoprovideonlinetoolstohelptheentrepreneur.
Theyaimatenhancingtheentrepreneurshipofthecreativesectors.Infashion,inpartnershipwithFlandersFashionInstitute,FlandersDCdoespatronageproject,wheretheymatch15designerswith2peoplewhoarepatrons.Thereare<ixedthemesopenfordiscussionbetweenthedesignersandthepatrons.Thisenablescross‐fertilizationandactsassortsofcreativesessions.Thepatronage,isatthemoment,sectorbysectorbutwillbeextendedtomixallofsectors,mixingmorethetraditionalsectorswiththecreativesectorinordertofostercoachingsessions.
Thesesessionsaimatenhancingtheentrepreneurialskillsbuttheycouldbeaboutverybasicstuffsuchasaccountingorhowtopositionone’scompanyagainstcompetitors.Thosearethecrossfertilisationthatwewanttodo.
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 3
BestCase2:ArteEconomyMutualbene7itswithopeninnovationmethodsbymatchingtheartistsandentrepreneurs
ArteconomyBelgium
Faithfultoitsname,Arteconomyconnectsartandtheeconomythroughvariousformsofcollaborationwithartistsandentrepreneurs.Arteconomyendorseslong‐termprojectsandaimstostimulateabroadrangeofpeopletothinkaboutartandtheeconomyandthewaysthesetwocanintersect.Arteconomyhelptocreateanenvironmentofexchangeandco‐operationbetweentheworldofcreativityandtheworldofbusiness.Arteconomyprovidesfacilities,projectsandresourcesessentialtoincreasetheunderstandingofthecreativeindustriesandtheireconomicvalueandworkshops.
Aspartofitsoperationalgoals,Arteconomyfunctionsasathinktank,acentreforstudyandresearch,andadvicecenter,andanadvocateforawareness.
Arteconomyaimstocreateaddedvalueforcompaniesandorganizationsbyenablingdirectcontactbetweenartistsandtheentrepreneursinorderto,forinstance,confrontmattersofcompanyculture,tosharecommonvalues,andtodevelophiddentalent.Addedvalueisalsoachievedthroughfurtherresearchanddevelopmentasnewconceptsandproducts/servicesaredevelopedthroughknowledgeexchange.Startupcompaniesarejustoneoftheoutcomesoftheseinteractions.
Likewise,addedvalueisofferedtoartistsbyprovidingthemwithopportunitiestolearnfrominteractionswithcompaniesandorganizations,toaccessemployment,tore<lectcriticallyonartpracticeandcurrentmethods/techniques,togainvisibilitythroughprojects,andtodeveloppersonalnetworksaspotentialresourcesinthefuture.
Arteconomystrivestoremainaneutralintermediaryandtofacilitatetheprocessesbetweenartandtheeconomythroughcoachingandadvice.Aspartofthisundertaking,Arteconomymakesadistinction
betweenrelationalaspectsofaprojectandprojectcontentsduringcollaboration.Botharevalued,buttheyaredifferentiated.Likewise,thereisnoresultcommitmentinprojectsfacilitatedbyArteconomy.Theengagementduringaprojectliesmoreinthedevelopmentofaprototyperatherthaninobtainingamarket‐readyresultorproduct.Inessence,Arteconomystrivestochallengeandprovidelearningopportunitiestoboththeartistandtheentrepreneurbyenablingdirectcontactbetweenthetwo.
Whatdoesthislooklikeinpracticalterms?Aninitiativecancomefromacompany,anorganizerandanartist.TheseapproachArteconomy,whothen<indasuitablepartner.Todoso,Arteconomymust<indapartneropenandinterestedinengaging.Financialmattersarenegotiatedandagreeduponfromthebeginningoftheprojectandfromtheretheprojectandrelationshipsmaygoinmanydirections,oftenlastingforalongtermor,otherwise,ashortterm,dependingonwhattheintentionsandagreementarebehindtheproject.
ArteconomytacklestheimmediategapbetweentheartandtheeconomythatoftenistheinhibitingfactorforthecreativeandculturalindustriesinthelargelycommercialeconomicenvironmentofEurope.Asadvocatesofinteractionandco‐operationbetweenrelevantstakeholders,Arteconomyincreasesawarenessbyencouragingtheactiveinvolvementofartistsandentrepreneursindiverseprojectswithpotentialbene<itsforboth.Inthisway,Arteconomyprovidesamodelforpartnershipdevelopmentbetweenthecreativeindustries,Europeanbusinessesandtheeconomy.
http://www.arteconomy.be
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 4
BestCase3:AIE:ItalianPublishersAssociationSectoralsupportforSMEbase
ItalianPublishersAssociationItaly
AIEisasectoralorganisationsupportingthepublishingindustry.AIEhasactivelyestablishedanumberofcoreactivitieswhichareespeciallyfocusedonsupportingSMEsintheItalianpublishingindustry.ThebookfairPiùliberiisanindependentpublishersbookfairaimingatincreasingthevisibilityofindependentSMEs.
Theeventhasbeenorganisedsince2002withtheaimofprovidingvisibilityandmarketopportunitiestothesmallandmediumItalianindependentpublishers.Independentpublishersareoftenveryinnovative,workonthecreationofacataloguesfocusedinspecialisednarrownichesandarefollowedbyveryloyalcustomers,butinmanycasehavemoredif<icultiesthanthebiggeronestoapproachawidermarketandtoreachtheirreadersbecausenormallythenumberoftitlestheypublisheveryyearisnotveryhighandthentheyareunabletoobtainspaceandvisibilityinthetraditionalbookstores,whererightnowbestsellersandnewtitleshavethehighervisibilityespeciallyinthebookstorechains.
Piùlibriisnowadaysoneofthemostwellknownandappreciatedbookfairintheworldbothbyvisitorsandpublishers.Morethan400Italianbookpublishersbookastandfromoneyeartoanother.
Thefairhasbeencreatedandpromotedbythesmallandmediumpublishers’groupwithintheAssociationanditsenormoussuccessisastrongdemonstrationthattheAIE’swilltoprotectandtosupporttheindependentpublisherswasright.Itisaverygoodexampleonhowcreativityandentrepreneurshipmaybeforeseenwithin
tradeassociationsaswell,whentherearecleargoalsandstrongcommitmentfromthestakeholders.
Themaingoalsoftheprogramaretoprovidetotheattendingpublishersanopportunitytopromotetheirproductionandoffertothepublicthepossibilitytointeractwiththeirpreferredauthors.Theprogramincludesavarietyofeventsfromminiconcerts,roundtablesandreadingstotheatricalimprovisations.
Asidetheprogramforthepublicthereisaspeci<icProfessionalprogramforbookindustryprofessionals,wherethemostuptodateandinterestingtopicsinthebookmarketarediscussed,fromtheroleofindependentbookstoresandbookchainstotherelationshipbetweenbookandmovieindustry,fromproductionprocessestotheemergingebookmarket.IntherecentyearsPiùlibrifocusedontheimpactoftechnologiesinthepublishingindustrywithspeci<icseminars.ItdevelopedanareanamedebookCornerwherealltheebookreaderavailableintheItalianmarketwereshowntothepublic.
AspecialtracknamedThePiùlibriFellowshipProgramisreservedtoforeignpublishers.ItisatradenetworkinginitiativereservedforalimitednumberofcarefullyselectedinternationalpublishersandliteraryagentswhowillbegiventheopportunitytovisitpublishinghousesinthecityofRomeduringthedaysleadinguptotheFairandtomeetduringtheFairinadedicatedareathemostimportantItaliansalesmanager.
www.piulibri.itwww.aie.it/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 5
BestCase4:CrossOverLabsMultidisciplinaryworkshopforknowledgeexchangewithaparticularfocusonnewmediatools
CrossoverLabsUnitedKingdom
CrossoverInnovationsLabisacreativelabinthesensethatitencouragesexperimentationwithdifferentformsofmediaandthecreationofnewcombinationsandmethods.BasedinLondon,itisaninternationalprogramdesignedtoexplorethecreativeandcommercialchallengesofnewmediatoolsanddevelopingcontentthroughthese.Toachievethis,Crossoverorganizes<ive‐dayeventswithuptotwenty‐<ive,individuallychosenparticipantsandateamofexpertmentors.Eachdayconsistsofafullrangeofactivities,meanttostimulateandchallengetheparticipantstointeractandshareideasandcross‐disciplinaryexpertisetocreateoneinnovativeprojectideatogether.
Unlikeothermodelsoflab,Crossoverdoesnotworkwithpre‐conceivedproposals.However,itcomprisesasetofrobustmethodologiesthathavebeenre<inedovertimetotest,enhanceanddevelopideasforconvergingservicesandprograms.Crossoveraimsatexploringapracticalanddynamicrangeoftechniquesfordevelopingmulti‐platformprojectsandprovidesaframeworkforthedevelopmentofconcreteprojects,whichresultinthebuildingofpitchesandearlystageconceptprototypes.Themainaimofthisphaseistoexchangeknowledge.
Inthesecondphase,crossplatformideageneration,participantscreateoriginalideasforcross‐platformproductsandservices.Variousexchangemethodsareusedwhileparticipantsworkinconstantlychanginginterdisciplinaryteams.Inthe<inaltwophases,selections,evaluationanddevelopment,andpresentation,expertiseis
furtherconvergedwhileteamsselectanideatodevelopfurther.Duringthe<inaltwenty‐fourhoursinthelab,teamsfocusondevelopingapitchforasingleproject.Thispitchispresentedonthe<inaldayofthelabperiod.
PerhapsoneofthemostindispensableaspectsoftheCrossoverlabexperienceisthenetworkthatisestablishedbetweenparticipants.Afteranintensiveweekofknowledgeexchangeandco‐operation,participantshavebondedandtheseedtocross‐sectoralpartnershipisplanted.Inaddition,thelabprovidesservicesafterthelabperiod,suchasongoingmentoringviaandinternationalnetwork,conferencesandanonlinenetworkprovidingyearlongresourcesforpotentialoractualpartnerstocollaborateandexchange.
CrossoverLabsengagesprofessionalsinawaythattheymaylackintheirday‐to‐dayworklife.Itchallengesthemtotakeuptoolstheyareunfamiliarwithandgainexpertiseinareastheypreviouslymayhavehadlittletonoknowledgeabout.Theresultisaregularoutputofwellconnected,inspiredandinnovativeindividualsfromawidespectrumofsectors,spurredtoengageincross‐disciplinaryexchangesforthebettermentoftheirownprofessionalcareersandtheindustryasawhole.Itisaunique,realisticandpersonalapproachtothiscommonandreoccurringproblemofthecreativeandculturalindustriesandCrossover,initofitself,solvesthisprobleminaninnovativeandinteractiveway.
http://www.crossoverlabs.org
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 6
BestCase5:GATE:GameResearchforTraining&EntertainmentKnowledgedevelopmentthroughGameSMEintegrationinresearchprocessesandthroughthemediumofnewtechnologyserviceprovision
GameResearchforTrainingandEntertainment(GATE)TheNetherlands
TheGameResearchforTrainingandEntertainment(GATE)aimstodevelopaninternationalcompetitiveknowledgebasewithrespecttogametechnology,andtotrainthetalentrequiredtoenhancetheproductivityandcompetitiveedgeofsmallandmedium‐sizedcreativeindustrialcompanies.Theprojectisalsoaimedatimprovingsubstantiallythecompetitivenessofcompaniesproducing(toolsfor)gamesandsimulationsbyprovidingdirectaccesstonewtechnologyandbytechnologytransferprojects.Thegoaloftheresearchistosubstantiallyadvancethestate‐of‐the‐artingaming,simulationandvirtualrealitytocreatinghighlyeffectiveentertainmentproductsandexperiencelearningsystems.
Itishopedthatresultsobtainedfromthisprojectwillleadtothecreationoflargercompanies,encouragethefoundingofnewcompanies,andattractcompaniesfromothercountriestotheNetherlands.Theprojectisalsohopedwillmakepeople
awareofthepossibilitiesofgaminginpublicsectorssuchaseducation,health,andsafetybyperformingpilotsintheseareas.Asaresultgamingandsimulationwillbecomemorecommonlyappliedinthesesectors,leadingtoqualityimprovementsandcostreductions.
