派博傳思國際中心

標(biāo)題: Titlebook: Global Creative Ecosystems; A Critical Understan Tarek E. Virani Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive [打印本頁]

作者: purulent    時間: 2025-3-21 18:17
書目名稱Global Creative Ecosystems影響因子(影響力)




書目名稱Global Creative Ecosystems影響因子(影響力)學(xué)科排名




書目名稱Global Creative Ecosystems網(wǎng)絡(luò)公開度




書目名稱Global Creative Ecosystems網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Global Creative Ecosystems被引頻次




書目名稱Global Creative Ecosystems被引頻次學(xué)科排名




書目名稱Global Creative Ecosystems年度引用




書目名稱Global Creative Ecosystems年度引用學(xué)科排名




書目名稱Global Creative Ecosystems讀者反饋




書目名稱Global Creative Ecosystems讀者反饋學(xué)科排名





作者: Countermand    時間: 2025-3-21 21:14
Global Creative Ecosystems978-3-031-33961-5Series ISSN 2947-9290 Series E-ISSN 2947-9304
作者: chisel    時間: 2025-3-22 03:55

作者: 光明正大    時間: 2025-3-22 07:56

作者: 謙虛的人    時間: 2025-3-22 11:43

作者: synovitis    時間: 2025-3-22 14:05
Debapriya Basu,Mrinmoy Majumder,Debasri Royocess and its key elements of financing, development, principal photography, post-production, distribution and exhibition. Furthermore, we illustrate how they are further interrelated and embedded (in place, time, technology and regulation).
作者: synovitis    時間: 2025-3-22 18:17
https://doi.org/10.1007/978-981-16-5403-9ive and cultural industries use of relevant bricolage capabilities in a sharing economy based on trust could strengthen creative ecosystems and the resulting potential to be resilient and even thrive?in the face of a shortage economy and hostile operating environment.
作者: DIS    時間: 2025-3-22 21:56
Film Making as a Creative Ecosystem: The Case of Soho in London,ocess and its key elements of financing, development, principal photography, post-production, distribution and exhibition. Furthermore, we illustrate how they are further interrelated and embedded (in place, time, technology and regulation).
作者: Gerontology    時間: 2025-3-23 04:53

作者: 佛刊    時間: 2025-3-23 08:37

作者: Hormones    時間: 2025-3-23 12:48
R. P. Gupta,T. F. Wall,L. Baxter will focus on data that would quantify elements of Contact’s impact on the audience and urban space as well as internal within the organisation. This chapter opens questions not only about how to measure the ecosystemic impact of arts organisations but also tacitly asks where do the boundaries of such ecosystems lie.
作者: Cantankerous    時間: 2025-3-23 17:42
Sayjel Vijay Patel,Nathan Kiatkulpibooney clusters which exist in the region. Through targeted and bespoke activities drawing on creative hubs, higher education institutions and creative microbusinesses the approach outlines here aims for new forms of responsible innovation.
作者: 榨取    時間: 2025-3-23 18:33
Relative Values and the Multidimensional Impact of Arts Ecosystems: The Case of Contact Theatre, will focus on data that would quantify elements of Contact’s impact on the audience and urban space as well as internal within the organisation. This chapter opens questions not only about how to measure the ecosystemic impact of arts organisations but also tacitly asks where do the boundaries of such ecosystems lie.
作者: 2否定    時間: 2025-3-23 23:17
Networks for Inclusion,y clusters which exist in the region. Through targeted and bespoke activities drawing on creative hubs, higher education institutions and creative microbusinesses the approach outlines here aims for new forms of responsible innovation.
作者: Debrief    時間: 2025-3-24 03:18
Towards a Creative and Cultural Industries Ecosystem Perspective,ems, and ecologies, has come on the back of a recognition that forensic efforts around defining, delineating and demarcating the creative and cultural sector through definitions and taxonomies has not yielded the analytical tools and insight necessary to accurately examine its complex machinations,
作者: 沖擊力    時間: 2025-3-24 07:56

