ACADEMIA NERVOSA

I ‘m running a small questionnaire online for an exploratory piece of work on online content and online networks. I am trying to understand ways that users create online content and how they relate to other users in an online environment.

It’s only 16 questions and it would take you more or less 10 minutes to fill out. No question is compulsory.

Help me out by filling out the questionnaire and please share the link with any of your friends - any way you want.

http://spreadsheets.google.com/viewform?key=p5MNa5IQkzNfyjfq4dHDuPw

see Day 1 here

DIME – CIO – Birkbeck International Conference on the Creative Industries and Intellectual Property
Day 2

Another good day in London and again I descended upon the Birkbeck Clore Management Centre – in the heart of Bloomsbury, London – to watch the proceedings of the Conference on the Creative Industries and Intellectual Property.

I found the session today much more interesting – but it could be down to the fact that most of the delegates now knew each other and the chats during the breaks were getting more and more interesting. This also was of course the dreaded day where I got to present my paper to the conference. For more on that scary experience read on.

See what comes next on Ovi Magazine

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PARALLEL SESSION 7B: Fashion and Trends in the Creative Industries
Chair: Mahtab Farshchi: South Bank University of London (UK)

Intellectual property rights on creativity and heritage: the case of fashion industry
Christian Barrère: Université de Reims (France)

Fashion has a low IPR system.
The weakness of IPR doesn’t result from efficiency but from substantive characteristics of the creative process.

A new model or IPR management

He uses a substantivist point of view – specificities of gratuity.

PROBLEMS
- Non separability and non additivity of the inputs. What input contributes how much value?
- Non reproducibility.
- Idiosyncrasy and variability. Same inputs some times result in a work of genius, some times to something only mediocre.
- How do you enforce IPR?
- How do you justify IPR?

The classic model of the Maison (the couturier / createur).
Protected by “griffe” – association between products and the name of the creator. These property rights are weakly enforced.

Copying within the creator sector is not useful. They each have to develop their own style.

New Model of Luxury Groups
- Increasing the value of creativity
- Reproduction over time
- Allocation across space
- The trademark is important
From the griffe, a personal PR, to trademark, a market PR.

Creative Piracy (mass fashion)

Some conclusions
- Weaknsess doesn’t derive from efficiency
- Different models of IPR managmenet related to the Old, the Classic and the Modern Models of fashion
- New stakes: the free riders of the street fashion.

Substantive vs. formal conception of IPR

Creativity in Second Life: The virtual world as a site of experimentation for fashion start-ups
Sofia Gkiousou: Birkbeck College, University of London (UK)

Thankfully this went well - here is the presentation in video format (no commentary - but here is the paper)

Author’s right and creative incentives: the case of gastronomy
Veronique Chossat: University of Reims (France)

Definition of cultural goods
- Human creativity
- Symbolic meaning
- Intellectual property

Gastronomy is a cultural and creative discipline (it’s close to artistic acts – Chefs are invited to artistic events as art creators)

Is it relevant to ask for IPR for gastronomy? Is it possible to implement it?

Chefs have various income strategies (supermarkets, books, television etc.)

The mechanism is relevant but not really possible to implement.

Creativity and intellectual property in the advertising industry: a case study from Turkey
Ozlem Kacar: Istanbul Bilgi University (Turkey)
B.Can Karahasan: Istanbul Bilgi University (Turkey)

- to understand the significance of IP in the advertising sector in Turkey
- Implementations and obstacles in the sector

Policy
- Advertising Board of the Ministry of Industry and Trade
- Radio and Television Supreme Committee
- The Advertising Self-Regulatory Board

Four major tools in Turkey
- Patents
- Trademarks
- Industrial Design
- Geographical Instruments

What are the main components of advertising work?
Who are the main contributors of advertising work?
What is the source of the problem of claim on the produced artistic work?

The most important question is who is the real owner of the creative work?

There is a lack of categorization of advertising work in the legislation.

Entrepreneur’s size limiting strategy in micro design businesses in London’s design cluster
Rachel Smart: Birkbeck College, University of London (UK)

Discussion on the history of London as a cluster of entrepreneurs (barometers, watchmakers, jewellery etc.)

Why do some design entrepreneurs choose to limit the size of their businesses?

