Creative Economy – serie

This edited volume makes a contribution to the literature on happiness research by compiling studies based on cross-national research and from diverse academic disciplines. The book is distinctive in that it contains both theoretical and empirical analyses, investigating relationship between causes of happiness and economic behavior relating to employment, consumption, and saving. Most notably, it is one of the first studies in this subject area that analyzes micro data collected in Europe, US and Japan with information on respondents’ attributes and their economic behavior, as well as in measuring inter-temporal happiness by principal factor analysis. Research findings in this volume shed new light on public policies for a number of areas such as employment, family, social welfare, urban and regional planning, and culture. The book draws on a collaborative research project between five institutions of higher education in France, UK, Germany, Switzerland, Belgium, and Japan that lasted for two years.

This edited volume makes a contribution to the literature on happiness research by compiling studies based on cross-national research and from diverse academic disciplines. The book is distinctive in that it contains both theoretical and empirical analyses, investigating relationship between causes of happiness and economic behavior relating to employment, consumption, and saving. Most notably, it is one of the first studies in this subject area that analyzes micro data collected in Europe, US and Japan with information on respondents’ attributes and their economic behavior, as well as in measuring inter-temporal happiness by principal factor analysis. Research findings in this volume shed new light on public policies for a number of areas such as employment, family, social welfare, urban and regional planning, and culture. The book draws on a collaborative research project between five institutions of higher education in France, UK, Germany, Switzerland, Belgium, and Japan that lasted for two years.

This book investigates economic, political, and cultural conditions that have led to transnational flows of culture in Asia. Coverage also looks at the consequences of an increasingly interconnected Asian regional culture as well as policy makers and cultural industries' response to it. The book features essays written by researchers from different countries in Asia and beyond with diverse disciplinary backgrounds. The volume also contains engaging examples and cases with comparative perspectives.The contributors provide readers with grounded analysis in the organizational and economic logics of Asian creative industries, national cultural policies that promote or hinder cultural flows, and the media convergence and online consumers' surging demand for Asianized cultural products. Such insights are of crucial importance for a better understanding of the dynamics of transnational cultural flows in contemporary Asia. In addition, the essays aim to “de-westernize” the study of cultural and creative industries, which draws predominantly on cases in the United States and Europe. The contributors focus instead on regional dynamics of the development of these industries.The popularity of J-Pop and K-Pop in East and Southeast Asia (and beyond) is now well known, but less is known about how this happened. This volume offers readers theoretical tools that will help them to make better sense of those exciting phenomena and other rising cultural flows within Asia and their relevance to the global cultural economy.

This book confronts the failings of current global economics to deliver the equity, sustainability and community empowerment which humanity now needs to handle a troubled future. The volume proposes an economy built from our society, not the other way around.The Kyoto Manifesto was built, layer by layer, over a period of 4 years, based on broad-ranging international symposia held in Kyoto between 2014 and 2017, hosted by the Center for the Creative Economy, Doshisha University. Not stopping at theory and untested ideas however, the Manifesto proposes practical action that will make a difference, including in the problematic technological and ecological context of humanity’s immediate and long-term future.The book is unique and innovative for it moves adventurously across very broad territory. The Manifesto draws from world philosophic arguments, including, specifically, a critique of “liberalism”, further, exploring sociology, cultural anthropology, politics, primatology and early humanity, even quantum physics. Argument is set within mainstream post-1972 economics and political economics as well as direct practical experience working to empower disadvantaged communities through the United Nations.Most importantly, the book’s analysis is deeply informed by the practice of searching for what is “sacred”, the ultimate essence of our humanity, what we can be as a human race—empowered, fulfilled individuals, deeply sharing and caring for each other across our separate cultures and lives. Stomu Yamash’ta’s On Zen performances, set the context for  the Symposia, bringing different religions and cultures together across their dividing boundaries into a coherent search for peace and harmony through sacred music. Informed by alternate cultural paradigms for economics, the book probes deeply into philosophies and practices that already exist within Eastern and Western societies, and offer lessons for our future.The result is an economics that stresses harmony with nature, and balance in social relations. It places an emphasis on community—human sharing and trust—as a platform for our future, not separate from the global economy but integrated into its very foundations. This is a book for all who care: a plan for our sustainable future built from the best of what our humanity is and can offer.

