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This Report emphasizes the need to improve market transparency, particularly in the most technology-intensive and services-oriented sectors such as audiovisuals and new media. It also examines the scope for reinforcing South-South as well as North-South trade and cooperation. The Report takes stock of ongoing research being carried out in different parts of the world for mapping the overall impact of the creative economy at the national and international levels. Rather than prescribing a single model for mapping the creative economy in developing countries, it sheds light on possible alternatives, pointing, however, to the limitations of certain methodologies and current gaps in statistics and quantitative analytical tools.

For some, the notion of “cultural industries” evokes dichotomies such as elite versus mass culture, high versus popular culture, and fine arts versus commercial entertainment. More generally, however, the proposition that the cultural industries are simply those industries that produce cultural goods and services, typically defined along the lines outlined above, has gained greater acceptance. In UNESCO, for example, the cultural industries are regarded as those industries that “combine the creation, production and commercialisation of contents which are intangible and cultural in nature.

Concept and context of the creative economy In the “creative city”, it is not only artists and those involved in the creative economy who are creative. Creativity can come from anyone who addresses issues in an inventive way, be it a social worker, a business person, an engineer, a scientist or a public servant. In the urban context, interestingly, it is combined teams that, with different insights, generate the most interesting ideas and projects. This implies that the “creative city” is a place that is imaginative comprehensively.

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Day Trading Basket Stocks - Underground Trader

by Robert

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