Focuses on only successful micro – businesses

Business model is a combination of
- Vocation
- Intended Delivery
- Creativity and innovation

Strategic intention is to marry their design with their business model.

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PLENARY 8: Institutions and the Organization of Creativity
Chair: Birgitte Andersen: Birkbeck College, University of London (UK)

Creativity in context: content, cost, chance and collection in the cultural industries. Examples from the film industry
Mark Lorenzen: Copenhagen Business School (Denmark)

There are many other concerns other than IP in the cultural industries
Why are cultural industries so seemingly inefficient?
Industry context is very important

Demand uncertainty varies between industries
Users motivation is also not the same across industries

Which IP problems and solutions – if any – can go across cultural industries?

A discursive approach to entrepreneurship and the emergence of organizational fields
Raghu Garud: Pennsylvania State University (USA)
Theresa Lant: New York University (USA)
Henri A. Schildt: Imperial College London (UK)

Attempt to grasp how organisational fields emerge in the very early stages.

Problems
- technology is not actually exogenous
- technology and entrepreneurial ventures are treated as uniform
- ignores interactions between various actors

Public discourse CONSTITUTES symbolic vocabulary ENABLES entrepreneurial vision CONTRIBUTES TO nascent organizations activities and outcomes LIMITS AND JUSTIFIES the Public discourse (and we go round and round)

Legitimacy crises
Field level discourse CONSTITUTES symbolic vocabulary DESTABILIZES entrepreneurial narratives (unconvincing and loss of support) WITHDRAWN SUPPORT LEADS TO organizational failures MEDIA COVERS field level discourse (and we go round and round)

CONCLUSIONS
Appreciating early stages
Appreciating creativity
Distributed process (entrepreneurs influence one other without direct conformity – social movements – or conflict – dialectic)

Between Fan Culture and Copyright Infringement: Manga ‘Scanlation’
Hye – Kyung Lee, King’s College, London

Scan Manga, translate them and release for free.

Why the popularity of Manga?
Fast demand exceeding supply
Availability of technologies which allows easy distribution through the internet

Scanning
Translation
Proof Reading
Editing

Scanlation is somewhere between active consumption (fan culture, no money, costs money and time) and copyright infringement.

Global reuse and adaptation in the creative industries – Three further arguments against intellectual property based on lessons from China
Lucy Montgomery: Queensland University of Technology (Australia)
Jason Potts: Queensland University of Technology (Australia)

Knowledge growth in Creative Industries is an evolutionary process

IP is an environmental factor in the evolution of industries

China as a case study
- Weak copyright but still developing industries
- Music: less physical product, more services
- Blurry definitions of sectors

Problems
- Restrictive nature of copyright in a digital world
- All weaker but still lawyerly colutions
- Separation of amateur & commercial activity?
- How are ideas created and put into practice?

IP is weak in China so the business models adapt.
Creative industries may just look different and that may mean evolution not regression.

A broken IP system might be improved by breaking it further. Along that path lies business adaptation & institutional co-evolution

Creativity and IP in arts and sciences - some economic puzzles and paradoxes
Ove Granstrand: Chalmers University (Sweden)

Ongoing work.

Jokes are the only area with no license.

The most surreal but definitely the most enjoyable talk of the day. Using the example of Bordomia!

Explore puzzles and paradoxes, based on ‘diagonal’ (extreme) sampling in the creative space for
- furthering economic analysis
- finding unifying IPR legal and economic principles
- improving the creative process

See the Benedictine scheme as an example.

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PLENARY 6: Creativity, Innovation and Performance
Chair: Richard Coopey: The London School of Economics and Political Science (LSE), and Aberystwyth, The University of Wales (UK)

Do trademarks and design registration provide a better perspective on national innovation activity?
Finbarr Livesey: University of Cambridge (UK)
James Moultrie: University of Cambridge (UK)

It’s not certain that patents are a correct measure of innovation but the literature seems to overly rely on it.

Trademarks provide distinctions to innovators.
Strong country variations on IP usage.

The effect of file sharing on the sale of entertainment products
Koleman Strumpf University of Kansas

File sharing is an example of weakening of control of IP owners.