ThisprojectdoesnotprovidedirectsupporttoSME’sintheculturalandcreativeindustrieshoweverbecauseGATEisnotonlyaboutacademicresearchintogamesandGame‐technologythisprojecthasbeengearedtowardsdevelopingknowledgefurtheraspracticalsolutions.ThroughKnowledgeTransferProjects,GameResearchconstantlycollaboratewithsmallandmediumsizedenterprisesandotherresearchpartners.Knowledgequestionsprovidedbycompaniesaredevelopedintopracticalsolutionsthatmakeresearchresults<it‐for‐useforindustry.ThusthroughSME’s,theresultsobtainedfromresearcharetranslatedintopracticalsolutions.
http://gate.gameresearch.nl/index.php
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 7
BestCase6:b.TWEENFosteringexchangeofideasandplatformaswellasintroductionofdigitalmediaasafuturemediumforCCIactivities
b.TWEENCrossPlatformDevelopmentLabUnitedKingdom
Londonbasedb.TWEENwasfoundedsixyearsagotoprovideadynamicenvironmentwherememberswouldfeelsafetocreateandshareideas,andmeetpeoplewhocanhelptoturngoodideasintogoodproducts.IntheUK,b.TWEENhasbeenacclaimedas“thedesignersofthefutureofdigitalbusiness”.
Amongitsactivities,b.TWEENorganizesfestivalswherecreatives,in<luencersandvisionarieswithacommercialedgeareencouragedtoattendandexchange.Workshopsonsubjectssuchaslocation‐basednarrativesandothertrendswithinthemediaworldarealsoofferedtoparticipants
Apartfromthefestival,b.TWEENoffersmanywaysforinterestedpartiestogetinvolvedsuchastheBrandingTalentcompetitionin2009.Inthiscompetition,smallcreativecompaniesandfreelancersfromacrossthedigitalmediaindustrieswereinvitedtoenter“seedideas”toprovidenewwaysforShop
Direct,ahomeshoppingorganization,toconnectwiththeircustomers.Theideawasdevelopedoveramonth’speriodbeforebeingpitchedtoShopDirect.
Arecentprojectorganizedbyb.TWEENintheNorthWestb.TWEENTVPlatformswheredelegatesareinvitedtodevelopinnovativesocialenterpriseideas.Theaimofthisprojectistoattractsocialinnovatorstocreateanenterpriseusingconnectedtechnologytoanswersocialandenvironmentalchallenges.
b.TWEENoffersacutting‐edgeportalintotheworldofdigitalmedia.Itoffersinterestedstudentsandprofessionalsactivitiestoboostandhometheirskillsthroughcompetitions,discussionandnetworkconnections.Indoingso,b.TWEENnurturesanenablingenvironmentandstimulatesthecreativetechnologicalindustriesoftoday.
http://www.btween.co.uk
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 8
BestCase7:ArchitectuurLokaalSectoralsupportwithauserfocus
ArchitectuurLokaalTheNetherlands
ThemainpurposeofArchitectuurLokaalistostrengthenarchitecturalpolicy“infrastructure”bystimulatingclientstodevotemoreattentiontotheculturalaspectsofbuildingdevelopment.Bydoingso,theorganizationissimultaneouslyreinforcingthepositionofarchitectureandprofessionalsofthesectorbyprovidingthelatterwithclientsinterestedintheirwork.
AcentralideabehindDutchpolicyisthatclientsplayacrucialrolewhenitcomestoarchitecturalquality.Thus,ArchitectuurLokaaldevotesitselftoinformingandinspiringclientstopursuedevelopmentwiththepartnershipofarchitects.Apartfromprovidinginformationthroughpublications,italsodoessothroughanextensivenetworkofclients,localarchitecturecenters,andotherpartnersatvariouslevelsofauthority.
ArchitectuurLokaal,operatesinlargepartatthelocallevel.However,theytargetmunicipalauthoritiesandprivate‐sectorpartiesatboththelocalandregionallevels.Theyalsoengageinternationally,extendingtheirnetworkandsharingexpertise.OnerecurringprojectinvolvingArchitectuurLokaalisPanoramaEurope,agatheringofexpertsoncommissioningdevelopmentandchallengesfacingspatialplanningpolicy.Thisoccursbetweentwocountriesand,inpreviousyears,hasinvolvedGermany,BelgiumandtheUnitedKingdom(Scotland).
ArchitectuurLokaalactsasacentralbridge‐builderbetweenstakeholdersinvolvedinthebuildingprocess.Itoffersconsultationsonmattersrelatingtoarchitecturalpolicy,spatialqualitypolicyandbusinesscommissioning.Italsoprovidesclientswithprogramstofurtherdeveloptheirexpertiseintheseareas,particularlyinmattersofpolicy.Bywayoftheseactivities,theeconomicandculturalvaluesofarchitecturearealsotransmittedtotheclient,whoisencouragedtoidentifytheaddedvalueofincorporatingarchitecturetotheirbuildingprojects.
OneofthemostappealingservicesrunbyArchitectuurLokaalistoadvisepublicandprivateclientsontheselectionofdesignersandpropertydevelopers.Simplyput,theclient’sinvestmentintothedesignandqualityoftheirprojectsduringtheconstructionphasewillnotablypayoffinthelongrun,whenthevalueoftheirbuildingisbasedonitsaestheticandculturalvalueinadditiontoitsstructurallysoundconstruction.
Throughtheiractivitiesofactivelyengagingandadvisingpotentialbuilders,andwiththeirexpertise,theorganizationstimulatesthesectorofarchitectureandthusthecreativeandculturalindustriesasawhole,intheNetherlands,primarily,butalsoinotherareasofEurope.
http://www.archlokaal.nl
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 9
BestCase8:ESA:EuropeanAdvertisingStandardDigitalmarketingcommunicationandsectoraladvisesonselfregulation
EuropeanAdvertisingStandardAllianceEU
EASAisthesingleauthoritativevoiceonadvertisingself‐regulationissuesandpromoteshighethicalstandardsincommercialcommunicationsbymeansofeffectiveself‐regulation,whilebeingmindfulofnationaldifferencesofculture,legalandcommercialpractice.Asanon‐pro<itorganisationbasedinBrussels,itbringstogethernationaladvertisingself‐regulatoryorganisations(SROs)andorganisationsrepresentingtheadvertisingindustryinEurope.EASApromotesresponsibleadvertisingbyprovidingdetailedguidanceonhowtogoaboutadvertisingself‐regulationacrosstheSingleMarketforthebene<itofconsumersandbusinesses.Itstrengthensexistingself‐
regulation.In2004,theadvertisingindustrysignedtheEASAadvertisingSelf‐RegulationCharterwhichmeantsettingupsystemsinsomeofthenewcountries,whichdidnotyethaveaself‐regulatorysystem,andstrengtheningthealreadyexistingsystems.OneofthewaysthatEASAstrengthensandconsolidatesself‐regulationisbyprovidingself‐regulatoryorganisations(SROs)withBestPracticeRecommendations.EASAcurrentlyhasBestPracticeRecommendationsinareassuchasdigitalmarketingcommunications,con<identiality,complaintshandlingorfunding,andmanymore.EASAalsoprovidesresearchandinformationontheadvertisementmonitoringoncontroversialareas.
www.easaalliance.org
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 10
BestCase9:DissenyHubBarcelonaSectoralnetworkservingasresearchcentreaswellasstimulatingcollaborationbetweendesignersandbusinessesandCCIs
DissenyHubBarcelonaSpain
TheprimaryaimofDHUBistopromotegreaterunderstandingandpromotionofthedesignworld.DHUBispartoftheInstitutodeCulturadeBarcelona,andthroughthisinstitutepromotestheadvancementofallfacetsofthedesigndiscipline.Thisisachievedbyoperatinginbothavirtualandphysicalenvironmentandbyorganizingdiverseactivitiesyearround.Inaddition,DHUBprovidesanaccessiblenetworkofdesigncurators,creatorsandconsumersandstrivestoachieveaforumforprofessionaldialogueandappraisal,disseminatingknowledgetothepublic,andstrengtheningtheeconomythroughthecreativeandculturalindustries.
Toachieveitsgoals,DHUBboastsactivitiessuchasexhibitions,studygalleries,symposiums,conferencesandeducationalprogramaddressedeitherforsecondaryschoolstudentsoradults.Exhibitionsand
studygalleries,fromtheirpart,encouragetheinvestigationandappreciationofexistingwork.
Inadditiontotheseactivities,DHUBisactiveinresearchandreferenceresources.Areferencecenter,tobeopenedthisyear,willcoverthefourareasofoperationofDHUB,thesebeingarchitectureandinteriordesign,visualcommunicationdesign,productdesign,andfashiondesign.
DHUB,simplythroughitswebsite,alsoprovidesandextensivedigitalresourcereferencecenter.Bytargetingadiverseaudienceandparticipantsfromvarioussectorwithinthedesignindustry,includingdesignprofessionals,studentsandthegeneralpublic,DHUBstimulatescollaborationwithinandbetweenthebusiness,economically‐oriented,world,andthecreativeindustriesinSpainandinEuropeasawhole.
http://www.dhubbcn.cat/en
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 11
BestCase10:EDIMAEuropeanProjecttoopenthelegalframeworkfornewdigitalproductstocreateasingleEuropeandigitalmarket
EDIMAEuropeanUnion
EDiMA(EuropeanDigitalMediaAssociation)projectoftheEUaimsatcreatinganopenandlegalframeworkfornewdigitalproductsthroughouttheEUsoastoavoidthelegalbarriersblockingasingleEuropeandigitalmarket.
Itaimsatimprovingconsumercon<idence,increasethecoordinationofpolicyformationbyestablishinganewEPinter(national)grouponthenewmediasector,haveabetterimplementationoflaws,andensureabetter<itwithregardstothecopyrightlicensingregimeforthedigitalage.TheEuropeancommissionerVivianeReding(Not
commissionerforthisanymore)acknowledgedsimilarneedsincompletingasingledigitalmarket.AsingledigitalmarketwouldensureabetterandeasiercoordinationofproceduresfornewmediaservicesacrosstheEU.Copyrightissuescouldbecoordinated.AEuropeantrust‐markcouldbecreatedandfacilitatethedigitalizationofbooksandorphanworks,buildingontheexistingprojectssuchasARROW120(AccessibleRegistriesofRightsInformationandOrphanWorks)andEuropeana121.
http://www.europeandigitalmedia.org/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 12
BestCase11:MEDIAEuropeanSupporttoAudiovisualSectorFinance,AccesstoMarket,Trainingandshortlyloanguarantee
MEDIAEuropeanUnion
MEDIAistheEUsupportprogrammefortheEuropeanaudiovisualindustry.
MEDIAco‐<inancestraininginitiativesforaudiovisualindustryprofessionals,thedevelopmentofproductionprojects(feature<ilms,televisiondrama,documentaries,animationandnewmedia),aswellasthepromotionofEuropeanaudiovisualworks...more
TheMEDIA2007‐2013ProgrammecomprisesaseriesofsupportmeasuresfortheEuropeanaudiovisualindustryfocusingon:
■ trainingprofessionals■ developingproductionprojects■ distributing<ilmsandaudiovisual
programmes■ promoting<ilmsandaudiovisual
programmes■ supporting<ilmfestivals
Thisprogrammewashighlightedasanexampleofbestsupporttoasectorasittookunderconsiderationthedifferentpartsofthecreativeprocess.Anewfocusonsupportingthesectortofacethedigitalshiftthroughinnovativeactioninthe<ieldofdigitisationandthroughabetteraccesstocredit.
http://ec.europa.eu/culture/media/index_en.htm
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 13
BestCase12:FEP:FederationofEuropeanPublishersSectoralsupportattheEUlevelaswellasnationallyinnetworkbuilding,assistancetofacethedigitalshiftandprovisionofadvicesandtraining
FederationofEuropeanPublishers(FEP)EuropeanUnion
FEPisanindependent,non‐commercialumbrellaassociationofbookpublishersassociationsintheEuropeanUnion.FEPrepresents26nationalassociationsofbookpublishersoftheEuropeanUnionandoftheEuropeanEconomicArea.
ItmainlydealswithEuropeanlegislationandadvisespublishers'associationsoncopyrightandotherlegislativeissues.In2010,itsactivitiesincludedcontributingtothedigital
strategyofDGInformationSocietyandmedia,severalcontributionsregardingcopyrightsandcollectivemanagementoritsparticipationtoEuropeanCulturalPlatformsaswellasmaintainingthenetworkofEuropeanpublisherstogether.
