Chris Bilton – författare

This shortform book tells the research story of cultural management, helping scholars to analyse and combine theoretical models into an approach of their own.

Cultural management emerged and developed out of the field of arts management in the 1980s, which imported managerial techniques and assumptions from mainstream commercial business into the arts. In the late 1990s, the field integrated entrepreneurial approaches to management in the creative industries before adapting to a new model, based on user experiences and co-creation. These historical phases are theorised respectively as cultural management 1.0, cultural management 2.0 and cultural management 3.0. Yet they also overlap. Bringing together theories of management and creativity, this book enables scholars to get a grip on the underlying assumptions and conditions which lie behind an eclectic and evolving field.

The author, an established expert in this field, empowers scholars and reflective practitioners to develop their own approach to cultural management, drawing on the available approaches, and to recognise that successful cultural management is contingent on understanding the context (organisational and personal) within which these models will be applied.

This shortform book tells the research story of cultural management, helping scholars to analyse and combine theoretical models into an approach of their own.

Cultural management emerged and developed out of the field of arts management in the 1980s, which imported managerial techniques and assumptions from mainstream commercial business into the arts. In the late 1990s, the field integrated entrepreneurial approaches to management in the creative industries before adapting to a new model, based on user experiences and co-creation. These historical phases are theorised respectively as cultural management 1.0, cultural management 2.0 and cultural management 3.0. Yet they also overlap. Bringing together theories of management and creativity, this book enables scholars to get a grip on the underlying assumptions and conditions which lie behind an eclectic and evolving field.

The author, an established expert in this field, empowers scholars and reflective practitioners to develop their own approach to cultural management, drawing on the available approaches, and to recognise that successful cultural management is contingent on understanding the context (organisational and personal) within which these models will be applied.

Creativity has become a popular buzzword in contemporary cultural policy, yet the term remains poorly understood. In this collection, cultural policy specialists together with experts on psychology, creative enterprise and arts education, consider how ‘creativity’ is defined in a variety of settings, from ‘creative management’ to ‘creative labour’.

The starting point of the book is to move beyond the notion that creativity is simply a product of extraordinary individuals and extraordinary thinking. In reality creativity draws together apparently contradictory thinking styles, processes and purposes which extend well beyond the mythical figure of the solitary genius.

This broad definition of creativity encompasses the contributions of managers, entrepreneurs and intermediaries to the creative process as well as the creativity of consumers and schoolchildren. In turn this implies a broad definition of cultural policy, taking in intellectual property law, education policy and corporate governance as well as policies towards the arts and creative industries.

This collection of articles offers new ways of thinking about creativity and about cultural policy. It will be of interest not only to students and practitioners of cultural policy but to anyone who is curious about the value and purpose of ‘creativity’ in contemporary culture.

This book was originally published as a special issue of International Journal of Cultural Policy.

Creativity has become a popular buzzword in contemporary cultural policy, yet the term remains poorly understood. In this collection, cultural policy specialists together with experts on psychology, creative enterprise and arts education, consider how ‘creativity’ is defined in a variety of settings, from ‘creative management’ to ‘creative labour’.

The starting point of the book is to move beyond the notion that creativity is simply a product of extraordinary individuals and extraordinary thinking. In reality creativity draws together apparently contradictory thinking styles, processes and purposes which extend well beyond the mythical figure of the solitary genius.

This broad definition of creativity encompasses the contributions of managers, entrepreneurs and intermediaries to the creative process as well as the creativity of consumers and schoolchildren. In turn this implies a broad definition of cultural policy, taking in intellectual property law, education policy and corporate governance as well as policies towards the arts and creative industries.

This collection of articles offers new ways of thinking about creativity and about cultural policy. It will be of interest not only to students and practitioners of cultural policy but to anyone who is curious about the value and purpose of ‘creativity’ in contemporary culture.

This book was originally published as a special issue of International Journal of Cultural Policy.

That managers need to be ''more creative'' has become something of a mantra, but little has been written about what this actually means and how it might be achieved. The Handbook of Management and Creativity presents a coherent collection of original chapters from leaders in multiple disciplines, combining current research pre-occupations with practical solutions and strategies in the field. Each chapter combines new research, practical examples and tools, case studies, visual aids, and questions for discussion, designed to stimulate debate and reflection in the workplace or in the seminar room.

The book is thematically organized, making it easy to navigate for the general reader and allowing managers, university course directors and students to extract readings relevant to their individual requirements. It is suitable for managers across all industries and advanced students of management and creativity, as well as researchers interested in applying creativity research to industry.

Contributors include: N. Beech, C. Bilton, R. Bridgstock, S. Cummings, D. Eikhof, D. Grant, G. Greig, E. Gulledge, R. Hall, G. Hearn, L. Heracleous, V. Heywood, C. Jacobs, L. Keung, L. Lim, M. Malle Petty, K. Oakley, D. Oliver, S. Oyama, S. Proctor-Thomson, G. Schiuma, F. Sorensen, C. Steyaert, J. Sundbo, T. Thanem, S. Vaerlander, B. Walker, S. Wilson, Z. Zhu

International in scope, examples and cases extend beyond the typical Western ‘creative genius’ model, illuminating the great extent and diversity of global creativities. The book is designed around five key questions that address the what, how, where, who and why of the creative process, employing frameworks, questions and illustrative ‘recipes’ designed to inspire out-of-the-box creative thinking. The authors argue that to develop their own creativities, readers should experiment with different ingredients and find their own bisociative balance.

With its rich array of cases, frameworks and visual material, Creativities will help educators design and lead classes on creativity, innovation and creative entrepreneurship. Its accessible content will also appeal to and inspire students and practitioners in business leadership, organisational innovation and critical management studies.