This book investigates economic, political, and cultural conditions that have led to transnational flows of culture in Asia. Coverage also looks at the consequences of an increasingly interconnected Asian regional culture as well as policy makers and cultural industries' response to it. The book features essays written by researchers from different countries in Asia and beyond with diverse disciplinary backgrounds. The volume also contains engaging examples and cases with comparative perspectives.The contributors provide readers with grounded analysis in the organizational and economic logics of Asian creative industries, national cultural policies that promote or hinder cultural flows, and the media convergence and online consumers' surging demand for Asianized cultural products. Such insights are of crucial importance for a better understanding of the dynamics of transnational cultural flows in contemporary Asia. In addition, the essays aim to “de-westernize” the study of cultural and creative industries, which draws predominantly on cases in the United States and Europe. The contributors focus instead on regional dynamics of the development of these industries.The popularity of J-Pop and K-Pop in East and Southeast Asia (and beyond) is now well known, but less is known about how this happened. This volume offers readers theoretical tools that will help them to make better sense of those exciting phenomena and other rising cultural flows within Asia and their relevance to the global cultural economy.

This book confronts the failings of current global economics to deliver the equity, sustainability and community empowerment which humanity now needs to handle a troubled future. The volume proposes an economy built from our society, not the other way around.The Kyoto Manifesto was built, layer by layer, over a period of 4 years, based on broad-ranging international symposia held in Kyoto between 2014 and 2017, hosted by the Center for the Creative Economy, Doshisha University. Not stopping at theory and untested ideas however, the Manifesto proposes practical action that will make a difference, including in the problematic technological and ecological context of humanity’s immediate and long-term future.The book is unique and innovative for it moves adventurously across very broad territory. The Manifesto draws from world philosophic arguments, including, specifically, a critique of “liberalism”, further, exploring sociology, cultural anthropology, politics, primatology and early humanity, even quantum physics. Argument is set within mainstream post-1972 economics and political economics as well as direct practical experience working to empower disadvantaged communities through the United Nations.Most importantly, the book’s analysis is deeply informed by the practice of searching for what is “sacred”, the ultimate essence of our humanity, what we can be as a human race—empowered, fulfilled individuals, deeply sharing and caring for each other across our separate cultures and lives. Stomu Yamash’ta’s On Zen performances, set the context for  the Symposia, bringing different religions and cultures together across their dividing boundaries into a coherent search for peace and harmony through sacred music. Informed by alternate cultural paradigms for economics, the book probes deeply into philosophies and practices that already exist within Eastern and Western societies, and offer lessons for our future.The result is an economics that stresses harmony with nature, and balance in social relations. It places an emphasis on community—human sharing and trust—as a platform for our future, not separate from the global economy but integrated into its very foundations. This is a book for all who care: a plan for our sustainable future built from the best of what our humanity is and can offer.

This book combines insights from cultural economics, public finance, and tax law, providing an accessible and comprehensive introduction in the application of tax incentives for the creative industries. It does not have a single-country focus, but instead uses the perspective and examples of various countries around the world. The book starts with a theoretical part, introducing the concepts of creative industries and of tax incentives: how can the creative industries be defined, why do governments support the creative industries and how can tax incentives be applied as policy instrument. In the globalized and digitalized world in which the creative industries operate, restrictions imposed by guidelines on harmful tax competition and state aid and regulations influencing the (im)possibility of applying tax incentives in cross-border situations have a great impact. For that reason these legal concepts are discussed as well in the theoretical part. Globalization also gives rise to questions on the cross border application of tax incentives. The example of cross border giving is discussed in this respect. The theoretical part is followed by a part that focuses on tax incentives for specific sectors of the creative industries: museums and cultural heritage, the audiovisual industries (film, tv and videogames), the art market, copyright and artists. This part uses insightful examples from various countries to illustrate the application of these tax incentives. As the book takes both an academic and a practical approach, it is of relevance to researchers, students, policy makers and readers involved in the creative industry who seek an in-depth and up-to-date overview of this alternative way for governments to support the creative industries.

