Creative statistics to support creative economy politics
Creative statistics to support creative economy politics
复制标题
支持创意经济政治的创意统计数据
DOI：
--
复制
发表时间：
2011
期刊：
影响因子：
--
通讯作者：
Gaëtan Tremblay
中科院分区：
文献类型：
--
作者：
Gaëtan Tremblay
十年来，托尼·布莱尔的工党推广了“创意产业”的概念，一些分析家和评论家很容易用这个概念来代替“文化产业”的概念。逐渐地，基于这些创意产业部门发展的经济战略的推动者已经开始概括这一概念，现在谈到“创意经济”。各国的技术官僚，什至联合国的技术官僚，都采用这种方法，取得成功。最近，2008年4月，联合国贸易和发展会议（贸发会议）公布了一份由专家撰写的文件，其明确目标是衡量世界所有区域创意经济的发展程度，即《2008年创意经济报告》。《评估创意经济的挑战：实现知情决策》（贸发会议，2008年）。正如Nicholas Garnham（2005）和Philip Schlesinger（2007）所明确指出的那样，这一想法的起源主要是政治性的。它表明了在日益全球化的世界中对联合王国进行经济重新定位的意愿，并试图确定哪些部门将使英国经济在国际舞台上更具竞争力。自1990年代末首次提出以来，创意经济方面的做法来自一种与众不同的战略。“追求创造性政策成为一项国家项目--将英国“品牌化”为全球前沿“（Schlesinger，2007：379）。这一概念迅速扩展到技术官僚和学术界。许多专题讨论会和报告有助于在国家和国际一级传播这一概念。这种区别对待的战略在很大程度上得到了赞同，因为正如贸发会议所大力主张的那样，创造力是所有人和所有社会的一个特点。在这个全球化的世界中，人们强烈地感受到统一的压力，创造性经济在某种程度上将导致一种新的国际分工，这种分工以每个国家，甚至每个区域的文化特点为基础。创造性的经济政策将与多样性的文化政策非常吻合。这一概念的概括不可避免地挑战了对文化产业感兴趣的研究人员，因为创意产业尽管定义不精确，但似乎融合和同化了它们。什么
For ten years, the Labour Party of Tony Blair popularized the notion of ‘creative industries’, a notion that several analysts and commentators have readily used to substitute for the concept of ‘cultural industries’. Gradually, promoters of an economic strategy based on the development of these creative industry sectors have come to generalize this notion, now speaking of the ‘creative economy’. Taken up by technocrats from various countries, and even by those in the United Nations (UN), this approach has enjoyed success. Recently, in April 2008, the United Nations Conference on Trade and Development (UNCTAD) made public a document written by experts whose explicit objective was to measure the degree of development of the creative economy in all regions of the world, Creative Economy Report 2008. The Challenge of Assessing the Creative Economy: Towards Informed Policy Making (UNCTAD, 2008). The origin of the idea is mainly political, as Nicholas Garnham (2005) and Philip Schlesinger (2007) have clearly shown. It indicates a willingness to economically reposition the United Kingdom (UK) in a world that is more and more globalized, and an attempt to identify the sectors which would make the British economy more competitive on the international scene. Since its initial formulation at the end of the 1990s, the approach, in terms of creative economies, comes from a strategy of distinction. ‘The pursuit of a creativity policy became a national project – “branding” the UK as at the global cutting edge’ (Schlesinger, 2007: 379). The notion rapidly expanded into technocratic and academic circles. Numerous symposiums and reports contributed to its spread at national and international levels. And this strategy of distinction was largely shared since, as UNCTAD has vigorously maintained, creativity is a characteristic of all human beings as well as of all societies. In this globalized world, where the pressure towards uniformity is felt strongly, the economy of creativity would lead in some ways to a new international division of labour based upon the cultural particularities of each country and indeed of each region. The economic policy of creativity would fit nicely with the cultural policy of diversity. This generalization of the notion inevitably challenges researchers who are interested in cultural industries since the creative industries, despite their imprecise definition, seem to integrate and assimilate them. What