Suchergebnisse

UK government statistics maintain that only 18 per cent of creative industries firms engage in international trade. The UK's Industrial Strategy: Creative Industries Sector Deal aims to increase UK creative industry exports by 50% within 5 years, arguing there is a "great deal of untapped potential in the sector." It also identifies small company size as a barrier to creative industry exports. Our research, however, challenges these assumptions. At least one creative industries hub is already deeply entwined in global trade. In Liverpool's creative and digital hub Baltic Creative, 69 per cent of tenants export. Furthermore, these exporters are highly dependent on their overseas income. Over one-third of exporters earn more than 50 per cent of their annual income from exports. Our research also finds that small company size was not a deterrent to international trade. Rather company owners report concerns about access to global markets after Brexit, which had already resulted in significant financial losses for some. Our study reveals that even the smallest micro-enterprises are exporting not by way of strained or concerted efforts, but simply because they are operating in an open, digital, global environment where international trade is integral to their business.

LOCAL CREATIVE INDUSTRIES MAY BE MORE GLOBAL THAN WE THINK explores the extent of international trade amongst a group of UK-based, micro-enterprises and SMEs (small-and-medium sized enterprises) classed as "creative industries." The UK government's 2018 Industrial Strategy: Creative Industries Sector Deal aims to increase UK creative industry exports by 50 per cent within 5 years, arguing there is a "great deal of untapped potential in the sector." It also identifies small company size as a particular challenge to creative industry exports. The Department for Digital, Culture, Media and Sport (DCMS) maintains that in 2016 only 18 per cent of creative industries businesses engaged in international trade (DCMS, 2018a). Our research challenges these assumptions. At least one creative industries hub is already deeply entwined in global trade. In Liverpool's creative and digital hub Baltic Creative, 69 per cent of tenants export. Furthermore, these exporters are highly dependent on their overseas income. Over one-third of exporters earn more than 50 per cent of their annual income from exports. Our research also finds that company size had not acted a deterrent to international trade. Rather company owners report concerns about access to global markets after Brexit, which had already resulted in significant financial losses for some. Our study reveals that even the smallest micro-enterprises are exporting not by way of strained or concerted efforts, but simply because they are operating in an open, digital, global environment where international trade is integral to their business.

Open innovation succeeds when it forms productive collaborations that cross organisational, disciplinary and practice boundaries. Success can, however, be hidden from stakeholders if the means to articulate value in novel, entrepreneurial open innovation work do not exist. We present collaborative design research tackling this challenge with the Cabinet Office Open Innovation Team ( OIT) within UK Government. Drawing on the findings of an ethnographic study we show how ` open innovation' and ` entrepreneurial' theories were used in practice to characterise the need for valuing the OIT's work. Using participatory design and co- design theory and methods we describe a multi- disciplinary intervention with the OIT, equipping them to collectively visualise their practice and to co- design new tools to support new and evolving valuation activities. We offer insights for collaborative design in open innovation settings and discuss the potential for co- designed tools to enable valuation in entrepreneurial practice.

Food poverty is an acute, growing and highly impactful social, political and practical challenge for the UK in 2019. This paper describes collaborative design undertaken by researchers from the Leapfrog project and practitioners from Food Power, a national network tackling food poverty. In this paper we describe 3 elements of a substantial co-design research project. We describe how co-designers from very difference constituencies (in age and location) developed tools and resources that helped the voice of people in food poverty be more clearly heard. The aim of this project is for the clear articulation of the impacts of food poverty to effect policy and policy maker. Helping in the long term to remove the need for food banks and other tactical responses to systemic food poverty challenges. The case studies presented have wider implications for the creation of tools and resources to help co-design, mass creativity and engagement at scale.