Titlebook: Creative Economies, Creative Cities; Asian-European Persp Lily Kong,Justin O‘Connor Book 2009 Springer Nature B.V. 2009 Asia.Cities.Creativ

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Manfred Daniel,Ulrich Martin,Hartmut Müllerity” and the idea of “clusters”. The debates surrounding the explanatory value and the promise and potential of creative clusters are particularly significant in the face of the sometimes hypnotic hold of cluster creation on policy makers. Yet, scholars have observed that the heightened popularity o

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Eckert-Zahl Ec (Eckert number Ec), for high-rise apartments while historic factories are demolished or turned into centres for creative industries. The view flying into Beijing resembles a pancake-like development sprawl dotted with five-star tourist hotels, modernist business centres, hyper-modern television towers, eye-catching sp

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Eckert-Zahl Ec (Eckert number Ec),ics and policy-makers. With this paper, we aim at pushing this debate further, but not by summarizing, reviewing or contributing to the various types of critiques of Florida (for a detailed critique, see Glaeser 2004; Malanga 2004; Peck 2005; Markusen 2006; Hansen et al. 2005; Asheim and Hansen 2008

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https://doi.org/10.1007/978-3-642-56961-6ave been highly influential in UK policy circles. In a climate of hunger for “evidence-based policymaking,” Florida‘s attempt to quantitatively measure, through the use of “indices” of various sorts, the conditions that he deems necessary for successful city-regions, have proved popular with policym

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https://doi.org/10.1007/978-3-642-56961-6 . coupling of culture with economic value. With a renewed emphasis on place and the qualities of locality as the locus of development, there is a strong interest from policy-makers in the role of culture in economic development, particularly in the guise of the so-called ‘untraded inter-dependencie

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s of the new knowledge economy. Within this context, China is experiencing the development of creative industries, a context that differs from the process in developed countries such as in Western Europe or Japan where the notion of creative industry emerged during the post-industrialisation era. In

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Creative Industries Across Cultural Borders: The Case of Video Games in Asia assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works dif