Samenvatting
Summary creative entrepreneurship
This is a summary of all articles for the creative entrepreneurship exam. Also, all lecture notes and slides are included.
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Creative entrepreneurshipLecture 1 – Creative entrepreneurship: who ordered this and, by the way, even a monkey could do this
(creative production and/or production of art)
Lampel and Germain (2015) – Creative industries as hubs of new organizational and business practices
Examines the role of creative industries as pioneers and highly visible adopters of new organizational and
business practices > paper focuses on four themes that are salient to this process
- Celebrity cultures (celebrity industries that popularize and legitimize business practices)
- Value chain (disintegration)
- Rise of experience economy (and experience goods)
- Flexible careers and self-employment (historical patterns of employment/self-employment in the
creative industries foreshadow many of the issues that are experienced by the wider economy)
In short
- Creative industries exercise influence on other industries because their organizations and modes of
operation provide models that have certain advantages. Also, because the relationship they
develop with customers suggest new patterns of consumption
Celebrity firms > those that attract a high level of public attention and generate positive emotional
responses from stakeholder audiences > many in the creative industries have achieved celebrity status
(both individuals as organizations)
Famous actors can be seen as the power for a movie to become a success and celebrity > however,
producers and writers see the actor as a product of their creative labour
- Mystique of creative industries > investments are often disproportionately (oneveredig) influenced
by hope and credulity (goedgelovigheid), instead of financial criteria
- Creative are thought to have unique talent, which is disproportionally weighted in salaries or
evaluation of their skills > investors flocking to tech startups in the 90s investing a lot of money
based on a hype and disregarding the actual performance
Industrial revolution and the creative industry
- Industrial revolution as a celebrity firm > railways, electrical power generation > this revolution
relies on technical skills that could be taught to potential recruits, and processes that could be
explained to the wider public
- On the other hand, creative industries rely on creative individuals that are often considered to
have unique talents and creative processes that are mysterious, if not inexplicable to outsiders
Value chain transformation > more and more goods are made up of components which are manufactured
in several stages in different places around the world > so industries are transitioning from vertical
integration (acquiring business operations within the same production vertical) to this era
- Change of competition through vertical integration (provide best quality and price) to competing
versus alliances
Key challenge creative industry is recruiting creative resources, and then coordinating these resources into
products that generate supernormal rents > the value of creative resources is uncertain (weak correlation
between creative skill and market performance) > managers in creative industries take higher risks than
normal (actor performs well so his price goes up, but the risk is that he could perform less good this time, so
actors are not really hired based on past track record)
Therefore, it is difficult to efficiently contract key resources > in many industries, these difficulties lead to
backward vertical integration (acquiring business operations within the same production vertical), however,
firms in the creative industries are generally reluctant to pursue backward vertical integration because they
find it difficult to write enforceable contracts with talent
,Thus, when firms forgo (afzien van) vertical integration, they have two choices
- Transactional governance > make a type of contract that sets objectives, and pre-specify in detail
the interaction process > this is bad for innovation so not suited in the creative industry
- Develop relational governance (relies on trust) > relational governance is pervasive in the creative
industries > requires considerable skill and experience but can be very effective
Rise of experience economy > relationship with customers
- Experience economy is about the change of our traditional ideas of how consumers evaluate
products > development where experience increasingly dominates consumption > blurring of
distinctions between products categories
Creative industries exercise influence on other industries because
- Their organization and modes of operation provide models that have certain advantages
- The relationship they develop with customers suggest new patterns of consumption
The experience economy is an economy in which many goods or services are sold by emphasizing the effect
they can have on people’s lives > the economy has entered a stage of economic development where
experience increasingly dominates consumption > the use value of a product plays a decreasing role on the
competition and creating experience is becoming more important (also aesthetics, tactile, and social
experience of owing a product)
The market boundaries between what a product is has decreased because of the experience economy
- A videogame can become the basis for a firm
- The blurring of distinctions between product categories leads to the importance of curation
(selecting and looking after items in an exhibition) > curation has become a vital intermediate link
between consumers and their product experience
Enterprising of self
- Individuals who seek to sell their services (creative talent and ideas) exhibit a willingness to accept
far lower entry salaries than is the case in most industries
- War for talent in which creative industries are busy searching and bidding for talent > war for
talent became a permanent feature of creative industries before it spread to other industries
Long odds (often employed on a project-by-project basis and weak bargaining position) > suggests that
creative individuals are taking on many of the characteristics usually associated with entrepreneurs rather
than employees > because there is more risk, and they have less bargaining power to investors and
managers
The creative individual, economically precarious but emotionally autonomous, therefore becomes a