What do we know about economic damages on music and video industries from file sharing?
- Typical evidence (aggregate data) are faulty
- Better evidence suggests no or positive effect

We do not have persuasive evidence of negative impact
More evidence is needed before expansion of IP is justified

WHAT DO WE MEAN BY ECONOMIC DAMAGES?
- Is file sharing socially beneficial?
BENEFITS
o consumers (access, sampling etc)
o artists, distributors (potentially)
COSTS
o primary ingredient are the economic damages (how individual’s purchases of entertainment products change due to new technology)

Good evidence would be to run an experiment.
Bad evidence (which we get in the media) are aggregate sales trends. (drawing causal conclusions from aggregate data is problematic)
There are also third factors like
- huge growth in spending on DVDs and video games
- seismic changes in distribution and promotion
- cuts at major labels in A&R and in the numer of signed artists
- no new break out genre

see Oberholzer – Gee and Strumpf (2007)
- only study of files actually downloaded
- after controlling for the role of popularity they found that downloads had little effect on album sales.

(also the paper by B. Andersen and M. Frenz)

How could we know more?
For industry – led experiments the key is randomization.
Access also needs to be given to outside experts.

A legal expansion of IP is a significant step which should only be undertaken if it is economically justified and at this point not enough is known. Parties which benefit from IP expansion must show causal damages from file sharing.

Intellectual property and the music cluster organization new paradigm: agents’ motivations and creativity
Pedro Costa: ISCTE/DINÂMIA – Research Centre on Socioeconomic Change (Portugal)
Nuno Teles: ISCTE/DINÂMIA – Research Centre on Socioeconomic Change (Portugal)
Bruno Vasconcelos: ISCTE/DINÂMIA – Research Centre on Socioeconomic Change (Portugal)

A proper discussion should distinguish two types of music production
1) Mainstream music production (big businees, big anxiety about market)
2) Independent music production (sub-cultural groups, niche markets etc.)

Recent tech advances seem to benefit independent production.

Which kind of motivations should be promoted in the music sector? Think of the importance other than self- interest.

Specificities of creative goods
- Infinite variety property
- Extreme asymmetry
(see Caves, 2000)

Gatekeeepers and value creation
- Importance of building and maintaining conventions
- Rational addiction of cultural consumptions
- Functioning of the “Art Worlds”

The role of the Gatekeepers in CRUCIAL
- Supply side (training, contacts, social capital, skills, maintaining conventions)
- Demand side (selecting, filtering, providing info, testing markets, fans, buzz, consumption by integration/ differentiation)

Conditions of success and failure of collaborations between business firms and design consultancies
Davide Ravasi: Bocconi University (Italy)
Alessia Marcotti: Bocconi University (Italy)
Ileana Stigliani: Bocconi University (Italy)

There may be anthropological differences between managers and designers
- background
- aspirations
- concerns
- social identities

What causes the under-exploitation of design capabilities?

This is all by the perception of the designers.

Common practices of Italian design consultancies
- Projects acquired mostly on the basis of pre-existing relationships or client’s knowledge of previous work
- Initial alignment focuses on brand, technologies and overall goals.
- The brief is often received as a draft to be negotiated, and it is usually challenged.

Perceived conditions of success
- client’s openness to the designer’s proposal
- adequate comprehension of the client’s technology
- design literacy
- involvement of and access to the relevant functions.

The success of a project is evaluated mostly on the
- satisfaction of the client
- commercial results
- innovation

Why was it a failure?
- Changing goals
- Unclear expectations
- Not enough information
- Power and politics
- Poor management of the relationship

Different types of consultancies have different problems

Need for cross national research
Need for research from the perspective of the client
Develop and incorporate insights on client management
Incorporate insights on mismanagement of collaboration into business education

Is creation an industry? Culture, creativity and innovation in the internet age
Alan Freeman: Greater London Authority, London Development Agency (UK)

How do you get from evidence to policy?
We don’t currently have a theoretical framework.

Two negatives
- Adorno and Horkheimer ‘cultural industry’ – pejorative
- UNESCO and economic regeneration ‘drain on taxpayer’

There is an analytic problem.

If we invest in Creative Industries are we really guaranteed innovation?

Historically the benefit of services is contested. They are not looked at as creating value. This prejudice needs to be overcome.

Download is a kind of performance.

The rise of ‘live’ is the outcome of a productivity revolution.

Process is the key to the definition of an industry.