Thisprovidesthepublishingentrepreneurwithadhocsectorspeci<ictrainingaswellasconsultancyservices.
www.fepfee.eu
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 14
BestCase13:IMAGINOVIMAGINOVGameClusterinFrancesupportedbytheregionandstimulatingmultidisciplinaryprojectspromotingsectoralformarketopportunity
IMAGINOVFrance
IMAGINOVisaLyonbasedregionalclusterwhichwasbornoutofthecluster/poleofcompetitiveness“DigitalLeisure”focusedonvideogamescompanies.ThepolewasacknowledgedbytheFrenchgovernmentin2007.
Themembersoftheorganisation(around210)represent1,13billion€ofrevenuesandrepresent12700ofemployments.TheclusterhasattractedmanyenterprisestoLyon.Seriousgamescompanieshaveanexponentiallyturnoverandhavereceivedspeci<icsupportfromtheclusterthroughworkshopsandactingasmarketintermediariesaswellasthroughsubsidiesforR&D.
TheregionofRhoneAlpeshasspeci<icallyprovidedpreferentialregulatoryenvironmentbygivingataxcreditforvideogamesindustry(20%),accesstosubsidiesforR&Dthroughthepoleofcompetitivenessfunds.
TheRegionRhoneAlpeshasalsoencouragedinnovationandnewbusinessmodelsthroughseveralcontestssuchas“ImaginovCommercial”and“ImaginovInternational”.100companieshavebeenrewardedinthreeyears.
Withthehelpoftheregion,theclusterhasbeenamajorplayerintermsofsectoralspeci<icities.Ithashelpedattractcompaniesintheregion.
www.imaginove.fr
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 15
BestCase14:DutchMediaHubSectorclusterprovidingservicesincontentproduction,distribution,developmentaswellasactsasanetworkwithmunicipal,regionalandnationalauthorities
DutchMediaHubTheNetherlands
TheDutchMediaHubaimstobundletherichvarietyofDutchcreative,mediaandfacilitycompanies.ThiswaybecomingtheDigitalGatewaytoEurope.TheDutchMediaHubtriestoachievethisbystimulatingthecorporationamongstpartnersandbyorganizingpromotionalactivities.
TheDutchMediaHubbundlesthecompaniesinvolvedbyprovidingsupportservicesforcontentproduction(suchasInternetfacilities),contentdistribution(fromstreamingtoDigitalRightsmanagementadvise),servicesdevelopment(suchasprototypeorprojectmanagement).Italsoprovidescontentstoragesupport(format
management,mediaassetmanagementforexample)aswellasitalsocontributestothecompanieswithtranslationservices,conversion,transcodingorlocalisation.
TheparticipantsintheHubalsoparticipateonstandarisationprocedures,interoperabilityissues,anti‐piracyisssuesorinternationalmarketing.
TheHubgathersmediacompaniesaswellasmunicipal,regionalandnationalauthoritiesaswellasChamberofCommerce.
www.dutchmediahub.com
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 16
BestCase15:BandpoolSupportingsectorthroughcoachingandnetworkingopportunities
BandpoolGermany
TheBandpoolprojectisoperatedbyPopAcademyBaden‐Wuerttemberg‐UniversityofPopularMusicandMusicBusiness.ThePopAcademyBaden‐Wuerttembergisanacademythatdistinguishesitselffromothersthroughoutoutstandingreputationsforallaspectsofthemusicbusiness.ThisissupportedbynumerousprojectsrangingfromEuropeanpartnershipstotheregionaldevelopmentandeconomicsupportformediabusinessesintheregionofBaden‐Wuerttemberg.
Thisprojectwasinitiatedasacoachingtoolforbandsandsingleartists,whointendtotakethedecisivesteptowardsaseriouscareerasprofessionals.ThisprojectssupportsbandsandsingleartistsintheMusicIndustryby,withinaperiodof18months,offeringthemone‐to‐onecoaching,intensiveworkshops,objectiveanalysis,givingthem
theopportunitytomakecontactsandaswellasmanyotheroutcomes.Thisisdonewiththesupportofexpertsfromthemusicindustry.
Theresultsofthisprojectareevident:manyBandpoolactshavealreadysignedwithrenownedlabelsandthereareseveralchartentriesandnominationsformusicawards.Topromoteimprovednetworkingbetweenthemusicandmediascenesaswellasbetweenpoliticsandtheeconomyeventsarealsoorganizedtoserveasmeetingpointsforpeoplefrommusicandmediaindustries.Thesemeetingsincreasesgeneralawarenessofthemusicbusinessasaninnovativeandcreativesectorofeconomy.
www.popakademie.de
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 17
BestCase16:UPTEXSectoralinnovationclusterinvolvingmultidisciplinaryparticipantsandadvisesonlegal,fundingexpertiseaswellasactsasacollaborativeplatform
UPTEXFrance
Involvingresearchinstitutes,highereducationlabs,fashionenterprisesandchamberofcommerce,UPTEXisaninnovationclusterthataimsatinnovatingthetextileandfashionsectortointegratenewperformances.Aimingatreachingnewtextiles,newpoly‐sensorialtechniquesandintegratingdesignandmasscustomisation,UPTEXintegratesuser‐demandprocessesinordertodevelopcustomisedtextile.
Notonlyistheclusterinnovatingintermsoftechnological,scienti<icandindustrialtechniquesbutitisalsointegratingsoftinnovationprocessessuchasmanagerialandorganisationalprocessesinordertobetterbeabletorespondtoconsumer’sdemand.
UPTEXoffersitsmemberslegalservices,economicexpertiseandfunding
opportunitiesaswellasitprovidesforacollaborativeplatformtopromoteinformationexchangewithintheclusteraswellasmatchingservicesforspeci<icscienti<icandindustrialpartnersforthedesigners.
Moreover,asthesectorisinherentlyinternational,theclusteraimsatsupportingtheinternationalisationofitsmembersbydevelopingtheinternationallevelofenterprisesandencourageinter‐clustercollaboration.Italsoprovidesmarketresearchinformationforthememberstosupporttheiraccessinthemarket.
www.uptex.fr
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 18
BestCase17:OnlineArtCollectingsocietiesbyandforvisualartistsenablingaccessaswellasreward
OnlineArtBelgium
ThecollectingsocietiesforvisualartistshavebuildupaninternationalnetworktolicenseInternetusesforworld‐widelicensingofprimaryrights.Itrepresentsover30000authorsandestatesofart.
OnLineArtistheOne‐stop‐shopforworldwidelicensesonworksof<ineartforusesontheWorldWideWeb‐beitcommercialornon‐commercial.OnLineArtistheinterfaceconnectingmarketdemandsforeasyaccesstoworldwiderightsandtheauthorsandtheirestatesinterests'representedbytheirvisualartscollectivemanagementsocieties.Newtechnologiesoffernewopportunitiesforbroaddisseminationofworkstoalargeinterestedpublic.
OnLineArtrecognisesthestrongmarketdemandforeasylegalaccesstocontentandoffersamarketsolutionbasedonbestpracticeandknow‐how.AtthesametimeOnLineArtensuresthatauthors'interestsareprotectedandthattheyarerewardedwhentheirworksareexploitedbyothers.
Thus,userscangoaheadwithwebsiteprojectsinlegalcertaintyandartists<indthemselvesinanenvironmentwherethevaluetheyaddtotheculturesceneandgrowthofeconomyisequitablyrewarded.ThemembersofOnLineArtareallnot‐for‐pro<itorganisations;theyactforauthorsastheirtrustees.Theyarepartoftheculturallandscapeinthelanguageandcultureareatheyarelocated.Theyhavelongstandingcontractualcontactswithmuseums,educationalinstitutions,libraries,broadcastersandartpublishers.Withtheirservicestheycontributesigni<icantlytothemaintenanceandfurtherdevelopmentofculturaldiversity.
OnLineArtalsogiveslegaladvicesandputsinplaceabroaddatabasethatcanserveasinformativefuturemarketdirectionsinformingtheauthorsaboutlegalusesaroundtheworld.Itappliesacommontariffssothatuseraretreatedequallyandreceivedstandarisedandsimplelicencingservice.
www.onlineart.info
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 19
BestCase18:DepartureFinanciallysupportingCCIsbyprovidingalinkbetweentheeconomyandtheCCIsandpromotingastrongnetworkinlocal,regional,nationalandinternationalfrontiers
DepartureAustria
Departure,afundinginstitutionbasedinVienna,Austria,endorsescreativeprofessionalswhoconsiderthemselvespartoftheeconomyandwhostrivetorevealtheirproductsorskillstothecityofVienna,therebycontributingtotheprosperityofthemetropolis.ManyofthosewhomDeparturesupportsarealreadyentrepreneursorcompanyfoundersactiveinthecreativeindustries,andthusawareoftheinternationalandcultural<lairtheycanbringtoVienna.However,manyarealsoindividualsinterestedinturningacreativeideaintoabusinessopportunity.Departurestrivestoidentifyand<inanciallysupportoutstandingandvisionaryprojectsinthecreativeindustries.
ThemainobjectivesofDeparturearetodevelopaneconomicallysustainablebasisforlocalcreativeprofessionalswiththeeffectsofpromotingeconomicgrowththrough,forinstance,thecreationofnewcompaniesandjobs.Todoso,Departureemphasizesknowledgeexchangeandco‐operationbetweenthecreativeindustriesandtheeconomy.Inaddition,itadvocatestheestablishmentofcreativeservices(e.g.design)forclassiccompaniesthatmightnormallyfailtoincorporatecreativeindustriestotheirproductionprocesses.
Departureisveryactiveintheareaoffundingthroughfourprogramsthatsupportindividualandcreativetopperformances.Ofthese,oneprogramaddressesyoungandcreativetalentsandaidstheminstartinganenterprise,withupto€15,000attheirdisposal.30%ofthefundinghastobeusedforexpertcoaching,therebyprovidinganopportunityforbusinessskillsacquisition.AnotherfundingprogramthroughDeparturetargetsexistingclassiccompaniesbyprovidingthesewithcoachingonwaysto
reorienttheirbusinesstonewmarkets.Atotalof13.3millionEuroshavebeenusedto<inance182projects(2009),whichsubsequentlyledto52.9millionEurosworthofprivateinvestmentandcreatedover943jobs.
Inadditiontofundingprograms,Departurebene<itsfromawidenetwork.Throughthisnetworktheorganizationassistsintheestablishmentofnewplatformsforthecreativeandculturalindustries.Thenetworkcrosseslocal,regionalandinternationalfrontiersandfurtherdistinguishesViennawithregardstoadvancementsinthecreativeindustries.Additionally,competitions,suchas"DesignStrategyforVienna",aremadeavailabletoprofessionalsofmanysectorsataninternationallevelandprovideanopportunitytogainrecognitionandexhibitwork.
ThoughresourcesthroughDepartureareratherinteractiveinnature,Departurealsoengagesinresearchactivities,coveringsubjectsrelatingtothecreativeindustries.AnannualLook/Bookispublished,reportingoneachyear’smajorthemeswithregardtotheindustrythroughvisuallyappealingwork.
Departureexplicitlystatesitsroleasasupportstructuretowardstheintegrationofculturalandcreativeoutputintoeconomiclife,ratherthananartfundinginstitution.It'seconomicorientationandthegoalofcontributingtotheprosperityofVienna,hasgreatlyimprovedcommunicationandco‐operationbetweenthecreativeindustryrepresentativesandthecityadministration.Finally,ithasachievedthiswhilestillprovidingessentialresourcesandplatformsforcreativeprofessionalsandprogressfortheindustryasawhole.
http://departure.at
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 20
BestCase19:IFCICBankLoanGuaranteesystemfor7inancingCCIs
IFCICFrance
TheMinistryofCultureandCommunicationandtheFrenchMinistryofFinanceestablishedIFCICwiththeaimtocontributetothedevelopmentoftheculturalindustryinFrancebymakingiteasierforcompanieswithinthesectortoobtainbank<inancing.
IFCICisaneutralandindependentinstitutionandisalimitedprivate‐sectorcompanyentrustedwithaserviceofgeneralinterest.ItscapitalisownedbyFrenchbanks,largepublic<inancialinstitutions,andtheFrenchState.
