TheEntrepreneurialDimensionoftheCulturalandCreativeIndustries

Appendix1

Best Case 1: Flanders DC

Best Case 2: ArteEconomy

Best Case 3: AIE: Italian Publishers Association

Best Case 4: Cross Over Labs

Best Case 5: GATE: Game Research for Training & Entertainment

Best Case 6: b.TWEEN

Best Case 7: Architectuur Lokaal

Best Case 8: ESA: European Advertising Standard

Best Case 9: Disseny Hub Barcelona

Best Case 10: EDIMA

Best Case 11: MEDIA

Best Case 12: FEP: Federation of European Publishers

Best Case 13: IMAGINOV

Best Case 14: Dutch Media Hub

Best Case 15: Bandpool

Best Case 16: UPTEX

Best Case 17: OnlineArt

Best Case 18: Departure

Best Case 19: IFCIC

Best Case 20: ICO

Best Case 21: CultuurInvest

Best Case 22: Advantage Creative Fund

Best Case 23: Create Berlin

Best Case 24: Finpro

Best Case 25: Creative Depot

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 1

Best Case 26: Own It

Best Case 27: Kunst & Zaken

Best Case 28: Demola

Best Case 29: Helsinki School of Creative Entrepreneurship

Best Case 30: Firstport

Best Case 31: Creative Apprenticeship

Best Case 32: Creativwirtschaft

Best Case 33: Creative Industries Knowledge Transfer

Best Case 34: SEE

Best Case 35: IBBT

Best Case 36: TULI

Best Case 37: DigiDemo

Best Case 38: Inserralves Incubator

Best Case 39: Dutch Game Garden

Best Case 40: CITIES

Best Case 41: Cap Digital

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 2

BestCase1:FlandersDCCreativityforinnovationandmatchingservicesforfashion

FlandersDCBelgium

FlandersDistrictofCreativityisaFlemishgovernmentalorganisationthatpromotesentrepreneurialcreativityintheregioninordertoboostFlanderscreativityandinnovation.

Itprovidesactivitiestofostercreativityandinnovationprocessesinenterprisesthroughopeninnovationmethods,providingspeci<icinnovationmanagementandcreativitytechniquestraining,byprovidinganetwork,internationaltraineeshipopportunities,prizecontestaswellasitactsonpromotinghedesirabilitytobecomeanentrepreneurschools.Italsoaimsatbridgingthebusinessandmanagersclosertothecreativeeconomyandviceversaandtoprovidewithresearchandinformation.

“Thosearetheactualprojectsthatwearedoingontheborderbetween"creativeentrepreneurship"and"entrepreneurialcreativity".

Apartfromtheseactivities,FlandersDCalsoprovideonlinetoolstohelptheentrepreneur.

Theyaimatenhancingtheentrepreneurshipofthecreativesectors.Infashion,inpartnershipwithFlandersFashionInstitute,FlandersDCdoespatronageproject,wheretheymatch15designerswith2peoplewhoarepatrons.Thereare<ixedthemesopenfordiscussionbetweenthedesignersandthepatrons.Thisenablescross‐fertilizationandactsassortsofcreativesessions.Thepatronage,isatthemoment,sectorbysectorbutwillbeextendedtomixallofsectors,mixingmorethetraditionalsectorswiththecreativesectorinordertofostercoachingsessions.

Thesesessionsaimatenhancingtheentrepreneurialskillsbuttheycouldbeaboutverybasicstuffsuchasaccountingorhowtopositionone’scompanyagainstcompetitors.Thosearethecrossfertilisationthatwewanttodo.

www.@landersdc.be

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 3

BestCase2:ArteEconomyMutualbene7itswithopeninnovationmethodsbymatchingtheartistsandentrepreneurs

ArteconomyBelgium

Faithfultoitsname,Arteconomyconnectsartandtheeconomythroughvariousformsofcollaborationwithartistsandentrepreneurs.Arteconomyendorseslong‐termprojectsandaimstostimulateabroadrangeofpeopletothinkaboutartandtheeconomyandthewaysthesetwocanintersect.Arteconomyhelptocreateanenvironmentofexchangeandco‐operationbetweentheworldofcreativityandtheworldofbusiness.Arteconomyprovidesfacilities,projectsandresourcesessentialtoincreasetheunderstandingofthecreativeindustriesandtheireconomicvalueandworkshops.

Aspartofitsoperationalgoals,Arteconomyfunctionsasathinktank,acentreforstudyandresearch,andadvicecenter,andanadvocateforawareness.