See Church – Turing (syntactic/ semantic)

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PLENARY 5: Creative Industries and Competitiveness
Chair: Helen Carrier: Director of Risk and Regulation Analysis, DBERR

Testing the over- and under-exploitation hypotheses: bestselling musical compositions (1913-32) and their use in cinema (1968-2007)
Paul J. Heald: University of Georgia (USA)

Most works in the USA before 1923 are in the public domain.

Current discussion:
Fears of under-exploitation: copyright orphans.
Fears of over – exploitation: over – grazing.
Fears of over- exploitation: Debasement
The Doubters -> Free Market types, allowing the market to sort out itself

Comparing some public domain songs and some copyrighted songs to see if there are differences in the use rate in films.

Don’t forget that this is not about cost saving. You still have to bring the piece of music from paper to life.

Public domain compositions only appear once every 3.8 years – little evidence of over-grazing.

Harder to measure any “inappropriate” uses. But we could assume that just because Cinderella appears in a porn film doesn’t mean that Cinderella as an idea is debased if we choose to watch or nor watch the film.

The dynamics of industry architecture
Michael G. Jacobides: London Business School (UK)

How the creative industries are organised.

Vertical break-up and new intermediate markets galore. Sectors are currently breaking up. Firms strategically react to innovate and protect margins.

Industries cannot be discrete bubbles but they overlap

(See Jacobides, Knudsen & Augier, 2006, Research Policy)

- Each sector consists of a set of co-specialized entities
- We need to understand how these architectures come up and change.
- Firms strategize in terms of shaping the rules of the game (who is doctor, who is nurse, who does what, what are the boundaries?)

FROM DYADIC RELATIONSHIPS TO INDUSTRY ARCHITECTURES
- Labour in a sector can be divided in many different ways
Don’t forget that functional and social meanings are dependent on local variation.

There are actual architectural fights as firms try to shape their environment.

Not one, but many different, often partly overlapping architectures.
Battles within an architecture and between architectures
Evidence emerging on efforts to shape a sector

IP is neither necessary nor sufficient to guarantee “fair share”
IP is used as a tool
Notion of the “bottleneck” to drive profits

Where will public money make a difference in the evolution of a sector? Public policy needs to consider this issue. The role of rules, norms and regulations might be more important than IP.

DIME – CIO – Birkbeck International Conference on the Creative Industries and Intellectual Property
Day 1

It’s one of those rare sunny days in London (well, not really rare now with global warming and everything) and I’m sitting in the Birkbeck Clore Management Centre – in the heart of Bloomsbury, London – watching the proceedings of the Conference on the Creative Industries and Intellectual Property. I also have the honour of presenting a paper in the Conference but more on this nerve racking subject tomorrow when I’ll actually stand up and deliver (?)

It’s been a good first day and some really good discussions have taken place. The best ideas – as ever in these situations – were naturally reserved for the coffee breaks, the cigarette breaks and the dinner after the conference. Of course me being an avid smoker, coffee drinker and with a capacity to eat (almost) anything I got to hear most of them and here are some highlights reserved for the Ovi readers.

See what comes next on Ovi Magazine

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PLENARY 4: Stakeholders in the creative economy and IP regulation
Chair: Lee Davis: Copenhagen Business School (Denmark)

Creative Industries and Digital Copyright Reform
Peter Yu: Drake University (USA)

A major problem is selective enforcement – you are not dealing with organised criminals but in their majority teenagers and college students.

You have elusive boundaries –
People may not know whether the upload is authorized. How do you know you are not committing copyright infringement?

Just putting the burden on ISPs is a problem. You need shared responsibility

What about
- mistaken identity?
- Problem cases? (students, grandparents?)
- Potential abuse? (against competitors, against whistleblowers)

RECOMMENDATIONS
- Introduce a counter notice procedure
- Have penalties
- Contracts to prevent ISPs to excape liability to get files wrongly deleted back.
- Introduce complaint and enforcement procedure
- A review mechanism
- Maintain a public record of takedown and counter notices for legislative review
- Provide funding to establish legal clinics to help individual users

When are legal transplants undesirable?
- Outdated law
- Contract – like bargain (what about new players?)
- Interrelated System (also about culture, policy, education etc.)
- Different local conditions

Copyright and authors: A survey of writers’ income in Germany and the UK
Martin Kretschmer: Bournemouth University (UK)

How copyright earnings work in the context of other earnings?
Creators lead a portfolio life (different sources of income, not all copyright related)

Winner-takes-all characteristics of cultural markets.