TheloansguaranteedbyIFCICcovermostoftheneedsofcompanies,atallstagesoftheirdevelopment.SinceitwasseenthatCCIsdidnotonlyconcerncreatorsbutalsopublishers,producers..,IFCICwasestablishedtoguaranteetherisksthatCCIshaveduetotheuncertaintyofbeingaSMEcomplementedwiththerisktakenwiththeirculturalproduct/service.
IFCICdoesnotgivesubsidiesbutratherguaranteestheloanstakenbyCCIinthebanksThebanksthatworkwithIFCICarenotonlygiven<inancialguaranteesintheeventthatcompaniesshouldfail,butalsoriskanalysesthatarespeci<ictotheculturalindustries.IFCICalsohelpsentrepreneurialcompaniestoget<inancialbackingforprojectsfromtheirbanks(IFCICtypicallyguarantees50%oftheloansobtained);andalsooffersitsown<inancialexpertise.
Inthiscase,IFCICnotonlyprovides<inancialpossibilitiestoCCSMEsbutalsoactsasamarketanalystandCC“consultant”forthebanks.
IFCIChasequityofabout€16millionand,moreimportantly,twoactiveguaranteefundswithatotalgrossvalueexceeding€75million:theFondsdegarantieCinémaetAudiovisuel,whichisfundedbytheCentreNationaldelaCinématographie(CNC)andtheFondsIndustriesCulturelles,fundedinlargepartbytheMinistryofCulture,.
ThesefundsenableIFCICtoguaranteeupto€273million(IFCICshare),correspondingtototalloansoftheorderof€565million,andstillhavesuf<icientcapacitytotakeonnewrisk.Riskratiosareregularlyveri<ied.IFCICguaranteesloansto<ilmandaudiovisualproducersand/ordistributorswhoseactivitiesmakethemeligibleforCNCbacking,fortheproductionordistributionofEuropeanworkssusceptibleofattracting<ilminvestmentorfundingfromtheaudiovisualproductionsupportfund.IFCICguaranteesclosetotwo‐thirdsoftheindependent<ilmsproducedeachyear.Apartfromtheaudiovisual,AllcompaniesregisteredintheEUandactiveinthecultureindustryareeligibleforIFCICguarantees.
http://www.ifcic.fr/englishversion.html
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 21
BestCase20:ICOPubliccreditinstitutions7inancingCCIs
ICOSpain
TheOf<icialCreditInstituteisapubliceconomicentityundertheMinistryofFinanceandEconomy.TheInstitutehasthelegalstatusofacreditinstitution,withautonomyinit'smonetarymattersandmanagementtoachievetheiraims.
ICOpromoteseconomicactivitiesthatarerelevantforsocietyincultural,innovativeor/andecologicalterms.TheysupportinvestmentprojectsofSpanishcompanies,seekingtoobtainamorecompetitivemarketandthuscontributingtotheeconomicprogressofSpain.Theirinvestmentincompaniesaimstoboostsectorslikethe<ilmindustry,transport,technologicalinnovationprojects,renewableenergiesandthestrengtheningofSpanishcompaniesabroad.Furthermore,ICOgetsinvolvedineconomicpolicyprogrammesincrisissituations,naturaldisastersorasaninstrumenttosupportSpanishexports.
Asapublic<inancialinstitution,ICOoperatesaccordingtotheprincipleof<inancialequilibrium.ThismeanstheICOcollaborateswithother<inancialinstitutions,serving<inancialneedsthattheprivatesystemdoesnotcover,orbutonlycoverspartially.
TheICO’sfunctionscanbeorganisedintwobranches:First,itisaspecialisedcreditinstitution,meaningthat<irmsinSpainor
Spanishcompaniesthatareestablishedabroadarefundedbothinthemediumandlong‐term.RegardingthisaspecttheICOactsintwoways:onebeingasalineofmeditation(theappropriationsarerequestedinbanksandthrifts),andsecondthroughdirectoperations(companiesapplyingforfundingdirectlytotheICO).Second,theICOworksastheStateFinancialAgency,managingfundsthatthegovernmenthasexpresslyaskedtogotothoseaffectedbysituationsofseriouseconomiccrises,naturaldisastersorsimilarsituations.
Asmentionedpreviously,thekeyobjectivesoftheICOareaimedatcontributingtogrowthandimprovingthedistributionofnationalwealth,withaparticularemphasisinaddressingsituationsthathaveasocial,cultural,innovativeorecologicalsigni<icance.Themannersbywhichthisisdoneareto:
•PromoteinvestmentinSME's.•Promotetherentalofhousingandlanddevelopment.•PromotetheinternationalisationofSpanishcompanies.•StrengthentheSpanish<ilmindustry.•SupportthedevelopmentoflargeinvestmentprojectsinSpain.
www.ico.es
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 22
BestCase21:CultuurInvestFinancialintermediaryinvestingshortandlongtermloansintheCCIs
CultuurInvestBelgium
CultuurInvestisanindependentinvestmentfundmanagedbytheParticipatieMaatschappijVlaanderen(PMV).Thefundisaimedatentrepreneursintheculturalindustries,whohaveproductsorserviceswithaculturalcontent,creationandmarketing.WiththesupportofCultuurInvest,theseentrepreneursseekindependenceandeconomicgrowththroughabalancedbusinessmodel.
Since2006,Flandershasinvestedinfundingforculturalactivitiesandbusinesses.Giventhelackofprivateinvestmentinculturalindustries,CultuurInvestwascreated.Itisimportanttomakeclearthattheydoinvest,asopposedtobeingagrantprovidingbody,andthereforeexpecta<inancialreturn.Theinvestmentsaremadeinthesectorsof:newmediaandcomputergames;audiovisualanddigitaldesign;themusicindustry;fashiondesign;printedmediaandgraphicdesign;publishersandbooksellers;musicalandperformingarts;distributioninthevisualarts.
Theinvestmentbodycurrentlyholdsacapitalof€21.5million.ThiswashalffundedbyPMV,withandtheotherhalfbeingprovidedbysevenstrategicprivatepartners.Withan
assumedrateofreturnof3.5millioneuroperyear,aftertwelveyearsthefundisexpectedtohaveanimpactonthemarketof€100million.ThisobjectivecanonlybeachievedifCultuurInvestoperatesasarollingfund,meaningthatthefundsthatareinvestedmakeapro<it.ThebasisforCultuurInvesttoinvestistherefore<irstandforemostawell‐foundedbusinessplanandacompetentteamofentrepreneurs,withculturalcriteriatakingonanimportantbutsecondaryrole.
Theyinvestprimarilyinprojectsofcompaniesthroughshorttermloans,butalsoworkwithloansforlongerperiods.Theseloansarealwaysgrantedtotheenterprise,andnottheindividuals.Besidesloans,CultuurInvestcanalsoparticipateinthecapitalofthecompanies,butdoesthisonlybyraisingtheexistingcapital.Bothare<inancialinstrumentsdesignedtogiveaboosttotheculturalentrepreneursandthusopenthemtogreateropportunities.Furthermore,CultuurInvestalsocollatesdataandinformationfromarangeoforganisationswithservicesavailablethatarespeci<icallygearedtowardsthecreativeandculturalindustries.
www.cultuurinvest.be/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 23
BestCase22:AdvantageCreativeFundVentureCapitalforCCIs
AdvantageCreativeFund(ACF)UnitedKingdom
TheinvestmentfundisoperatedbyAdvantageCreativeFund(ACF)andwassetupin2003asthe<irstventurecapitalfunddedicatedtoinvestinginthecreativeindustries.
Thefundwassetupwhenitwasdiscoveredthatthecreativeindustrieshavetraditionallybeendisadvantagedwhenitcomestosourcesofinvestmentsupportduetotheirintangibleproductsanddynamicnature.Thefundoperatesbymakinginvestmentsfrom
£10,000anduptoasumof£250,000increativecompaniesbasedintheWestMidlandsandinreturnthesetakeasmallequitystake.Theinterestingpartofthisprojectisthatitisopentoproposalsfromall
kindsofcreativebusinessesincludingstart‐upenterprisesandestablishedcompanies.Thereisanamountof€280000onequityinvestment.
Theprojecthoweverpaysspecialattentiontobusinessesthatdemonstrate:asoundunderstandingoftheirmarketofoperation,adesiretomakemoneyandalsoawillingnesstotakerisks.Unlikemostventurecapitalfunds,thisprojecteventhoughitispubliclyfunded,aimsatstrengtheninganddevelopingthecreativeindustrysectorthroughouttheWestMidlands.
Theprojectis<inancedbytheEURegionalandDevelopmentFUndoftheEUCohesionPolicy.
www.advantagecreativefund.co.uk
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 24
BestCase23:CreateBerlinDesignerplatformslinkingdesigners,politicalandeconomicdecisionmakers
CREATEBERLINGermany
CREATEBERLINisaninitiativebyandforBerlinDesigners.CREATEBERLINwasfoundedin2006by15establishedBerlin‐basedcreativebusinesses.Nowitisanetworkwithover60membersrepresentingthecreativediversityoftheBerlindesignscene.CREATEBERLINbringstogetherenergiesandideasandprovidescreativetalentswithopportunitiestorealisetheirvisionsbystronglybelievingintheimportanceofthecreativeindustriesinthecity’seconomicdevelopment.CREATEBERLINalsoaimstoconnectandbringtogetherBerlin’screativetalentswithpoliticalandeconomicdecisionmakers.
IntermsofsupportforentrepreneursintheCulturalandCreativeIndustries,CREATEBERLINservesasasupportinghubforcreativemindsandideasinandaroundBerlin.
CREATEBerlinalsopromotestheeconomicpotentialofBerlinsindustriesbysupportinginnovativeprojectsandalsooffersdesignersanopportunitytofurthernetworkand
markettheirproducts.ThisisdonethroughmonthlyShowroomswhichseekstobethehotspotsfortheregionalandinternationaldesignsceneinBerlin.Theshowroomswhichmainlyaimsatshowcasingtheideasandproductsofdesigneralsoattractsart‐anddesignloversaswellasthegeneralpublic.
ProjectscarriedoutbyCREATEBERLINcreatesawarenessandsteerthefocusofaninternationalaudiencetowardstheGermanCapital,itscreativesceneaswellasitseconomicpotential.Throughitsprojects,CREATEBERLINstrengthensBerlin’sreputationasauniqueandaspiringmajorcityfordesignandastheUNESCOdesignated“CityofDesign”.
AsacommunicationplatformspanningalldesigndisciplinesCREATEBERLINpromotesBerlin’screativesceneasaneconomicfactortobetakenseriouslybecausesinceitsestablishmentin2006theinitiativehasalreadymanagedmanyvariousprojectsinEurope,theUSandAsia.
www.createberlin.de
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 25
BestCase24:FinproStimulatingtheinternationalisationofCCSMEs
FinproFinland
FinproisanassociationfoundedbyFinnishcompanies.FinprodealswithFinnishcompaniesatdifferentstagesofinternationalisationandaimsatguaranteeingthatFinnishcompanies,especiallysmallandmediumsizecompanies,haveaccesstohighquality,comprehensiveinternationalisationservicesaroundtheworld.FinproactsasconsultantandspecialisttoFinnishclients,smallandmediumsizedcompanies,aswellasgrowthcompaniesinparticular.WorkingwithFinprogivesclientsaninterestingopportunitytouseandbuildpersonalcompetency.
OneprojectofFinprothatisworthmentioningistheLuovimoProject.Luovimoisatwoyearinternationalisationprogramforcreativecompanies<inancedbytheMinistryofEconomyandEmploymentandtheMinistryofEducation.Thisprojectaimstoboosttheinternationalisationof20creativecompanies,promotenetworkingandsharedlearningbetweendifferentcreativeindustrycompaniesaswellasco‐creationofnewcreativeconcepts.Thisprojectaimstorecognisebestpracticesandmodelsforgrowthandinternationalisationincreative
industries,andincreaseunderstandingoncreativeindustry.