Arteconomyaimstocreateaddedvalueforcompaniesandorganizationsbyenablingdirectcontactbetweenartistsandtheentrepreneursinorderto,forinstance,confrontmattersofcompanyculture,tosharecommonvalues,andtodevelophiddentalent.Addedvalueisalsoachievedthroughfurtherresearchanddevelopmentasnewconceptsandproducts/servicesaredevelopedthroughknowledgeexchange.Startupcompaniesarejustoneoftheoutcomesoftheseinteractions.

Likewise,addedvalueisofferedtoartistsbyprovidingthemwithopportunitiestolearnfrominteractionswithcompaniesandorganizations,toaccessemployment,tore<lectcriticallyonartpracticeandcurrentmethods/techniques,togainvisibilitythroughprojects,andtodeveloppersonalnetworksaspotentialresourcesinthefuture.

Arteconomystrivestoremainaneutralintermediaryandtofacilitatetheprocessesbetweenartandtheeconomythroughcoachingandadvice.Aspartofthisundertaking,Arteconomymakesadistinction

betweenrelationalaspectsofaprojectandprojectcontentsduringcollaboration.Botharevalued,buttheyaredifferentiated.Likewise,thereisnoresultcommitmentinprojectsfacilitatedbyArteconomy.Theengagementduringaprojectliesmoreinthedevelopmentofaprototyperatherthaninobtainingamarket‐readyresultorproduct.Inessence,Arteconomystrivestochallengeandprovidelearningopportunitiestoboththeartistandtheentrepreneurbyenablingdirectcontactbetweenthetwo.

Whatdoesthislooklikeinpracticalterms?Aninitiativecancomefromacompany,anorganizerandanartist.TheseapproachArteconomy,whothen<indasuitablepartner.Todoso,Arteconomymust<indapartneropenandinterestedinengaging.Financialmattersarenegotiatedandagreeduponfromthebeginningoftheprojectandfromtheretheprojectandrelationshipsmaygoinmanydirections,oftenlastingforalongtermor,otherwise,ashortterm,dependingonwhattheintentionsandagreementarebehindtheproject.

ArteconomytacklestheimmediategapbetweentheartandtheeconomythatoftenistheinhibitingfactorforthecreativeandculturalindustriesinthelargelycommercialeconomicenvironmentofEurope.Asadvocatesofinteractionandco‐operationbetweenrelevantstakeholders,Arteconomyincreasesawarenessbyencouragingtheactiveinvolvementofartistsandentrepreneursindiverseprojectswithpotentialbene<itsforboth.Inthisway,Arteconomyprovidesamodelforpartnershipdevelopmentbetweenthecreativeindustries,Europeanbusinessesandtheeconomy.

http://www.arteconomy.be

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 4

BestCase3:AIE:ItalianPublishersAssociationSectoralsupportforSMEbase

ItalianPublishersAssociationItaly

AIEisasectoralorganisationsupportingthepublishingindustry.AIEhasactivelyestablishedanumberofcoreactivitieswhichareespeciallyfocusedonsupportingSMEsintheItalianpublishingindustry.ThebookfairPiùliberiisanindependentpublishersbookfairaimingatincreasingthevisibilityofindependentSMEs.

Theeventhasbeenorganisedsince2002withtheaimofprovidingvisibilityandmarketopportunitiestothesmallandmediumItalianindependentpublishers.Independentpublishersareoftenveryinnovative,workonthecreationofacataloguesfocusedinspecialisednarrownichesandarefollowedbyveryloyalcustomers,butinmanycasehavemoredif<icultiesthanthebiggeronestoapproachawidermarketandtoreachtheirreadersbecausenormallythenumberoftitlestheypublisheveryyearisnotveryhighandthentheyareunabletoobtainspaceandvisibilityinthetraditionalbookstores,whererightnowbestsellersandnewtitleshavethehighervisibilityespeciallyinthebookstorechains.

Piùlibriisnowadaysoneofthemostwellknownandappreciatedbookfairintheworldbothbyvisitorsandpublishers.Morethan400Italianbookpublishersbookastandfromoneyeartoanother.

Thefairhasbeencreatedandpromotedbythesmallandmediumpublishers’groupwithintheAssociationanditsenormoussuccessisastrongdemonstrationthattheAIE’swilltoprotectandtosupporttheindependentpublisherswasright.Itisaverygoodexampleonhowcreativityandentrepreneurshipmaybeforeseenwithin

tradeassociationsaswell,whentherearecleargoalsandstrongcommitmentfromthestakeholders.

Themaingoalsoftheprogramaretoprovidetotheattendingpublishersanopportunitytopromotetheirproductionandoffertothepublicthepossibilitytointeractwiththeirpreferredauthors.Theprogramincludesavarietyofeventsfromminiconcerts,roundtablesandreadingstotheatricalimprovisations.