Research around questions about various income (household, individual, artistic, society, grants etc.)

They are using a Lorenz Curve analysis (see also the Gini Coefficient )

Authors earnings seem to be a significant contribution to their household earnings

Copyright and creativity
Johanna Gibson: Queen Mary, University of London (UK)

The consumer is taken into account after the product (he is not the same as the user)

Relationship to knowledge in value chain and IP law.

Is value generated in fan sites? In the strictest sense this might be a copyright infringement but the value generated is very high.

Relationship between IP and links with personal property. The history of real property law actually shape IP law. Current ideas about internationalisation of standards is something that raises questions about how you understand knowledge and whether property is overcome in favour of something that starts to be linked to property.

Actual law re-emphasises national borders and needs of locality come to the fore. IP becomes indexical of contemporary national borders (knowledge, culture etc. included)

The locus of property has moved from stuff to fluff – the socialisation of property.

Fair Copy? A Look at the Anti-Counterfeiting Lobby
Stuart Macdonald: Sheffield University (UK)
Tim Turpin: University of Western Sydney (Australia)

Major changes
- Information as property
- Innovation no longer seen as including diffusion
- Rise of the presentation economy (say you did it even if you didn’t)

The most active and effective lobbyists are the big and powerful.

Lobbyists are interconnected and even locally clustered.

There is a big, interconnected, powerful lobby trying to convince us that counterfeiting affects everything (connections to money laundering, sex attacks, terrorist action – with no real evidence)

70% of news is never checked for factuality. Remember this when you read about copyright infringement and counterfeiting.

Question all the numbers about counterfeiting – they are not accurate.

Beyond Creative Industries: Mapping The Creative Economy in the United Kingdom
Peter Higgs: Queensland University of Technology (Australia)
Stuart Cunningham: Queensland University of Technology (Australia)
Hasan Bakhshi: National Endowment for Science, Technology and the Arts (NESTA, UK)

Focus on creative employment
- employment levels
- relative mean incomes
- sum of personal earnings is linked to value added – productivity and realisation of IPRs
To more reliably ‘ground’ the creative workforce sizing and characteristics studies within the whole economy so that meaningful comparisons can be made.

Key findings
- Creative economy accounts for over 7% in UK
- Growing strongly
- Software and related the largest growth so far
- Creative incomes are higher than average
- Cultural incomes are lower

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PARALLEL SESSION 3B: Dynamics of Creative OrganizationChair: Reinhard Bachmann, University of Surrey (UK)

Swarm creativity - The legal and organizational challenges of open content film productionIrene Cassarino: Politecnico di Torino (Italy)
Wolf Richter: University of Oxford (UK)

A Swarm of Angels –
A project to create a £1 million film using the internet and a global community of members (internet)

Collaborative peer production system.

To collect resourcves (like production facilities) which are not the exclusive possession of contributors (like time and skill).
It works under Creative Commons CC Attribution Non Commercial

Free labour – no payment, only participation for some contributors. Other get paid by the funds provided by the investors. .

How to shape the creative decisions?
- Discussion
- Voting sessions

They manage collective responsibility via delegation because OPEN DOES NOT NECESSARILY MEAN FLAT.

Only one person is responsible for the creation of a single output and a large group of advisors follow the creation providing feedbacks and suggestions.

- Common and collective does not mean un-ruled
- Open and collaborative does not man flat and popular

Relationships
Angels -> swarm -> community

Dual approach
- Non commercial users: Creative Commons
- Commercial users: approach the Swarm and pay

CHALLENGES & LEGAL RISK
- Use of consistent license across the project
- Attribution of multitude of creators
- Infiltration with copyrighted material (with any rights – attached material

IPR and the dynamics of creation: the cases of videogames and of music industry
Laurent Bach: Universite Louis Pasteur, Strasbourg (France)
Patrick Cohendet : Universite Louis Pasteur, Strasbourg (France)
Julien Pénin: HEC Montréal (Canada)
Laurent Simon: HEC Montréal (Canada)

Is there a difference between “standard” industries and “creative industries”?
- Creation processes: collective process, close and complex interaction between individuals, firms, and various communities (especially knowing communities)
- Creation processes are not (necessarily) following the “open science” type of rules; the “underground” rather follows ad hoc rules that are progressively emerging from the interactions between actors.