Finprohelpsentrepreneursandcompaniesintheculturalandcreativeindustriesbyhelpingthemrealisetheirinternationalisationplanandboostingtheinternationalgrowthofcompaniesthatarealreadyactiveinternationalbutareinneedofextraresources.Thisprojectisfocusedonthemusic,design,performingarts,gamesandcontentbusiness,and<ilm,tv,av‐industries.ThisprojectsupportsentrepreneursandcompaniesbyprovidingthemwithaTailormadeinternationalisationsupportforcreativeconcepts.ThroughthisprojectparticipatingcompaniesareofferedInternationalisationprogrammewhichistailoredtocompanyspeci<icneeds,lessonsonInnovationprocess,wherecompaniesrecognizesharedchallengesormarketopportunitiesandworkinsmallteamssolutionsornewofferingstomeetthem.Alsocompaniesgettheopportunitytolearnandnetworkwithothercreativeindustrycompanies,Publicinnovationnetworkandmedia.andnetworkwithothercreativeindustrycompanies,Publicinnovationnetworkandmedia
http://www.@inpro.@i/enUS/Programs/Luovimo/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 26
BestCase25:CreativeDepotSecuringinformalIPRonline
CreativeDepotAustria
CreativeDepotispartofCreativwirtschaft.Theyprovidesecureregistrationofauthorshipofcreativeworkings,frompoetrytophotography.Itisanelectronicservicewherecreativepeoplecanuploadtheirconcept,ideaandanytypeof<ilethatdescribesorexpressestheircreativegood.TheconceptcantheneitherberevealedinwhichcaseCreativedepotservesasatoolformarketingoritcanremainhiddeninwhichcaseitsimplyservestoestablishapriorityon
authorshipincasetheworkisbeinginfringedbyathirdparty.
Thisisatooltosecureorprovepropertyinanareainaninformalway.Italsoservesasatooltoincreaseawarenessandvisibilityofcreativeproducts.Itisnotaplacewherecreativescanregisterforapatentbutitimprovestheproofofauthorshipwithinthescopeofcopyright.
www.creativdepot.at
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 27
BestCase26:OwnItOnlineprotectionofindividualassetsandIPinformationcentreforCCIs
OwnItUnitedKingdom
OwnItisafreeintellectualpropertyadviceforcreativebusinesses.Itisanextremelysuccessfulorganisationwhichhasraisedawarenessandpromotedunderstandingofintellectualproperty(IP)amongstthecreativeindustries.Itwascreatedin2004andhasanaverageof7,000visitorspermonth.OwnitisapubliclyownedservicebasedattheUniversityoftheArtsLondonwithapartnershipprojectwiththeLondonDevelopmentAgency(LDA).
WhatmakesOwnituniqueisthatitisaspecialisedanddedicatedIPsupportwebsiteservingtheneedsoftheUKcreativeindustries.OwnItworkswithnational,localandsector‐speci<icorganisationstodeliveritsresults.Itconsistsof11,000creativebusinessmembers,3,000organizationmembersandworkswith14law<irms.IthasanadditionalIPprobonoserviceprovidedbyalaw<irm.
Itaimstoprovidecreativeentrepreneurswithaccessible,specializedknowledgeIPsystemswhichareintegratedwithintheCreativeLondonframework.Creativesareableto:i).protectandexploittheirintellectualassets,ii).takefulladvantageoftheheldcapital,andiii).usetheirIPtosustain,developandgrowtheirbusiness.
OwnItbelievesthatIPeducationshouldbeacompulsorypartofallundergraduateart,designandcommunicationcourses:“Soyes,OwnItisabrilliantlysuccessfulmodelofsupportbutitisonlyservingonesideoftheequationanditisonlyservingtheendofbusiness.Itisnotreallychangingtheaudienceasawholesothereforeweneedtodomorewithineducation.”OwnItbelievesthatstudentsaswellascreativebusinessadvisorsshouldbeknowledgeableandbeabletoadvisestudentsandprofessionalsonIP.ItbelievesthatIPstrategyshouldbepartofabusinessplanforallcreativebusinessesinordertobesuccessfulinthemarket.
OwnIthasalsobeeninvolvedinotherprojectswiththeaimofincreasingknowledgeprovidingservicesforstudentsaswellasprofessionals.ShedevisedanddevelopedTheEnterpriseCentrefortheCreativeArtsin2000(ECCA,www.Ecca‐london.org)attheUniversityofArtsLondon.Thisonlinesiteaimsto‘guideLondon’screativepeoplethroughbusiness’andoffersfreeadviceandimmediatesupportandguidancesuchas:aface‐to‐faceadviceservice,coaching,seminars,workshops&networking,industryevents&trainingopportunities,aresourcelibrary,adirectoryofagencies&services,factsheets&podcastsandcasestudies.
www.ownit.org
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 28
BestCase27:Kunst&ZakenDevelopingnewbusinesssolutionsforCCIs
Kunst&ZakenTheNetherlands
Modeledafterathesuccessfulconceptcalled“Arts&Business”whichrunsintheUKandGreatBritain,“Kunst&Zaken”hasbeenfoundedin1996inordertoprovideexecutiveandmanagementsupporttopublicandnon‐pro<itculturalinstitutions.Speci<icallyforartacademies,theyprovidesupportinordertomakethetransitionfromart‐studenttocreativeworkermoreeffective.Theyalsoaimtoenhancethepaletteofpossibilitiesforthecreativeworkersbytryingto<inddifferentmodelsinwhichtheycantradetheirintellectualvaluetoregularbusinesses.
Their“Creativity2Business”programistheonlyspeci<icsupporttheyoffertoCCI’s.“Kunst&Zaken”functionsinthisprogramasaintermediatebetweenbusinessesandartists.Thegoalofthisprogramistocometonew,innovativesolutionsforbusinessissues.It’suseandfeasibilityliesinthedevelopmentofknowledgeinordertocreatenoveldevelopbusinesssolutions.Byintroducingcreativeworkerswiththeircreativethinkingcapabilitiesinthisdevelopmentprocess,theparticipatingbusinessescreatetheoptionsforthemselveswithwhichtheycanstrengthentheirmarketpositionandcreatecompetitivebene<its.
ChangeManagement:
FollowingthesuccessfulcontributionfromCreativity2BusinesstotheannualBusinessLeadershipProgramin2008organisedbyMediq,Creativity2BusinesswasaskedagaininDecember2009totakecareofapartofthisprogram.ThecentralquestioninthispartoftheprogramwashowtomakeonebusinessofMediq,insteadofachainofseveralsmallercompanies.Theperceptionoftheinternational(group)directorswastheapproachbeingused:HowcantheyexperienceMediqfromtheheart?AndhowcantheindividualexperiencesofthegroupdirectorstellonesinglestoryaboutMediq?
Thereductionofapproximately45individualstoriesintoastoryisacomplexprocess.Theaimwastomakethisprocessmoreef<icient,effectiveandappealing.Toachievethis,Creativity2Businesshasusedthestorytellingandvisualizationdisciplines.ArtistsandparticipantspublishedastoryaboutMediqwithco‐creationastheirwork‐form.Ultimately,theCEOusedthisasaninputtothepresentationhegaveattheendoftheday.TheresultwasastoryinwordsandpicturesaboutMediq.
Entrepeneuralskills:
Boer&CroonCorporateStrategyhascreativityinhighesteemandtheystrivetodevelopthemselvesinthisarea.TheconsultantsofBoer&CroonCorporateStrategyhavealreadyhadacreativitytraininginthepastwherecreativityandproblemsolvingwascentral.Creativity2Businesshasgivenaworkshopontheroleofcreativityinthecreativeprocess.Thecentralquestionwashowtheworkoftheconsultantscouldbeevenbetter.InordertoaddressthisissueCreativity2Businesshadtheworkoftheconsultantcomparedtothecreationofthearts.Analysisofthepracticeofartists,scientistsandengineersshowsthatgenerallyconductedtheyarealongthesamelines.Understandingthevariousstagesofaprocessofcreationandcreativitythatcanbeaddressedwhilethestrengthofindividuals,teamsandorganizationsincrease.Creativity2Businessmadeuseofcreativewritingtechniquestodemonstratethedifferentprocesses.
www.kunstenzaken.nl
KunstenZakenwillconvergetheirforceswithKunstenaarsenCoinanorgansationcalledCultuurenOndernemenonCultureandEntrepreneurship
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 29
BestCase28:DemolaLinkingUniversitiesandCCIs
DemolainCreativeTempereFinland
DemolaispartofaprojectinCreativeTampere,theCityofTampere'sbusinessdevelopmentpolicyprogramme,(2006‐2011),whichaimstofacilitatenewbusiness,services,innovativenessandcreativity.ItisFinnishlargestregionalcreativeeconomydevelopmentprogrammeandformanyyearsTamperehasbeenrecognisedinternationallyforitsinitiativesinthebusinesssector,culturalindustryandcontentdevelopment.Thetargetoftheprogrammeistocreateprojectsworthover€40million,aftertwoyearsofoperation,morethan€14millionhavebeenaccumulatedin61projects.Seedmoneyforinitiatingtheprojectshasbeenreservedinthebudget.
Theprogrammeoffersaframeworkandfundingforkickingoffprojectsthatcreatenewbusiness,andactsasanacceleratorandasacreatorofnetworks.Companiesandorganisationsplanandimplementtheprojectsselectedintheprogramme.
Theprogrammeisdividedintothreeareas,suchasCreativeindustries,InnovationsandentrepreneurshipandAttractivecity.CreativeTemperehasprojectssuchasLuke‐Thecreativeindustriesdevelopmentprogramme,or“CreativeTools”aLeonardoprogramme.
Indevelopingentrepreneurship,youthandcreativeindustriesareourmaintargetgroupsintheCreativeTampereprogramme.OneexampleofaninnovationplatformisDemola.
Demolamakestheco‐operationbetweencompaniesanduniversitiescloser.Itteamsupstudentofdifferentbackgrounds:technical,economical,artordesigntomakethemworktogether.TheDemolateamsmakecompanyprojectswithanopeninnovationprinciple.
Thereisacombinationofapedagogicalprojectaswellasappliedresearchonthebasisofopeninnovation.Thecompanyprovidestheproblemtosolveforthestudentteams,theteamstrytosolvetheproblemandcreateafeasiblesolution/ademo.Intheend,theinventor/teamownstherightstotheinventionandgetscompensationforit
DemolaprojectisledbyTechnologyCentreHermiatogetherwithuniversities.NokiawastheinitiatorforDemola.Itstartedinautumn2008.
www.luovatampere.@i/eng
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 30
BestCase29:HelsinkiSchoolofCreativeEntrepreneurshipStimulatingentrepreneurshipintheCCIs
HelsinkiSchoolofCrea1veEntrepreneurshipFinland
TheHelsinkiSchoolofCrea2veEntrepreneurship(HSCE)wasestablishedinlate2005toactasacatalysttodeveloptheentrepreneurialcapacityandtos2mulateandsupportresearchcommercialisa2oneffortsintheHelsinkiregion.
HSCEdrawsuponthetalentpoolofFinland’sleadingdesign(TaiK),business(HSE),andtechnical(TKK)universi2es.Start‐upfundingandsupporthasbeenprovidedbyTeknologiateollisuuden100‐vuo2ssää2ö,theci2esofHelsinki,Espoo,VantaaandKauniainen,theMinistryofInterior,andfromtheHelsinkiMetropolitanDevelopmentAgency,Culminatum.
Indescribingthiscollabora2veini2a2veasa'school',thenetworkfirmlyestablishestheimportanceofeduca2onastheirprimarymission.Opera2ngincloseco‐opera2onwith,butatarm’slengthfromtheuniversi2es,HSCEisabletoexperimentwithhighimpactapproachestoentrepreneurialeduca2onthatwouldbedifficulttoundertakeorfinancewithinthecurrentframeworkinwhichuniversi2esoperate.HSCEstudentswillbenefitfromtheinsightsofleading'thinkers'and‘prac22oners'ofentrepreneurship.
ThestudentsintheIDBMprogrammetakecoursesatallthreeuniversi2esintechnology,businessmanagement,designandart,thusexpandingtheirperspec2ves.Thentheyoffertheirknowledgeintheformofindustryprojects.Eachprojectiscompletedbyteamsof3to5students,represen2ngallthreeuniversi2esinvolved.Aprojectmanagerandan
expertarechosenfromtheuniversi2estosupervisetheprogressoftheproject.Theprojectsareconfiden2al;ifnecessary,thestudentsandthesupervisorswillsignanon‐disclosureagreement.