Asidetheprogramforthepublicthereisaspeci<icProfessionalprogramforbookindustryprofessionals,wherethemostuptodateandinterestingtopicsinthebookmarketarediscussed,fromtheroleofindependentbookstoresandbookchainstotherelationshipbetweenbookandmovieindustry,fromproductionprocessestotheemergingebookmarket.IntherecentyearsPiùlibrifocusedontheimpactoftechnologiesinthepublishingindustrywithspeci<icseminars.ItdevelopedanareanamedebookCornerwherealltheebookreaderavailableintheItalianmarketwereshowntothepublic.

AspecialtracknamedThePiùlibriFellowshipProgramisreservedtoforeignpublishers.ItisatradenetworkinginitiativereservedforalimitednumberofcarefullyselectedinternationalpublishersandliteraryagentswhowillbegiventheopportunitytovisitpublishinghousesinthecityofRomeduringthedaysleadinguptotheFairandtomeetduringtheFairinadedicatedareathemostimportantItaliansalesmanager.

www.piulibri.itwww.aie.it/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 5

BestCase4:CrossOverLabsMulti­disciplinaryworkshopforknowledgeexchangewithaparticularfocusonnewmediatools

CrossoverLabsUnitedKingdom

CrossoverInnovationsLabisacreativelabinthesensethatitencouragesexperimentationwithdifferentformsofmediaandthecreationofnewcombinationsandmethods.BasedinLondon,itisaninternationalprogramdesignedtoexplorethecreativeandcommercialchallengesofnewmediatoolsanddevelopingcontentthroughthese.Toachievethis,Crossoverorganizes<ive‐dayeventswithuptotwenty‐<ive,individuallychosenparticipantsandateamofexpertmentors.Eachdayconsistsofafullrangeofactivities,meanttostimulateandchallengetheparticipantstointeractandshareideasandcross‐disciplinaryexpertisetocreateoneinnovativeprojectideatogether.

Unlikeothermodelsoflab,Crossoverdoesnotworkwithpre‐conceivedproposals.However,itcomprisesasetofrobustmethodologiesthathavebeenre<inedovertimetotest,enhanceanddevelopideasforconvergingservicesandprograms.Crossoveraimsatexploringapracticalanddynamicrangeoftechniquesfordevelopingmulti‐platformprojectsandprovidesaframeworkforthedevelopmentofconcreteprojects,whichresultinthebuildingofpitchesandearlystageconceptprototypes.Themainaimofthisphaseistoexchangeknowledge.

Inthesecondphase,crossplatformideageneration,participantscreateoriginalideasforcross‐platformproductsandservices.Variousexchangemethodsareusedwhileparticipantsworkinconstantlychanginginterdisciplinaryteams.Inthe<inaltwophases,selections,evaluationanddevelopment,andpresentation,expertiseis

furtherconvergedwhileteamsselectanideatodevelopfurther.Duringthe<inaltwenty‐fourhoursinthelab,teamsfocusondevelopingapitchforasingleproject.Thispitchispresentedonthe<inaldayofthelabperiod.

PerhapsoneofthemostindispensableaspectsoftheCrossoverlabexperienceisthenetworkthatisestablishedbetweenparticipants.Afteranintensiveweekofknowledgeexchangeandco‐operation,participantshavebondedandtheseedtocross‐sectoralpartnershipisplanted.Inaddition,thelabprovidesservicesafterthelabperiod,suchasongoingmentoringviaandinternationalnetwork,conferencesandanonlinenetworkprovidingyearlongresourcesforpotentialoractualpartnerstocollaborateandexchange.

CrossoverLabsengagesprofessionalsinawaythattheymaylackintheirday‐to‐dayworklife.Itchallengesthemtotakeuptoolstheyareunfamiliarwithandgainexpertiseinareastheypreviouslymayhavehadlittletonoknowledgeabout.Theresultisaregularoutputofwellconnected,inspiredandinnovativeindividualsfromawidespectrumofsectors,spurredtoengageincross‐disciplinaryexchangesforthebettermentoftheirownprofessionalcareersandtheindustryasawhole.Itisaunique,realisticandpersonalapproachtothiscommonandreoccurringproblemofthecreativeandculturalindustriesandCrossover,initofitself,solvesthisprobleminaninnovativeandinteractiveway.

http://www.crossoverlabs.org

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 6

BestCase5:GATE:GameResearchforTraining&EntertainmentKnowledgedevelopmentthroughGameSMEintegrationinresearchprocessesandthroughthemediumofnewtechnologyserviceprovision

GameResearchforTrainingandEntertainment(GATE)TheNetherlands

TheGameResearchforTrainingandEntertainment(GATE)aimstodevelopaninternationalcompetitiveknowledgebasewithrespecttogametechnology,andtotrainthetalentrequiredtoenhancetheproductivityandcompetitiveedgeofsmallandmedium‐sizedcreativeindustrialcompanies.Theprojectisalsoaimedatimprovingsubstantiallythecompetitivenessofcompaniesproducing(toolsfor)gamesandsimulationsbyprovidingdirectaccesstonewtechnologyandbytechnologytransferprojects.Thegoaloftheresearchistosubstantiallyadvancethestate‐of‐the‐artingaming,simulationandvirtualrealitytocreatinghighlyeffectiveentertainmentproductsandexperiencelearningsystems.