IPR has key role in articulating actor actions
- reconciling incentives
- coordinating activities
- leaving creative space
- avoiding to block future creation

STATIC APPROACH
Firms and individuals are dominant
IPR tends to be stronger.

DYNAMIC APPROACH
Tension / balance between firms/ individuals and communities

Technological change drives
- interplay and balance of power between the 3 actors
- technical conditions of creation
- the possibility of IPR system to secure the four roles
- the design of new IPR devices

Path dependence of dubbing in the German film market
Miika Blinn: Free University of Berlin (Germany)

Traditionally dubbing was conceived as a language transfer technique for small countries.

Path dependence idea for explaining the dominance of dubbing.

Censorship policies (especially Third Reich) to adapt films to the German mentality. Dubbing used to shield off foreign cultural influences.
Also protectionism policies for the local film industries.

Mechanisms reinforcing dubbing’s domination
- Advantage in transaction costs (higher for subtitled films, transportation etc)
- Complementarities (TV, Video)
- The more people got used to dubbing the more they demanded dubbing.

Habituation
- Germans ignore inconsistencies inherent in dubbing

Inefficiencies
- Dubbing is 10 – 15 times more expensive than subtitling
Cost particularly effect small/medium producers – the system is better for large films.
- Language policy
- Diversity policies

Evolving Networks… and the Finest in Jazz!
David Grandadam: Universite Louis Pasteur, Strasbourg (France)

- Creativity is a collective process
- But rewards and success are often individual

They analyze the evolving collaboration structure among artists within the Blue Note Jazz label.

ARCHITECTURES
1) Scale free networks (based on individual performance)
2) Small world networks (based on collective action)

Jazz is a symbol of creativity due to its reliance on reinterpretation – fusion – improvisation.

They studied 40 years, mapping the sessions and the collaborations to see how musicians connected to each other.

The more you take out the most connected individuals (through time) the less impact this has on network main component (percentage of how many people know each other)

Over time we see more and more clustered groups.

The most popular artists have a tendency to bring more connections (accumulated advantage)
But also an emerging small world phenomenon.

The highly connected artists are not always the most successful ones
But they may contribute to overall performance.

Control of creativity-dependent work settings. Direct and indirect effects of creative task characteristics on control system design
Isabella Grabner: Wirtschaftsuniversität Wien (Austria)

Research in management control did so far neglect the interrelation of creativity and control. Thus investigating how the nature of creative work is associated with the design of management control systems is important, topical and novel.

The aim of the research is to link creativity research with research on management control and develop a framework for management control in creativity – dependent settings.

Intrinsic motivation is extremiley important in any framework of control of creative work.

The nature of creative work influences control system design
Direct via the influence of the specific combination of task characteristics on the application of control mechanisms
Indirect via the influence of the nature of creative work on intrinsic motivation which in turn influences control system designs

The nature of creative work is positively connected to control via socialization.

This is where I am (see post)
Check out all the papers and the official programme on the conference website.

These are quick notes only - return to these pages for a more coherent blog post later in the day.

PLENARY 2: Winning Responses to Creative Industry Uncertainties
Chair: Helen Lawton Smith: Head of Management Department, Birkbeck College, University of London (UK)

IPR and Creativity in the World Economy: A perspective from WIPODimiter Gantchev: World Intellectual Property Organization (WIPO) (Switzerland)

Challenges are
- Technology Driven
- Political
o Empowrement of a broader range of participants
o Emergence of horizontal global alliances with diverging agendas
o IP becomes a global and national policy issue
- Legal
o Increasing complecity and interaction in competences
o Attemps to use the IP system to achieve objectives in other policy areas
Creativity is at the origins of the IP system. Unlike creativity the concept of copyright is a very well-defined concept
- a set of economic and moral rights
- a financial mechanism that adds stability
- a legal framework and a usiness asset

Usin the copyright concept brings a number of benefits
CLARITY
- in scope
- resolves issue of subjectivity (clear criteria)
FUNCTIONALITY
- transforming creative outputs to economic goods
- enables monitoring the suplly and demand on creative products
- evidence on the impo
STRONGLY LINKED TO POLICY INITIATIVES

Growing demand in empirical evidence from countries.