powerful symbol of entrepreneurial identity, reinforcing the increasingly popular attempts by many
organizations to construct ideologies that emphasize commitment and innovative behaviors within un-
stable contexts
Creative industry organizations as pathfinders for other industries
- The post-industrial economy is similar to the creative industries (flexible organizing, advanced use
of technologies in the production process, innovation that relies on questioning established logics
and extensive employment of creative and technical talent
The dilemmas that arise in the last decades are now common in many industries
- The strategic use of intangibles
- Innovation that relies on questioning of established logics and categories
- The management of talent
- The balancing of idiosyncratic individuals with team cohesion
- The reliance on networks, inside & outside the organization
,Bradshaw and Holbrook (2007) - Remembering Chet > theorizing the mythology of the self-destructive
bohemian artist as self-producer and self-consumer in the market for romanticism
Explore the tragedy of a self-destructing artist > competing career orientations arising from contradictory
demands > to produce aesthetic experiences for an audience of experts while also facing the need to earn
cash > framing of the ideal bohemian musician as self-producer and self-consumer > but myth versus reality
- Artistic versus commercial orientation
The case of Chet Baker
The role of substance abuse has been particularly conspicuous among musicians who play and sing jazz >
why? > the intended audience for jazz became the community of musicians themselves, as opposed to the
paying public who are deemed too square to appreciate the complexities of the jazz
But on the other hand, musicians are forced to create musing that will raise money
Bohemia (artists who perform primarily for themselves) versus alienation (music made purely for the
commercial pursuit of a monetary reward) > scruffling is meeting in the middle (preserves a degree of
artistic integrity while managing to make ends meeting a way that will avoid starvation, for example with
having a second job like giving music lessons)
Consumers are inspired by musicians who are seen to resist the market in favour of bohemian ideals, even
at the expense of artistic self-destruction > because therein lies the possibility of complete market
emancipation and abstention from bourgeois conformity
Self-destructive artist > myth and reality
- Tension > if you are a great artist, you do not think about money, and if you think about money,
you are not a good artist > not always true > but a background idea
- Attention is important > falling because drunk on a stage
o Due to oversupply
o In the creative industry there is too much of everything
- High-brow and low-brow > contradictory demands
Dubois (2012) - Recognition and renown, the structure of cultural markets > evidence from French poetry
Article explores the organization of cultural markets through the case of French contemporary poetry,
distinguishing the market for recognition and the wider market for renown
Cultural industries > oligopoly fringe model > large businesses dominate bulk of the market > this structure
is reinforced by the fact that in cultural industries, publishers/producers choose what is offered in market
Drawing a picture of reputation > this article offers a detailed study of how reputation is built in the world
of poetry, and how it impacts the poetry market > genre of poetry does not move from small-scale to large-
scale publishers, though individual poets do > these moves make sense in terms of distinction between
- Recognition > the reputation an artist enjoys within his or her original world of art
- Renown > the extension of the artist’s reputation beyond his or her world of art (here, barriers to
entry to other domains are lower > a popular rapper could start his own perfume brand on the
basis of his renown)
Building reputation > selective matching (association with high-status partners), awards, criticism, media
coverage, poetry anthologies
- Vertical reputation > orders individuals within a hierarchy
- Horizontal reputation > is shared among a more or less large community
, Reputation is grounded in a community and the winners of contests are recognized as such by a community
of actors bound to each other
Recognition occurs in small, specialized circles where the economic power of businesses counts for little,
while renown comes to the artist whose name goes beyond the circles of the initiated
About French poetry with two important things
- Creative industries are just like other industries
- Competition can be about more than money > about reputation > critics pay more attention to a
book from a high-status publisher > and so resource and attention create o the best-know actors
The dynamics of growing reputations and market success
Domain specific > recognition
- If you are a musician, you are recognized by your music and people will have a good or bad
recognition
Not domain specific > renown
- People recognize your name and knowing the reputation of your name without actually knowing
your music/what you did to get this reputation
- Gives you almost free entry to other fields
- Once you combine your resources > Beyonce starting a perfume business, the lower your risk
becomes
Reputation in poetry transforms into financial performance over time
How do you go from recognition to renown? > most powerful mechanism of renown is selective matching,
so therefore editors are core actors in the poetry world) they are able to choose who enters their
collection)
- Awards remain limited in impact
- Renowned poets receive more attention from critics than others
Velthuis (2003) - Symbolic meanings of prices > constructing the value of contemporary art in Amsterdam and
New York galleries
This article develops a sociological analysis of the price mechanism on the market for contemporary art >
addressing two pricing norms
- One norm inhibits art dealings from decreasing prices > from an economic perspective, this seems
anomalous, because dealers ignore the concept of price elasticity and behave more like price
maximizers than like profit maximizers
- The other induces them to set prices according to size > avoid pricing artworks of the same size
within the oeuvre of an artist differently, even if art dealers know that some works are easier to
sell than others > dealers fail to differentiate prices according to either quality or demand
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