The major purpose of this book is to clarify the importance of non-technological factors in innovation to cope with contemporary complex societal issues while critically reconsidering the relations between science, technology, innovation (STI), and society. For a few decades now, innovation—mainly derived from technological advancement—has been considered a driving force of economic and societal development and prosperity. With that in mind, the following questions are dealt with in this book: What are the non-technological sources of innovation? What can the progress of STI bring to humankind? What roles will society be expected to play in the new model of innovation? The authors argue that the majority of so-called technological innovations are actually socio-technical innovations, requiring huge resources for financing activities, adapting regulations, designing adequate policy frames, and shaping new uses and new users while having the appropriate interaction with society.This book gathers multi- and trans-disciplinary approaches in innovation that go beyond technology and take into account the inter-relations with social and human phenomena. Illustrated by carefully chosen examples and based on broad and well-informed analyses, it is highly recommended to readers who seek an in-depth and up-to-date integrated overview of innovation in its non-technological dimensions.

The major purpose of this book is to clarify the importance of non-technological factors in innovation to cope with contemporary complex societal issues while critically reconsidering the relations between science, technology, innovation (STI), and society. For a few decades now, innovation—mainly derived from technological advancement—has been considered a driving force of economic and societal development and prosperity. With that in mind, the following questions are dealt with in this book: What are the non-technological sources of innovation? What can the progress of STI bring to humankind? What roles will society be expected to play in the new model of innovation? The authors argue that the majority of so-called technological innovations are actually socio-technical innovations, requiring huge resources for financing activities, adapting regulations, designing adequate policy frames, and shaping new uses and new users while having the appropriate interaction with society.This book gathers multi- and trans-disciplinary approaches in innovation that go beyond technology and take into account the inter-relations with social and human phenomena. Illustrated by carefully chosen examples and based on broad and well-informed analyses, it is highly recommended to readers who seek an in-depth and up-to-date integrated overview of innovation in its non-technological dimensions.

The purpose of this volume is to broaden scholars' analytical perspective by placing the creative industries in frameworks that compare and contrast them with other kinds of entities, organizations, and social forms that mix creativity and production. In other words, this volume aims to set out an emerging agenda for the study of creativity in the cultural and media industries. Although this work focuses on the media and cultural industries, they are investigated in the context of other groups and organizations connecting forms of creativity with an explicit emphasis on turning ideas into concrete practices and products. The originality of this book lies in (1) presenting a comparative and interdisciplinary perspective that develops a new framework and analytical concepts to understand the notion of creativity in the media and cultural industries, and (2) providing a series of fresh empirically based studies of the process of creativity in fields such as advertising, fashion, animation, and pop culture. This comparative move is taken in order to generate new insights about the particular features of the creative industries and new questions for future analysis.

The purpose of this volume is to broaden scholars' analytical perspective by placing the creative industries in frameworks that compare and contrast them with other kinds of entities, organizations, and social forms that mix creativity and production. In other words, this volume aims to set out an emerging agenda for the study of creativity in the cultural and media industries. Although this work focuses on the media and cultural industries, they are investigated in the context of other groups and organizations connecting forms of creativity with an explicit emphasis on turning ideas into concrete practices and products. The originality of this book lies in (1) presenting a comparative and interdisciplinary perspective that develops a new framework and analytical concepts to understand the notion of creativity in the media and cultural industries, and (2) providing a series of fresh empirically based studies of the process of creativity in fields such as advertising, fashion, animation, and pop culture. This comparative move is taken in order to generate new insights about the particular features of the creative industries and new questions for future analysis.

Based on a three-year joint research project, this book collects studies on the cultural basis of economic growth in India. Unlike the foregoing investigations on India’s economic growth from the economic perspectives, this book presents interdisciplinary discussions on India’s economic growth. The participants in this project consist of a cultural anthropologist who is an expert in the social and historical study on India as well as a group of researchers specializing in various fields of economics such as growth theory, public finance, income distribution, family economics, and economics of education. Our joint research yields new insights on India’s economic growth and social change. In addition, this book presents new findings of happiness in India obtained by our large-scale survey.