作者: 補助    時間: 2025-3-24 11:27
The Performing Arts Ecosystem in Abu Dhabi: Sustainability, Resilience, and Local Capacity Buildinghelp overcome some of the limitations of earlier conceptual frameworks such as cultural and creative economy, cultural and creative clusters, cultural and creative industries—by examining cultural and creative activity from a broader ‘whole system’ perspective, including recognizing the importance o
作者: GONG    時間: 2025-3-24 16:13
From Strangers to a Designer Community: An Ecosystem Perspective of Creative Hub Formation in Taipetion in cultural and creative industries work and function. This is where the existing research and policy practices in cultural and creative industries fall short. In particular, this chapter refers to social bonds between cultural and creative practitioners, intermediaries and locality as three cr
作者: Scintillations    時間: 2025-3-24 22:29
SESC: A Brazilian Music Ecosystem Orchestrator,granting actors. SESC (Social Service for Commerce) is a private organization founded in 1946, which stated mission is to provide access to education, leisure and culture for commerce workers and their families, with units in all Brazilian states. Over the years, the S?o Paulo state branch has devel
作者: Camouflage    時間: 2025-3-25 00:43
,Bristol’s Film and Television Industries: An Incremental Ecosystem,a much smaller group engaged in feature film production. In contrast to what one could call ‘engineered’ screen production centres such as Cardiff or Greater Manchester (MediaCityUK in Salford), Bristol’s screen industries—notably the BBC’s Natural History Unit and Aardman Animations—have grown incr
作者: 強制令    時間: 2025-3-25 03:19

作者: Visual-Field    時間: 2025-3-25 08:20

作者: 讓你明白    時間: 2025-3-25 12:45
Why a Better Understanding of the Ecosystems of Cultural Production Could Have a Major Impact on Puanguishing in the twentieth century. They are predicated on a world of stable company structures, providing a consistent flow of goods and services that is easy to maintain, track and tax, produced by a waged workforce equipped to do a range of tasks by an education system that priorities knowledge
作者: Salivary-Gland    時間: 2025-3-25 19:37

作者: Offstage    時間: 2025-3-25 22:04
,‘In Denial’, Artists in the UK Creative Economy: A Focus on Artist-Led Businesses,is chapter analyses businesses as models of cultural production. Artists, and specifically in the case of this study, visual artists, operate within a creative economy and ecosystem characterised by uncertainty, precarity and inequalities. While the majority of artists are sole traders working as fr
作者: PAN    時間: 2025-3-26 03:25

作者: incision    時間: 2025-3-26 05:20
Keeping to the Margins: Understanding the Role of Symbolic Violence and Institutional Fields in Cre-towns lying outside major cities, successful culture-led regeneration strategies must consider how local organisational identities are constructed in relation to their creative-city counterparts. We demonstrate that the spatial nature of power relations reproduces existing inequalities. Drawing upo
作者: Angioplasty    時間: 2025-3-26 09:07

作者: 偏見    時間: 2025-3-26 16:28
Debapriya Basu,Mrinmoy Majumder,Debasri Roymplar of a (creative) industry ecosystem. We note a dominant view of the film industry concerns what happens on the screen: the discussion of aesthetics, narrative and representation. A secondary concern is of the focus on the economics and business of the film industry. Such a division echoes the c
作者: Cryptic    時間: 2025-3-26 17:23

作者: Exposure    時間: 2025-3-27 00:00
Impact of Genetic Targets on Cancer Therapytion in cultural and creative industries work and function. This is where the existing research and policy practices in cultural and creative industries fall short. In particular, this chapter refers to social bonds between cultural and creative practitioners, intermediaries and locality as three cr
作者: Immobilize    時間: 2025-3-27 01:22

作者: chuckle    時間: 2025-3-27 08:18
Arjun Mandal,Subhananda Chakrabartia much smaller group engaged in feature film production. In contrast to what one could call ‘engineered’ screen production centres such as Cardiff or Greater Manchester (MediaCityUK in Salford), Bristol’s screen industries—notably the BBC’s Natural History Unit and Aardman Animations—have grown incr
作者: 極大痛苦    時間: 2025-3-27 11:46

作者: 挫敗    時間: 2025-3-27 16:46

作者: reperfusion    時間: 2025-3-27 19:35
https://doi.org/10.1007/978-1-4757-3019-7anguishing in the twentieth century. They are predicated on a world of stable company structures, providing a consistent flow of goods and services that is easy to maintain, track and tax, produced by a waged workforce equipped to do a range of tasks by an education system that priorities knowledge
作者: 大吃大喝    時間: 2025-3-28 01:24
https://doi.org/10.1007/978-981-16-5403-9onsideration is given to the?role of?creative ecosystems’in achieving productivity. Zimbabwe’s creative and cultural industries ecosystem enablers, represented by creative hubs and spaces, adopt innovative approaches to facilitating co-creation towards productivity, considering the country’s context
作者: 卜聞    時間: 2025-3-28 03:28
https://doi.org/10.1057/9780230290747is chapter analyses businesses as models of cultural production. Artists, and specifically in the case of this study, visual artists, operate within a creative economy and ecosystem characterised by uncertainty, precarity and inequalities. While the majority of artists are sole traders working as fr
作者: Corroborate    時間: 2025-3-28 07:11