WIPO intends to work on more studies, using the evidence for policy making. Conceptualizing the creative industries. Methodology development. Addressing the needs of creators.

Intellectual property rights and industry evolution: The case of the recorded music industry
Joseph Lampel: Cass Business School, City University (UK)
Ajay Bhalla: Cass Business School, City University (UK)
Jha Pushkar: University of Newcastle Business School (UK)

Technology changed the picture and IP discussions became important.

The Generations Model (instead of a Life- cycle model)
- Succession of technological platforms
- Succession of business models
- Consumer tastes are age related
(and from Interaction we go to Generational Transitions)

A generational perspective of the evolution of technology and IP.

We are looking at a co-evolutionary process (content and technology). This is a non – stable proves. IP is not a stand alone model – it needs to tie in to Business Models.

The difference principal: shaping competitive advantage in the cultural product industries
Dominic Power: Uppsala University (Sweden)

Thinking about uncertainty as a fundamental part of what we call the creative or the cultural industries.

To understand industries you need to understand the structural conditions that underpin the market for creative/ cultural artefacts. Substitution exists in all cases: readily available pirated IP – close copies – wide variety of similar alternatives. Of course there are limits to substitution but it is still deeply rooted in our tastes. There are district geographies of consumption and cultures of substitution.

Implications of limitless substitution
- Firms cannot build strategies on the assumption that their IP’s level of innovation/ creativity will be enough to secure commercial success, create value or generate revenue.
2 options remain
1) Limit consumer’s ability to find substitutes
2) Monopolistic competition: Establish differentiated positions in the marketplace with the aim of convincing consumers that substitutes do not exist.

You first need to establish a differentiated position (only Britney – Christina just won’t do) then you will need a series of vehicles to capitalise on the position (eg. CDs, ringtones, merchandise, concerts etc. )
So think about PACKETS and not fragmented IP artefacts.

So  The CLUSTER approach
The cluster promises to produce innovation via a series of interactive processes
It recognises that different areas will have different needs
(see work by Michael Porter)

Get close to spaces and geographies that underpin construction, negotiation, recognition of difference.

Understanding Fashion Entrepreneurship
Nelson Phillips: Imperial College (UK)
Neri Karra: London College of Fashion, University of the Arts, London

Fashion is about style, continuous change

Fashion entrepreneurship
- organized around a designer
- focus on production of high end design
- communicated through fashion shows in various fashion capitals
- a system of fashion magazines, TV shows, and a dedicated TV channel

Entrepreneurship capabilities see Alvarez & Buzenitz, 2001. Arthus & Busenitz, 2006.

Are there any specific entrepreneurial skills in fashion compared to the general ones from the literature?

Capability 1: Ability to develop a new symbolic language – a style.
Capability 2: Ability to manage the process of communication on which fashion depends (managing the system, the press etc. – the PR function seemed to be quite important to designers. How do you get people to wear your clothes in events/ red carpet etc.)
Capability 3: Ability to understand and manage strategic, marketing, and branding issues for the fledgling firm.

Entrepreneurial Reactions to Uncertainty in the Creative Industries
Anna Dempster: Birkbeck College, University of London (UK)

Risk taking is an integral part of entrepreneurship and creativity – they work in a highly uncertain environment.

The question is: How are creative entrepreneurs supposed to navigate wildly diverse sectors (advertising, design, music, architecture etc. etc.)

Uncertainty requires strategic responses. Different kinds of uncertainty have very different effects on strategy.

What are the key uncertainties?
How do entrepreneurs react?
How do strategies contribute to entrepreneurial performance?

Core uncertainty of consumer demand determined by
- media coverage
- audience composition
- critical acclaim
- internal relationship
Multi-stage production process used to mange this uncertainty.

Self – financing is extremely important. Access to finance is a serious issue for entrepreneurs.
The don’t rely on many methods of IP protection.

They are uncertain about
- New consumers
- Predicting the response of consumers
- Estimating longevity of their products and services
(NOTE: very raw data at the moment)