Based on a three-year joint research project, this book collects studies on the cultural basis of economic growth in India. Unlike the foregoing investigations on India’s economic growth from the economic perspectives, this book presents interdisciplinary discussions on India’s economic growth. The participants in this project consist of a cultural anthropologist who is an expert in the social and historical study on India as well as a group of researchers specializing in various fields of economics such as growth theory, public finance, income distribution, family economics, and economics of education. Our joint research yields new insights on India’s economic growth and social change. In addition, this book presents new findings of happiness in India obtained by our large-scale survey.

In recent years, problems such as environmental and economic crises and pandemics caused by new viruses have been occurring on a global scale. Globalization brings about benefits, but it can increase the potential risks of “systemic problems”, leading to system-wide disruptions. The coronavirus pandemic, declared on March 11, 2020, by the World Health Organization, has revealed social disparities in the form of a higher risk of death for people of low-socioeconomic status and has caused massive destruction of the economy and of globalization itself. Extensive efforts to cope with these challenges have often led to the emergence of additional problems due to the chain of hidden causation. What can be done to protect against such emerging challenges? Despite the resulting complexity, once these individual problems are considered as different aspects of a single whole, seemingly contradictory issues can become totally understandable, as they can be integrated into a single coherent framework. This is the integrationist approach in contrast to the reductionist approach. Situations of this kind are truly relevant to understanding the question, “What are creative complex systems?” This book features contributions by members and colleagues of the Kyoto University International Research Unit of Integrated Complex System Science. It broadens our outlook from the traditional view of stability, in which global situations are eventually stabilized after the impact of destruction, to “creative” complex systems. Chapter 1 “David Pines and Me” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

In recent years, problems such as environmental and economic crises and pandemics caused by new viruses have been occurring on a global scale. Globalization brings about benefits, but it can increase the potential risks of “systemic problems”, leading to system-wide disruptions. The coronavirus pandemic, declared on March 11, 2020, by the World Health Organization, has revealed social disparities in the form of a higher risk of death for people of low-socioeconomic status and has caused massive destruction of the economy and of globalization itself. Extensive efforts to cope with these challenges have often led to the emergence of additional problems due to the chain of hidden causation. What can be done to protect against such emerging challenges? Despite the resulting complexity, once these individual problems are considered as different aspects of a single whole, seemingly contradictory issues can become totally understandable, as they can be integrated into a single coherent framework. This is the integrationist approach in contrast to the reductionist approach. Situations of this kind are truly relevant to understanding the question, “What are creative complex systems?” This book features contributions by members and colleagues of the Kyoto University International Research Unit of Integrated Complex System Science. It broadens our outlook from the traditional view of stability, in which global situations are eventually stabilized after the impact of destruction, to “creative” complex systems. Chapter 1 “David Pines and Me” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book, The Kyoto Post-COVID Manifesto for Global Economics (KM-PC), is a sequel to our 2018 book, The Kyoto Manifesto for Global Economics (KM-I, 2018). It further exposes the failures of a global economic regime that, based on self-interest, has led to the enormously unequal and fragmented society of today and our decreased ability to respond and recover from the critical worldwide consequences of such a regime over time — notably, climate change. At stake is our very survival beyond the twenty-first century. The fundamental tenet of this book is that our power to heal our currently fractured society lies in the depth of our humanity — in our shared human spirit and spirituality. What is sacred or of imperishable supreme value is what we can be as a human race: empowered, fulfilled individuals, living in harmony, deeply sharing and caring for one another and the environment that sustains us across our distinct cultures and worlds in whichwe live. Thus, the norms in our economic relations do not have to be those of self-interest that separates us, the ever-watchful distrust represented by “the deal” and immediate economic advantage for me. Instead, we can build an economic frame for our society based on mindfulness, care, mutual human benefit, and trust — on our shared humanity.  Our argument was complete and we were ready to publish. But then, suddenly, from the dawning of 2020, everything changed. COVID-19 invaded and the world as we knew it simply stopped. No one saw it coming. As authors, we waited to watch and seek to understand. The result is that the book captures the COVID trauma and, against the fractures based on self-interest already visible in today’s society, assesses the impact of COVID-19 now and for the future. Focusing on a humanity-based economics is even more important now, and this book shows why.Chapter 15  is available open access under a CreativeCommons Attribution 4.0 International License via link.springer.com.