Theprojecttopicshavedealtwithnewproductconcepts(designanduserinterfaceissues),thedefini2onofcustomerneedsandthefutureenvironmentofaproduct,theanalysisofmarketsandcustomerfeedback,andtheexamina2onofcorporateiden2ty,communica2onsanddesignmanagement,amongotherthings.Usuallythedura2onoftheindustryprojectisoneacademicyear(fromSeptembertoMay).Aprojectcanalsobecompletedwithina2ghterscheduleifnecessary.Thecostofaprojectforthecompanyisabout€10.000+VATdependingonthesizeofthestudentteam(3to5persons)andtheamountofworkdone(4to8creditsperstudent).
Intheindustryprojects,thecompanyinvolvedisabletocomeintocontactwithyoung,innova2vestudentsandtoobtainfirst‐handinforma2ononthemostrecentresearchandtraininginthefield.Duringthecourseoftheproject,thecompanyalsohasanopportunitytoevaluatethestudentsinviewofpossiblefuturecollabora2on.
• In2009theIDBMprogrammewaslistedinthetop30ofthebestdesignprogrammesintheworldbyBusinessWeek.
• IDBMhasbeencitedasoneofthetopnineprogrammestoWatch.3
• Graduatestypicallyfindjobsindesignmanagement,research,orconsulta2on.
www.culminatum.fi,h>p://project.hkkk.fi/idbm/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 31
BestCase30:FirstportSupportondemandforsocialentrepreneurs
FirstportUnitedKingdom
Firstportservesnewandemergingsocialentrepreneursthroughface‐to‐facesupportandadvice.Owingtothefactthattheyworkdirectlywithindividualsandtheirenterprises,theirpracticalneedscanbequicklyidenti<iedandaddressed,fromtheearlystagesoftheentrepreneurialprocess,whennewentrepreneursrequireabasicunderstandingoftheirideas'marketpotential,tothelaterstagesoftheenterprise'slife‐cycle.
AccordingtoFirstportcorrespondent,beginningentrepreneursarelackingtheunderstandingoftwoessentialmatters:moneyandmarkets.Thatbeingthecase,thosewhoapproachFirstportforassistanceareoffered,initially,apersonalconsultationbywhichthesupportstaffcanhear<irsthandwhataretheideasandvisionsoftheentrepreneur,andcantherebyassesstheskillsthatwillbeneededtofaceupcomingchallenges.Thisone‐to‐oneinteractionisoneofthemostattractivefeaturesofworkingwithFirstport,inpartbecauseitiscompletelyfreeofcost.
Inadditiontoapersonalmeetingandadvicesession,Firstportplugsnewentrepreneursintoexistingnetworksthatcorrespondtothenewentrepreneurs'geographicalconvenience.Throughthese,theentrepreneurhasaccesstoregularnetworkingmeetingswhereknowledgeandexperiencescanbeexchanged.Ratherthanorganizingthesemeetings,Firstportfacilitatestheconnectionbydirectingentrepreneurstoorganizationsintheirownregionthathostmeetingsandotheractivities.
Last,butnotleast,Firstportprovidestrainingthroughworkshopsandgroupbasedmasterclassesonmattersrelatedtobusinessandmanagerialskills.Informationonoftencomplex<inancial,legislativeandregulatoryframeworkismadeapproachablethroughexpertadvice.And,asmanycreativeentrepreneursare,bynature,temptedtochangeandimprovedesigns,Firstport,throughitstrainingprograms,enablesthemtolearnskillsinkeepingabusinessplanconsistent,yetproductive.
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 32
BestCase31:CreativeApprenticeshipGivingtheopportunitytoyoungpeopletolearnonthejobthroughapprenticeshipintheCCIs
CreativeApprenticeshipUnitedKingdom
CreativeApprenticeshipispartoftheCreative&CulturalSkillsintheUKSectorSkillsCouncilforCrafts,CulturalHeritage,Design,Literature,Music,PerfomingandVisualArts.TheCouncilbridgesthegapbetweenindustry,educationandthegovernment,togiveemployersarealin<luenceovereducationandskillsintheUK.FoundedinMay2004,Creative&CulturalSkillswasgranteditslicencetooperatebytheSectorSkillsDevelopmentAgencyon1stJune,2005.
TheCreativeApprenticeshipwasfoundedonthebasisthatthequali<icationsofthegraduatesarenotnecessarily<ittingthedemandsoftheCCIssuchasentrepreneurial<lairortherightsskills.
Acultureofunpaidworkexperiencedominatesthecreativeandculturalindustries.Foremployers,someonewithrelevanton‐the‐jobexperienceismorevaluablethananuntestedgraduatesometimes.Thisdiscriminatesagainstthose
whocannotaffordtoworkforfreeandtheimpactissigni<icant.
TheCreativeApprenticeshipaimsatgivingyoungtalentedpeopleastartinthecreativeandculturalindustries.
Itisamixofonthejobandoffthejobtrainingwhereyoungpeoplehavetheopportunitytoacquireskillsandknowledgeandattainquali<icationswhiledoingso.Thesequali<icationsaredesignedandapprovedbyindustry.On‐the‐joblearningisasigni<icantcomponentoftheCreativeApprenticeship.
Launchedof<iciallyinSeptember2008,theCreativeApprenticeshipsisthe<irstindustryapprovedandgovernmentfundedapprenticeshipframeworkforthecreativeandculturalindustries.
http://www.ccskills.org.uk/Apprenticeships/CreativeApprenticeships/tabid/82/Default.aspx
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 33
BestCase32:CreativwirtschaftTraining,networkandrepresentationofinterestsofCCIs
ArgeCreativWirtshaftAustria
Argecreativwirtschaftaustria(cwa)is“acompetencecentreforcreativeentrepreneursandindividualsandrepresentstheinterestsoftheAustriancreativeeconomycountry‐widesince2003.EmbeddedintheAustrianFederalEconomicChambercwaactsasalinktotheeconomyandsupportsallcreativepeoplewhowanttobeactiveasentrepreneursinthis<ield.”Actvitiesarefocusedonthreeareas:i).entrepreneurialskills‐(trainingandsupportinnetworking),ii).representationofinterests‐iii).informationandawareness‐cwaactsasaknowledgehubfortheinterestsofthecreativeindustries.
Choch3(Ctothethirdpower),workshopsforCreativeCommunityCoachingForCCIandentrepreneurs,networkingandknowhowareprerequisitesforbusinesssuccess.ThecoachingprojectwasinitiatedbyArgein2008andhasdevelopedwiththehelpofEvolve,theinitiativeforthedevelopmentofinnovationforcreativebusinesses,theMinistryofEconomyinco‐operationwithregionalandlocalpartners.
Theworkshop’saimistoestablisharegionalgroupofpeerswhoareatasimilarstageintheirbusinessdevelopment,wheretheycanimprovetheirentrepreneurialcompetenceandincreasetheircreativity.Youngentrepreneursacrosstherangeofcreativeindustriesinthecreativesectorcanapplyforthistraining.Toobtainthe‘best<it’possible,selectionisdoneaccordingtofactorssuchascollectivelearningpotentialandfuturenetworkingpossibilitiesoftheentrepreneurs(withinandacrosssectors).Agoalistocreatenetworkopportunitiesforcreativeentrepreneurs,tostimulateentrepreneurialcon<idenceandbusinessskills,andtoincreaseone’sknowledgeandinsights.Participantsaresupportedtocreatetheirown‘entrepreneurialpersonality’anddevelop‘couragetobecomeindependent’.
Theabilitytoconceivenewideasandincreasetheresponsibilityofthegroupisalsodeveloped.Thisisdonetoestablishanenduringnetworkofcolleagues.
ThelearningapproachisaclassicalMentoringSettings(peertopeersupportandmentoring).Thespeci<icneedsoftheparticipantsarecateredforbythisbottom‐upapproach.Expertsofdifferentareasofexpertise(e.g.accounting)arealsointroducedwhentheneedarises.Inordertoenhancetheprobabilitythatthenetworkremainsaftertheworkshops,peergroupmeetingsarealsoarranged.
CreativDepotCreativDepotisanonlineservicewhichallowsindividualstomanagetheintellectualpropertyrightsofaself‐devisedconcept.Registereduserscandigitallyuploadtheirpieceofwork(e.g.text,video,concept)andreceiveadigitaltimestamp,aCreativeCommonsicon.TheworkislinkedtotheauthorandcanbehelpfulwithregardstoIPright.Datawhichhasbeenaddedtothesiteispubliclyaccessible.Thedescriptionoftheworkisvisible.However,onecanchoosewhethertheuploaded<ileisvisibletoothers.Itispossibletouploadatotalofthree<ilesperaccountandyear.Thisisnotapatentorutilitymodel.CreativDepotdoesnotestablishnewrights.Itsaimistoimprovetheproofofauthorshipwithinthescopeofcopyright.Incaseofinfringementdisputes,creativewirtschaftAustria(CWA)offersmediationservices.(www.creativedepot.at)
InformationHubOneofthefacilitiesoftheinformationhubistheproductionofbrochureswhichareofinterestforcreativeentrepreneursandarecontinuallyrevised.Researchisalsodoneinordertoascertainwhethertheneedsofthecreativeentrepreneursaremet.Informationandawarenessisexchangedviathewebsite.
www.creativwirtschaft.at
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 34
BestCase33:CreativeIndustriesKnowledgeTransferAdvancinginnovationthroughknowledgetransfer
Crea1veIndustriesKnowledgeTransferUnitedKingdom
TheCrea2veIndustriesKnowledgeTransferispartofthe24KnowledgeTransferNetworks(KTN)fundedbytheUKTechnologyStrategyBoard.TheseKTNsarena2onalnetworksinaspecificfieldoftechnologyorbusinessapplica2onwhichbringstogetherpeoplefrombusinesses,universi2es,research,financeandtechnologyorganisa2onstos2mulateinnova2onthroughknowledgetransfer.
TheCrea2veIndustriesKTNissetinplacetoimprovetheUK’sinnova2onperformancebyincreasingthebreadthanddepthortheknowledgetransferoftechnologyintoUK‐basedbusinessesandbyaccelera2ngtherateatwhichthisprocessoccurs.ThespecificaimsofaKnowledgeTransferNetworkincludetheimprovedinnova2onthroughnewcollabora2onsbetweenpeople,knowledgeandexperienceinbusiness,andacrosssector.
Italsohasthefollowingspecificobjec2ves:• Todriveknowledgetransferbetween
thesupplyanddemandsidesoftechnology‐enabledmarketsthroughahighquality,easytouseservice;
• Tofacilitateinnova2onandknowledgetransferbyprovidingUKbusinesseswiththeopportunitytomeetandnetworkwithindividualsandorganisa2ons,intheUKandinterna2onally;
• Toprovideaforumforacoherentbusinessvoicetoinformgovernmentofitstechnologyneedsandaboutissues,suchasregula2on,whichareenhancingorinhibi2nginnova2onintheUK.
Throughmul2‐disciplinarynetworksandtriangula2onbetweenresearch,businessanddifferentsectors,thecrea2veindustriesKTNaimatprac2calsolu2onstoimproveinnova2on.TheBeaconProject(forKnowledgeTransfer‐KT)aimsatcrea2ngavisiontoincreasetheexchangeofknowledgewithintheCCIsbycrea2ngabaselineinformingofopportuni2esandthema2cbarriersforKTinCCIs.Thekeyfindingsofthefirstphasereportunderlinedtheneedofexchangeofinforma2on(especiallytechnicalandinsightcontent),especiallyinformalexchangeofknowledgeandofconnec2ngformalandinformalknowledgebetweendifferentcommuni2essuchasacademia,CCIsandbusinesses.TheissueofIPRsandinternalandexternalorganisa2onalculturewerealsokeyelements.Akerthecrea2onofthisbaseline,theCIKTNhavecreatedscenariosencompassingtheopportuni2esandbarriersthatCCIshavetofaceintermsofknowledgetransfers.Thishelpedinbringingrecommenda2onsinordertoincreasetheinnova2onbyfocusingonknowledgetransfer.
www.crea1veindustriesktn.orgh>p://crea1veindustriesktn.org/beacons
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 35
BestCase34:SEESharingknowledgeandexperienceinordertodevelopnewthinking
SEEProjectUnitedKingdom
SEE–SharingExperienceEurope–Policy,Innovation&Designisanetworkofelevenorganizations’sharingknowledgeandexperienceinordertodevelopnewthinking,disseminategoodpracticesandin<luencelocal,regionalandnationalpoliciesfordesignandinnovationintheircountries.ThepartnerscomefromUK,Belgium,Denmark,Estonia,Finland,France,Ireland,Italy,Poland,SloveniaandSpain.Allcurrentlyworkasanintegralpartoftheirownregionalinnovationpolicyandtheirregionalgovernmentshavecommittedtoexploringimprovementsintheprovisionanddeliveryofinnovation,entrepreneurshipanddesignthroughindividualorjointpolicies.