作者: Vulnerary    時間: 2025-3-28 13:17
Impacting the Sensory Experience of Products-towns lying outside major cities, successful culture-led regeneration strategies must consider how local organisational identities are constructed in relation to their creative-city counterparts. We demonstrate that the spatial nature of power relations reproduces existing inequalities. Drawing upo
作者: GILD    時間: 2025-3-28 15:40

作者: Cumbersome    時間: 2025-3-28 19:11

作者: HUMP    時間: 2025-3-29 01:41
Towards a Creative and Cultural Industries Ecosystem Perspective,production as a process that is resistant to definitions based on counting outputs, and makes the argument that a focus on ecosystems of cultural production allows us to see and include these other moving parts, stories, people and processes which helps us attend to this complexity by: recognising t
作者: ERUPT    時間: 2025-3-29 05:38

作者: Feature    時間: 2025-3-29 11:01

作者: transplantation    時間: 2025-3-29 13:10

作者: 消音器    時間: 2025-3-29 16:40
,Bristol’s Film and Television Industries: An Incremental Ecosystem,nti-authoritarian history, a place where ‘a(chǎn)lternative’ ideas are encouraged and supported. Situated within an overarching discussion of the conceptual shift from ‘creative clusters’ to ‘creative ecosystems’ and the importance of understanding a range of causal factors rather than simply economic dri
作者: 蛙鳴聲    時間: 2025-3-29 23:24

作者: Inflammation    時間: 2025-3-30 01:26
Why a Better Understanding of the Ecosystems of Cultural Production Could Have a Major Impact on Purent thinking regarding creative and cultural industries policy. It steers a path through the tensions that plague policymaking in this area globally, and potential routes forward by viewing creative and cultural activity through the prism of ecosystems.
作者: 向外才掩飾    時間: 2025-3-30 07:19

作者: 事與愿違    時間: 2025-3-30 10:46
Keeping to the Margins: Understanding the Role of Symbolic Violence and Institutional Fields in Crehester (UK). The relational study deployed a unique combination of research methodologies including elements from: social network analysis, field theory, discourse theory, theories of movement and material culture to reveal the nature and meaning of inter-organisational field relationships. The rese
作者: Creatinine-Test    時間: 2025-3-30 16:14
Book 2023r up different examples and approaches to regional development with a focus on cultural production. The book carves a creative economy policy-oriented path of development that reflects the real world..
作者: 現(xiàn)任者    時間: 2025-3-30 19:26

作者: 加劇    時間: 2025-3-30 20:55
Ryan M. Arlitt,Robert B. Stone,Irem Y. Tumers. Since cultural production capacities are locally anchored, the potential of the ecosystem to sustain itself is related to local variables that can combine several heterogeneous logics. This chapter offers an evidence-based approach and assessment of the resilience and sustainability of Abu Dhabi‘
作者: Employee    時間: 2025-3-31 04:36

作者: arterioles    時間: 2025-3-31 06:36
The Impact of Institutions on Lending,tists and emergent ones, which keeps the organization in touch with the leading edge of the cultural scene. That strategy has made SESC S?o Paulo programme to be recognized by audiences not only as high quality but also as progressive and innovative. For cultural producers, it keeps a payment policy
作者: 危機    時間: 2025-3-31 10:13
Arjun Mandal,Subhananda Chakrabartinti-authoritarian history, a place where ‘a(chǎn)lternative’ ideas are encouraged and supported. Situated within an overarching discussion of the conceptual shift from ‘creative clusters’ to ‘creative ecosystems’ and the importance of understanding a range of causal factors rather than simply economic dri
作者: 叢林    時間: 2025-3-31 14:46
https://doi.org/10.1007/978-94-010-0626-2business models that foster competitiveness, to inclusion of minoritised groups, languages and genres, increasing access and fairness, and perceive diversity as crucial in fostering resilience, as it provides the basis for innovation, learning, and adaptation. This chapter contributes (1) to the con
作者: 誹謗    時間: 2025-3-31 19:24
https://doi.org/10.1007/978-1-4757-3019-7rent thinking regarding creative and cultural industries policy. It steers a path through the tensions that plague policymaking in this area globally, and potential routes forward by viewing creative and cultural activity through the prism of ecosystems.
作者: 聲明    時間: 2025-3-31 22:17
https://doi.org/10.1057/9780230290747ting literature on the creative economy, the analysis focuses on Company Drinks, a case study of artist-led CIC, delving into the values, relationships and operational model behind the business, while reflecting on new ideas for a cultural ecology and ecosystem.




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