This book, The Kyoto Post-COVID Manifesto for Global Economics (KM-PC), is a sequel to our 2018 book, The Kyoto Manifesto for Global Economics (KM-I, 2018). It further exposes the failures of a global economic regime that, based on self-interest, has led to the enormously unequal and fragmented society of today and our decreased ability to respond and recover from the critical worldwide consequences of such a regime over time — notably, climate change. At stake is our very survival beyond the twenty-first century. The fundamental tenet of this book is that our power to heal our currently fractured society lies in the depth of our humanity — in our shared human spirit and spirituality. What is sacred or of imperishable supreme value is what we can be as a human race: empowered, fulfilled individuals, living in harmony, deeply sharing and caring for one another and the environment that sustains us across our distinct cultures and worlds in whichwe live. Thus, the norms in our economic relations do not have to be those of self-interest that separates us, the ever-watchful distrust represented by “the deal” and immediate economic advantage for me. Instead, we can build an economic frame for our society based on mindfulness, care, mutual human benefit, and trust — on our shared humanity.  Our argument was complete and we were ready to publish. But then, suddenly, from the dawning of 2020, everything changed. COVID-19 invaded and the world as we knew it simply stopped. No one saw it coming. As authors, we waited to watch and seek to understand. The result is that the book captures the COVID trauma and, against the fractures based on self-interest already visible in today’s society, assesses the impact of COVID-19 now and for the future. Focusing on a humanity-based economics is even more important now, and this book shows why.Chapter 15  is available open access under a CreativeCommons Attribution 4.0 International License via link.springer.com.

This book combines insights from cultural economics, public finance, and tax law, providing an accessible and comprehensive introduction in the application of tax incentives for the creative industries. It does not have a single-country focus, but instead uses the perspective and examples of various countries around the world. The book starts with a theoretical part, introducing the concepts of creative industries and of tax incentives: how can the creative industries be defined, why do governments support the creative industries and how can tax incentives be applied as policy instrument. In the globalized and digitalized world in which the creative industries operate, restrictions imposed by guidelines on harmful tax competition and state aid and regulations influencing the (im)possibility of applying tax incentives in cross-border situations have a great impact. For that reason these legal concepts are discussed as well in the theoretical part. Globalization also gives rise to questions on the cross border application of tax incentives. The example of cross border giving is discussed in this respect. The theoretical part is followed by a part that focuses on tax incentives for specific sectors of the creative industries: museums and cultural heritage, the audiovisual industries (film, tv and videogames), the art market, copyright and artists. This part uses insightful examples from various countries to illustrate the application of these tax incentives. As the book takes both an academic and a practical approach, it is of relevance to researchers, students, policy makers and readers involved in the creative industry who seek an in-depth and up-to-date overview of this alternative way for governments to support the creative industries.

This edited book represents one of the first scholarly research through an international collaboration project between Japan and Italy to address economic and social values of cultural heritage beyond its inherent—historic, archaeological, or aesthetic—values. Cultural policies in the world have over the decades expanded to include non-cultural purposes such as economic development and social inclusion. Japanese cultural policy for heritage is catching up on this trend: we have seen major shifts of emphasis from preservation for its sake to the utilisation of cultural heritage for the purposes of tourism, place branding, local vitalization and community-building, whilst Italy has long thrived on the economy of heritage tourism and more cases are being seen for urban and regional development with the use of cultural assets. The recent outbreak of Covid-19 and the problem of over-tourism that preceded it have challenged tourism policy and practice in the two countries.This book identifies emerging trends, issues, and problems in such policy shifts. The book breaks a new ground in the bourgeoning studies of tourism, heritage, and cultural policy by adopting an international, inter-disciplinary approach. The chapters on Japan in particular make an original contribution to these fields in the English literature in which discussion of Japan despite its economic and cultural presence on the globe has hitherto been less available.