Themainobjectiveofthisprojectistoshareknowledgeandexperienceonhowtointroduceandintegratedesignintoinnovationpoliciesintoregionalandnationalpoliciestoboostinnovation,sustainabilityandsocialandeconomicdevelopment.Thisprojectalsoaimstostimulatedebate,developnewthinkingandbuildrapportandcredibilityinordertoin<luencedesignandinnovationpolicyatregionalandnationallevels.AlsoworkingdirectlywithgovernmentsinparticipatingcountriesineachoftheelevencountriesthisprojecthopestolobbyandpromoteinnovationpolicyinEurope.
EventhoughtheSEEProjectdoesnotprovidedirectsupporttoSME,sintheCulturalandcreativeIndustriesithasthroughworkshopssucceededinprovidingcompanieswithdetailedandprovenknowledgeofhowtheycaneffectively<itdesignintotheirstrategicplanning.Ithasalsoprovidedopportunityformanagerstomeetdesignersandalsonetworkbetweencompaniessinceguestduringtheseworkshopsareencouragedtointeractwitheachother.
Alsothroughseminarsandtrainingthisprojecthasresultedinimprovementsinnewcompetenciesintheregion(eco‐designers)andthecreationofaneco‐designclub.Moreeco‐designprojectsareunderwayandacollectiveproject,“CradletoCradle”hasstartedup.
ThisprojectwasthroughworkshopsalsoabletoencouragedtraditionalmanufacturersinandmakersinTunisiatoreinterprettheirproducts,toinnovateandactivatecompetitionaswellasencouragestudentstoreconsidertraditionaldesignstandardsandstimulateinnovationapproaches.
Theoutputfromthisprojectaresonumerousthatawholelibraryofcasesstudieshasbeenpublishedfromit.
http://www.seeproject.org/index
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 36
BestCase35:IBBTInnovationthroughtechnology
IBBTBelgium
IBBT(InterdisciplinaryIns2tuteforBroadbandTechnology)isanindependentresearchins2tutecreatedbytheFlemishgovernmenttomo2vateICTinnova2on.Thisisachievedthroughvariouswaystoac2velysupportcompaniesandorganiza2onsinresearchanddevelopment.Theins2tutebridgestogethercompanies,authori2esandnon‐profitorganiza2onsthroughresearchprojectsthataddresstechnicalandnon‐technicalissues.
IBBT,asaresearchins2tu2on,placesgreatemphasisonengaginginmul2‐disciplinary,demand‐drivenresearchstudies.ThesearecarriedoutfortheFlemishbusinesscommunityandtheFlemishgovernmentandincorporatetechnological,legalandsocialdimensions.Throughtheseresearchendeavors,thereistheobjec2veofmakingFlandersintoaleadingandinterna2onallyrecognizedplayerwithinthesectorofICTandICTinnova2on.Themaindomainsbeings2mulatedthroughresearchareeHealth(ICTapplica2onsforthehealthcaresector),newmedia(newcommunica2onmedia),mobilityandlogis2cs(enhancingthemobilityofpeopleandgoods),enhancingtechnologies(ICTsupportforawiderangeofapplica2ons),andeGovernment(applica2onsforpublicauthori2es).
Intermsoftheculturalandcrea2veindustries,IBBThasonefocuscalled“Art&D”,co‐opera2onwithinartandresearch.IBBTisoftheopinionthatresearch,organiza2onandcrea2vitymustbeintegratedtodeveloparealanddurablecompe22veadvantage.Thus,theartprogramsupportsprojectsthatarecuong‐edge,refreshingandhaveanar2s2cpoten2aland
encouragecollabora2onbetweenar2stsandresearchers.
Addi2onally,IBBTencouragesmaximizingthevalorisa2onpoten2alofresearchresults.Todothis,IBBTprovidesresearchgroupsandpartnercompanieswithsupportrangingfromIPRsupporttoaccesstofunding.IBBTalsospecificallyworksonincuba2onprojectsthatconverttechnologyandresearchwithmarketpoten2alintocommercializedac2vi2es.Inordertoachievethis,IBBTusesthestagegateprocesstodriveincuba2onprojects,whichconsidersthetechnical,marketandbusinessaspectsofanidea.IBBTalsoprovidestes2ngfacili2esatitsiLabtoassesstheprac2calfeasibilityofaninnova2on.
Alsointeres2ngareIBBT’siSteptrainingsessions,whichbeganin2006.These,conductedtogetherwithVlerickLeuven‐GentManagementSchool,areaimedatresearchersinIBBTprojectsandofferthemsupportintheareasofdevelopmentandimplementa2onofresearchresults.Par2cipantslearnhowtolinktechnologywiththemarketandhowtechnologyprojectscanbedevelopedtothepointwheretheycanactuallybeputintothemarket.
FocusingonICTinnova2ons,asanall‐encompassingdomain,IBBTprovidesnumeroussupportmechanismstothecrea2veprofessionalandentrepreneur.Crea2vityandnewideasares2mulatedandnurturesbyac2vi2essuchastheincubatorandthelabfacili2es.Theinterdisciplinaryresearchapproachthuss2mulatestheinvaluableco‐opera2onandexchangebetweenknowledgecenters,companies,publicauthori2esandthecrea2veindustriesatlarge.
h>p://www.ibbt.be
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 37
BestCase36:TULIFinancingresearchintoinnovationproduct/servicesandCCIs
TULIFinland
TheTULIprogramisanation‐wideprogramfundedbyTekes(theFinnishFundingAgencyforTechnologyandInnovation)thatturnsresearchresultsintobusinessinnovations.Involvingmorethan46researchinnovationsinFinland,theprogrambeganin2008andwillrununtil2013.Itreliesonabudgetofapproximately50millionEuros.TheTULIprogram,thoughnotexclusivetotheculturalandcreativeindustries,hasestablishedcompaniessellingproductsandservicesinsectorssuchasgamingandfashion.
TheservicesprovidedbyTULItotheemergingentrepreneurwhobelievestheyhaveagreatideaisalmosttoogoodtobetrue.Theprocessfromideatoenterprisebeginswithanevaluationprocessthatcanbefurtherdividedintothreesteps:initialevaluation(expertservicesevaluatetheinitialcommercialpotentialofanidea;upto5000Eurosavailable),evaluation(acommercializationpathfortheideaisdevelopedtoopenupnewprospectsandremovingobstacles;20000Euros),andre<inement(challengesandpossiblebottleneckssolvedintheareasofproductdevelopmentandtesting;30000Euros).Inventorstakenopersonalresponsibilityforthefunding.Thus,thereisno<inancialriskinvolved,whichcanbeoneofthemostintimidatingobstaclesinhibitinganideafromreachinganywherenearthepointofcommercialization.
ThefundingmadeavailablethroughtheTULIprogramnotonlyeasesthetransitionfromideatoproductorservice,butalsoprovidestheentrepreneurswithinvaluableknowledge
ontheirpotentialenterpriseandthewaysinwhichthewillhavetocope,onceestablished.Informationsuchaspatentingprocedures,legalaspects,marketanalyses,thedevelopmentofbusinessandfundingplans,prototypedevelopmentandahostofadditionalservicesareoffered.Additionally,importantconnectionsandnetworksareestablishedwithinterestedpartiesinthebusinesscommunity.Particularlyinthe<inalstagesoftheTULIprocess,theaimisto“providetheideawithitsowncapablewingsandsettheprojectonitswaytowardssuccess.”
AlthoughtheTULIprogramiswillinitiallyassessanyidea,thesemustberesearch‐based.Inthisway,TULIreinforcesthevalueofinnovationanddevelopmentthroughresearchandalsosafeguardstheavailablefundsfromunderdevelopedideas.ResearchinstitutionsplayapivotalroleintheTULIprogramastheynotonlyencouragenovelideas(e.g.auniversitymayattractstudentswithfresh,innovativeideas),butalsofunctionasintermediariesbetweentheTULIandthemainmunicipalitiesofFinland.
TheTULIprogram’smostattractivefeatureisthatalltheservicesareofthehighestqualityandabsolutelyfreeofcharge.Inaddition,itsfocusonresearchanddevelopmentbyenlistingtheco‐operationofresearchinstitutionsisnoteworthy.Therefore,therehasbeentremendousinterestataEuropeanandeveninternationalscale.ItisamodelworthmodelingintheinterestsofinnovationandtechnologyaswellastheculturalandcreativeindustriesinEurope.
http://www.tuli.info/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 38
BestCase37:DigiDemoFinancialsupportforassistingCCIsindevelopingcreativecontentdigitally
DigiDemoFinland
Intheautumnof2002theMinistryofEducation2andthePromotionCentreforAudiovisualCulture(AVEK)agreedonsupportingproductdevelopmentofaudiovisualcontentthroughapilotprojectnamedFundingforProductDevelopmentforCreativeIndustriesfrom2002to2005.Intheautumnof2005theMinistryandAVEKlaunchedanewthreeyearDigitalDemoProject:DigiDemo(2006‐2008).
DuringtheFundingforProductDevelopmentforCreativeIndustriesprogrammethetotalamountofsubsidieswassmall€115.000,butforDigiDemotheannualamountof<inancialsupportwasraisedtoabout€400.000peryear,andsubsidiesareallocatedtwiceayear.Atthebeginningof2008theamountofmoneywasraisedfrom€2.000to€5.000perproject.Thesubsidyamountcancoverupto50%ofthetotalcostsofthedevelopmentprojectandisaimedformicro,smallandmediumsizedenterprises.
Themaingoalofthetwopilotprojectswastosupportthedevelopmentofculturallyrelevantdigitalcreativecontent,whichenablescompaniestoallocateresourcestodevelopmentwork.DigiDemosubsidesaretargetedatpre‐productionstageprojectswhichhaveagoodchanceofgoingintoproduction,andarecontentproductsthatutilisemultipledigitalchannelsandseeknewnarrativeformsinvarious<ieldsofcultureandentertainment.Fundingisgrantedfordevelopingaproject’sconcept(ormanuscript)orplan,orfortheactualdemophase.Criteriaforgrantingsubsidiesincludetheproject’slevelofinnovativeness,anditsprospectsofcommercialsuccess.
Atthemoment(2008)theprogrammerepresentsquiteauniqueinstrumentasitsupportsinnovativedigitalproductionsintheproductdevelopmentphasethatdonoteasilyconformtoasinglemediumortraditionalcultural<ield.ThefeasibilityandeffectivenessofDigiDemowasstudiedbyanoutsideevaluator.Andtheevaluativereport,whichfocusesonthecommercialeffectsofcontentproductionprojects,wascarriedoutbyresearchersofTurkuSchoolofEconomicsMediaGroup:
Onecouldsaythattheoriginalaimofthemeasurehasbeenreached:DigiDemosubsidieshavebeenimportantforpreproductionphasedevelopmentprojects,forwhichverylittleotherfundingisavailable.Theprogrammehasbeenparticularlyeffectiveinriskybutpromisingproductions.DigiDemocanbecomparedtosupportgrantedbyTEKES(FinnishFundingAgencyforTechnologyandInnovation)fortechnologicalinnovationprojects.
75%oftheprojectsinthe<irstDigiDemoprogrammehaveproduceda<inisheddemoanddemonstratedcontentproductioninaformwhichiscompleteandcoherentfromaprofessionalandindustrialpointofview.However,thecontenthasnotyet(reportwrittenin2008)spreadwidelytoadditionalplatformsaftertesting.Amainreasonbeingthataremarkableshareofcontentproductsaregamesorcontentservicestargetedtoacertainplatform.
Theprogrammehasplayedanimportantroleinpromotingthedevelopmentofatotalof21newcommercialproducts,13newcontentservices,andatotalof15newconceptdesignsduring2003‐2006.Nearly70%ofthenewcommercialproductsaregames
www.minedu.@i
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 39
BestCase38:InserralvesIncubatorSupportingCCIstartupsandbridgingthegapsbetweenbusinessesandCCIs
InserralvesIncubatorPortugal
InserralvesProjectisoperatedbyTheSerralvesFounda2onwhichisanEuropeanculturalins2tu2onservingthena2onalcommunity,whosemissionistoraisethegeneralpublic'sawarenessconcerningcontemporaryartandtheenvironment.
