Australia currently lacks a mechanism to gather evidence on the formation of public attitudes to the introduction of new technologies, particularly the formation of attitudes to nuclear energy technology.

This is a limiting factor in achieving informed debate in the development of a national energy policy.

These are key findings in a research project recently completed by the National Academies Forum. Its report, Understanding the Formation of Attitudes to Nuclear Power in Australia, will be released today at a CEDA function in Perth (details below).

The Creative Economy Report Card provides a snapshot of key facts about Australia's creative industries, the creative workforce and businesses -- based on analysis of national statistics and reports.

We propose a method to construct a price index of cultural consumption in geographic space. The index – the CCPI – is calculated from a standardised cultural consumption basket purchased by a representative consumer over 30 locations in Australia, using 2010 price data. We use a full cost method (direct plus indirect cost) to estimate the index value of the cultural consumption basket.

Abstract

It has now been over a decade since the concept of creative industries was first put into the public domain through the Creative Industries Mapping Documents developed by the Blair Labour government in Britain. The concept has developed traction globally, but it has also been understood and developed in different ways in Europe, Asia, Australia, New Zealand and North America, as well as through international bodies such as UNCTAD and UNESCO.

The phenomenon of consumer co-creation is often framed in terms of whether either economic market forces or socio-cultural non-market forces ultimately dominate. We propose an alternate model of consumer co-creation in terms of co-evolution between markets and non-markets.

Julian Thomas
The Australian
February 22, 2010 12:00AM

CONFUSION and disarray surround Stephen Conroy's decision to rebate licence fees for commercial television broadcasters.

The decision raises the most basic question that can be asked about government dispensation of any kind: what was this money for?

There are young Australians who are already making a name (and money) for themselves in the latest market for creative content – and it didn’t exist a moment ago. YouTube is a huge repository of amateur content, but it is also rapidly evolving into a site that has legally contracted Hollywood movies and TV shows but is working out ways to share revenues from advertising with gifted and committed amateurs whose creativity attracts a big following.

Can government play a role in assisting Australian creative talent to catch some of dynamism of emerging markets for culture?

Outlining their radical new roadmap for cultural R&D, the authors’ proposals challenge two entrenched prejudices, which block arts and cultural organisations from playing their full role in society and economy.

Australian Financial Review

Creativity is today’s ultimate black box a Rorschach blot onto which there are projected innumerable meanings. When academic Richard Green reviewed the literature recently, he found so much variation that he concluded the field was ‘so attenuated, extenuated, or misunderstood that operationalising of the key concepts is missing or impossible’. He tried to order the field, and constructed a profile of 42 models of creativity which, when combined with assorted variations and typologies, totted up 303 variables!

Faculty Seminar Series

Professor Justin O’Connor, Research Capacity Building Professor Tuesday 28th April 12pm-1pm The Hall (Z2-226) CI Precinct QUT Kelvin Grove

Creative labour: emancipation or honey-trap?

Kate Morrison and Jason Potts, 'Industry policy as innovation policy’ in Greg Hearn and David Rooney (eds) Knowledge policy: Challenges for the 21st century. Cheltenham: Edward Elgar.

A version of this document available to download is the submission relating to items 1,2 and 3 of the Productivity Commission’s Terms of Reference for its study of public support for science and innovation in Australia.

The production of knowledge has become central to economic life. Competitiveness in the 21st century market place is now characterized by the ability to translate scientific and technological knowledge into innovation. But does this render cultural and social knowledge unimportant?

Jason Potts (forthcoming) 'Ontology in Economics' in R Poli (ed) Theory and Applications of Ontology: A handbook. Springer Verlag.

Stuart Cunningham, Jason Potts and John Banks have written the opening chapter in the forthcoming title Cultural Economy to be published by Sage in September 2008 as part of their Cultures and Globalization series.

The Cultural Economy is edited by: Helmut K. Anheier at the University of California, Los Angeles and Yudhishthir Raj Isar from the The American University of Paris.

ABSTRACT: Much thought and effort has gone into the design of new conceptual frameworks and theoretical tools for the analysis of evolving, self-transforming economic systems. Nevertheless, why not follow Marshall?

Cunningham, S. and Potts, J., ‘New economics for new media’, Mobile Media Reader (eds Gerard Goggin and Larissa Hjorth) forthcoming Routledge 2008

I want to argue that, whatever some might think, Leibenstein was not so much a mad uncle in the Harvard faculty’s attic (e.g. Stigler 1976 cf. Holden 2005), but rather a brilliant evolutionary economist struggling to escape.

Citiation:
Potts, J. (2007) ‘Fashionomics’ Policy, 23(4): 10-15.

Potts, J. (2007) ‘Art and innovation: An evolutionary view of the creative industries’ UNESCO Observatory e-journal.

Potts, J. and Mandeville, T. (2007) ‘Toward an evolutionary theory of innovation and growth in the service economy’ Prometheus 25(2): 147–160.

Potts, J. (2007) ‘What’s new in the economics of arts and culture?’ Dialogue, 26(1): 8–14.