Thisprojectisaspecialisedincubatorfors2mula2ngandsuppor2ngentrepreneurialini2a2vesinthecrea2veindustries.Thisincubatoraimsatbridgingthewellknowngapsbetweencrea2vepeopleandar2sts,andthebusinessworld,byprovidingadequateenvironmentandcondi2ons.
Thisprojectswasintroducedbecauseoftheneedtogiveabusinessdimensiontotheac2vityofar2stsandcrea2veentrepreneurs.Itwasalsointroducedbecausear2standcrea2vepeoplemostofthe2metendtohavealimitedbackgroundandknowledgeincri2caltopicsforseongupabusiness,suchasbasicideasonmanagement,businessstrategy,projectmanagementandfunding,marke2ngandsalespolicies.
Aspartofitsinnova2venaturethis“incubator”aimstoprovideentrepreneursintheCCIwithaspecialphysicalenvironmentforan“open”
developmentoftheirentrepreneurialprojectsandfortheirinterac2onsoastopromoteinnova2onandconvergenceofdisciplines.Amongotherthisprojectalsoaimstocreatenewdevelopmentandmarke2ngopportuni2esforentrepreneursby“breeding”newcompaniesinafavourableenvironmentintermsofcrea2vity.
Thisprojectisexpectedtohaveasignificanteconomicimpactpar2cularlyinthePortoRegion.Againitisalsoexpectedtohaveconsiderableculturaleffectsbecausetheresultsoftheenterpriseac2vi2escoverabroadspectrumofareas,rangingfrommusicproduc2ontowebTV,mul2‐mediadesignforspaces,contemporaryartrestora2on,“didac2cclothing”,jewellery,ortheproduc2onofmul2‐disciplinaryworkshopsforchildren.
Alsomostoftheproductsandservicesresul2ngfromthecompanies’ac2vi2esaresomehowframedorpromotedby“Serralves”thusguaranteeingalargevisibilityanddissemina2on.Thisisbelievedwillgiveagreatervisibilitytotheseprojects,andalsohopefullyhaveareplica2oneffectwithclearculturalconsequences.
h>p://www.serralves.pt/gca/?id=3068
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 40
BestCase39:DutchGameGardenInformalandcrosssectoralnetworkingforboostinginnovativeentrepreneurs
DutchGameGardenTheNetherlands
"It'safoundationnotaimedatpartsofthechain,butatthewholechain."ViktorWijnen
TheDutchGameGarden(DGG)wasfoundedonlytwoyearsagowiththevisionofinspiring,innovating,stimulatingandconnectingtheDutchgameIndustryintheNetherlandsand,ifpossible,internationally.Itssuccesscanbeattributedtotheboldandunconventionalmethodsusedtoconnectandengagewithstudentsandpre‐starters,whichcomprisetherelativelyyoung,butblossoming,professionalsoftheindustry.
TherearethreemainprogramsrunbytheDGGandwhichcatalogthemajorityoftheorganizationsactivities.TheyaretheGameDevelopmentClub,theGameIncubatorand,lastly,theGameDevelopmentBusinessCenters.
IntheDevelopmentClub,theDGGtargetsstudentsbyorganizingcompetitions,orgamejams,inadditiontosummerschools,workshops,andmasterclasses.Sincetherealreadyexistwellestablishedconnectionswitheducationalinstitutions,theDGGhasaccesstofacilitiesandtoolsneededtostimulatestudentstoparticipate.
TheGameIncubatorisaimedprimaryatassistingstudentsinsettinguptheirowncompany.Theincubatorprogramprovidesaffordableandscalablehousingandembedstheyoungentrepreneurintoanalreadyvibrantnetworkofprofessionals.Inaddition,theincubatorprovides<lexiblecoaching,whichallowstheentrepreneuraccesstoinvaluableinsightontechnical,<inancialandlegalaspectsofowningabusiness,nottomentionotherpracticalskillsneededtobesuccessfulinthebusiness.
Finally,theDGGrunsGameDevelopmentBusinessCenters.UnliketheGameIncubator,thesecentersarefocusedonthemorematurecompaniesoftheindustry.Again,<lexibleandaffordablehouseisofferedtotheirmembersalongwithaccesstootherimportantcompaniesandresearchinstitutions.
WhatsetstheDGGapart?OneevolutionaryfeaturethatmakestheDGGuniqueistheirapproachtonetworkingwhichaimsatmaintainingformalrelationshipsininformalways.Insteadofnewspapers,theyuseTwittertokeepmembersup‐to‐date.Likewise,theaverage,dullmeetingisreplacedwith"popup"lunchesandgatheringsduringwhichindividualsfromallprofessionalbackgroundscaninteractandshareexperiences.
"TheindustryasawholecanBlourishwhentheyrenotcontainedwithinone
areaofexpertise."ViktorWijnen
AnotheraspectworthmentioningistheDGG'sphilosophyoncross‐sectoralactivities.Fromitsearlybeginnings,importantconnectionshavebeenestablishedwithinstitutionssuchastheNetherlandsFilmFestival,andtheUtrechtArchives,nottomentionvariousDutchmuseumsandmedicalcenters.GamejamsorganizedbytheDGGofferamutuallybene<icialrelationshipbetweenparticipantsandtheinstitutionsinquestion.
Bycateringtoprofessionalswho<indthemselvesatdifferentstagesoftheentrepreneurialcycleandbybridgingthewidegapbetweenthecreativeandthetechnicalindividuals,theDGGrepresentsafreshand<lexiblemodelwhichunderlinesthatfactthat,whenitcomestothegamingindustry,"onesizedoesn't<itall".
www.dutchgamegarden.nl
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 41
BestCase40:CITIESEuropeanNetworkforCCIsaimingatstimulatingexchangeofpracticestofosterCCIsatthelocalandregionallevels
CITIESEU
CITIES,Crea2veIndustriesinTradi2onalInterculturalSpaces,wasbornasajointprojectwithadura2onof36months,fromOctober2008toSeptember2011,involvingthefollowingsixcountries:Lithuania,Italy,Spain,Portugal,HungaryandSlovenia.TheprojectisledbyKlaipedaCityMunicipalityinLithuaniaandfundedbytheEU’sINTERREGIVCprogramme,underthesub‐theme:entrepreneurshipandsmallandmediumsizedenterprises(SMEs).TheInterregionalCo‐Opera2onProgramme,INTERREGIVC,financedbytheEuropeanUnion’sRegionalDevelopmentFund,helpsregionsofEuropeworktogethertoshareexperienceandgoodprac2ceintheareasofinnova2on,knowledgeeconomy,theenvironmentandriskpreven2on.
CITIESjointini2a2vehasbeengeneratedby9partnersfromthesixdifferentcountries:twoinLithuania,France,Spain,Portugal,Hungary,Slovenia,Italy,Spain.
Throughinterregionalco‐opera2on,thisini2a2veaimstoimproveregionalandlocalpoliciesaddressingthepromo2onandsupportofcrea2veandculturalindustries,asoneofthemostsignificantgrowthsectorsfortheEuropeaneconomyintermsofGDPandaddedvalue.Themostimportantpurposeofthisprogrammeistostrengthenlocalpolicieswiththeaimofsuppor2ngthelocalcrea2veindustry.Thus,oneofthetoolsusedforthisispreciselytheexchangeofexperiencesamongthepar2cipa2ngEuropeanregions,aremp2ngtostrengthenco‐opera2onbetweenpublicandprivatesectors.Itisbelievedthatbestprac2cesincrea2veenterprisesandorganismsoftheCITIESnetworkingcanbeadaptedsuitablytodifferentcountries,culturesandcrea2veindustries’subsectors.
Togainabererperspec2veandunderstandingofCITIES,wecanpinpointtheothermainobjec2veswhichare:improvingregionalandlocalpoliciesaddressingcrea2veandculturalsectors;helpingtorestructureregionsmostlydependentontradi2onalindustries,includingrenewalofindustrialzonesfornewstart‐ups;geonganoverviewofwhatotherEuropeanregionsfrompartnersci2eshavedonetodevelopcrea2veandculturalindustries;growingculture’simpactonregion’seconomybyencouraginginterregionalcrea2vityanddiversityofcultures;suppor2ngregionalbusinessclustersincrea2veandculturalindustriesfield;promo2ngofre‐conversionoftradi2onalsectorsintomoreknowledge‐intensivesectorssuchascrea2veandculturalindustries;andstrengtheningco‐opera2onbetweenstate,private,non‐governmentalins2tu2onsincrea2veandculturalindustriessector.
CITIESwasmovedbythebeliefthatthebasictrendsdefiningtheculturalpoliciesinEuropeoverthelast15yearscouldbenamedasfollows:concentra2onontheexplicitaudi2ng/evalua2on/efficiencyschemes,andregenera2ngtheartsandcrea2veindustries.Thecurrenteconomicsitua2onrepresentsachallengeforthecrea2veandculturalsectorinsomecountries,andtherefore,suchques2onsasfunc2oningoftheartsmarket,andprogrammebasedfinancingversusmaintenanceofexis2nginfrastructureestablishmentneedtobeconsider.CITIEShopesthatthroughtheirnetworkstheycanreachfruitulandposi2vecollabora2onthatwoulds2mulateimprovementandnewdiscourseswithinthepoliciesaddressingthecrea2veindustriessectorsand,inthismanner,opennewwaysforinnova2ontospreadandbedeveloped.
www.eucrea1veindustries.eu/
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 42
BestCase41:CapDigitalClusteringforsupportinginnovativeCCIs
CapDigitalFrance
CapDigitalistheFrenchbusinessclusterfordigitalcontentandservicesinParisandtheIledeFranceregion.Itisanon‐profitorganiza2onof600membersthatareprimarilyinnova2veSMEsbutalsocountmajoruniversi2es,highereduca2onestablishments,researchlabs,andcorpora2ons.
Thecluster’smembersrepresentthedigitalindustry'smostac2veplayersindigitalcontent.Ninevibrantmembercommuni2esmakeavitalcontribu2ontothestrategyanddirec2onofthecluster:Image,SoundandInterac2vity,VideoGames,KnowledgeEngineering,Culture,Press,andMedia,e‐Learningande‐Training,Collabora2veTechnology&Intelligence,MobileLifestyle&Services,Robo2csandCommunica2ngObjects,andDigitalDesign.
Thesector‐specificexper2seismanagedthroughanorganisa2onofThema2cCommissions,DomainCommuni2es,andexperts.Thisstructureispermeableandadap2ve.AmemberofacommissioncanalsobeamemberofacommunityandaCapDigitalexpert.Thisnewstructureaimstomul2plyexchangesbetweentheDomainCommuni2esandmakeroomforfutureevolu2ons. CapDigitalprovidesmemberswithessen2alinforma2on,networks,andresources.Theseincludeongoingcompe22veintelligence,
training,partnerships,fundingsolu2ons,andprojectreviews.PartnershipswithotherleadingEuropeanclusters,atastructuralandprojectlevel,areanessen2alelementofCapDigital'sstrategicac2vi2es.Itofferstrainingonmanagement,fundingaswellashumanresourcesandexportissues.Atthesame2me,ithelpsthebusinesstogrowitsvisibilityinterna2onallybymul2plearendanceatinterna2onalworkshopsessionandwithCapDigital’sinterna2onalpartners.
Thesector‐specificexper2seismanagedthroughanorganisa2onofThema2cCommissions,DomainCommuni2es,andexperts.Thisstructureispermeableandadap2ve.AmemberofacommissioncanalsobeamemberofacommunityandaCapDigitalexpert.Thisnewstructureaimstomul2plyexchangesbetweentheDomainCommuni2esandmakeroomforfutureevolu2ons.
Moreover,ithelpstoarractR&Dandinnova2onfundbysecuringcollabora2veprojectunderarecognisedlabel“ProjectCapDigital”whichisworldrenownandassuchfacilitatesfundingorpartnershipopportuni2es.
CapDigitalcatalysedtheopportuni2esgivenbythedigitalshikandtheopportuni2esgiventoworkonamul2disciplinarybasis.
www.capdigital.com
HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 43