Itishopedthatresultsobtainedfromthisprojectwillleadtothecreationoflargercompanies,encouragethefoundingofnewcompanies,andattractcompaniesfromothercountriestotheNetherlands.Theprojectisalsohopedwillmakepeople

awareofthepossibilitiesofgaminginpublicsectorssuchaseducation,health,andsafetybyperformingpilotsintheseareas.Asaresultgamingandsimulationwillbecomemorecommonlyappliedinthesesectors,leadingtoqualityimprovementsandcostreductions.

ThisprojectdoesnotprovidedirectsupporttoSME’sintheculturalandcreativeindustrieshoweverbecauseGATEisnotonlyaboutacademicresearchintogamesandGame‐technologythisprojecthasbeengearedtowardsdevelopingknowledgefurtheraspracticalsolutions.ThroughKnowledgeTransferProjects,GameResearchconstantlycollaboratewithsmallandmediumsizedenterprisesandotherresearchpartners.Knowledgequestionsprovidedbycompaniesaredevelopedintopracticalsolutionsthatmakeresearchresults<it‐for‐useforindustry.ThusthroughSME’s,theresultsobtainedfromresearcharetranslatedintopracticalsolutions.

http://gate.gameresearch.nl/index.php

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 7

BestCase6:b.TWEENFosteringexchangeofideasandplatformaswellasintroductionofdigitalmediaasafuturemediumforCCIactivities

b.TWEEN­CrossPlatformDevelopmentLabUnitedKingdom

Londonbasedb.TWEENwasfoundedsixyearsagotoprovideadynamicenvironmentwherememberswouldfeelsafetocreateandshareideas,andmeetpeoplewhocanhelptoturngoodideasintogoodproducts.IntheUK,b.TWEENhasbeenacclaimedas“thedesignersofthefutureofdigitalbusiness”.

Amongitsactivities,b.TWEENorganizesfestivalswherecreatives,in<luencersandvisionarieswithacommercialedgeareencouragedtoattendandexchange.Workshopsonsubjectssuchaslocation‐basednarrativesandothertrendswithinthemediaworldarealsoofferedtoparticipants

Apartfromthefestival,b.TWEENoffersmanywaysforinterestedpartiestogetinvolvedsuchastheBrandingTalentcompetitionin2009.Inthiscompetition,smallcreativecompaniesandfreelancersfromacrossthedigitalmediaindustrieswereinvitedtoenter“seedideas”toprovidenewwaysforShop

Direct,ahomeshoppingorganization,toconnectwiththeircustomers.Theideawasdevelopedoveramonth’speriodbeforebeingpitchedtoShopDirect.

Arecentprojectorganizedbyb.TWEENintheNorthWestb.TWEENTVPlatformswheredelegatesareinvitedtodevelopinnovativesocialenterpriseideas.Theaimofthisprojectistoattractsocialinnovatorstocreateanenterpriseusingconnectedtechnologytoanswersocialandenvironmentalchallenges.

b.TWEENoffersacutting‐edgeportalintotheworldofdigitalmedia.Itoffersinterestedstudentsandprofessionalsactivitiestoboostandhometheirskillsthroughcompetitions,discussionandnetworkconnections.Indoingso,b.TWEENnurturesanenablingenvironmentandstimulatesthecreativetechnologicalindustriesoftoday.

http://www.btween.co.uk

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 8

BestCase7:ArchitectuurLokaalSectoralsupportwithauserfocus

ArchitectuurLokaalTheNetherlands

ThemainpurposeofArchitectuurLokaalistostrengthenarchitecturalpolicy“infrastructure”bystimulatingclientstodevotemoreattentiontotheculturalaspectsofbuildingdevelopment.Bydoingso,theorganizationissimultaneouslyreinforcingthepositionofarchitectureandprofessionalsofthesectorbyprovidingthelatterwithclientsinterestedintheirwork.

AcentralideabehindDutchpolicyisthatclientsplayacrucialrolewhenitcomestoarchitecturalquality.Thus,ArchitectuurLokaaldevotesitselftoinformingandinspiringclientstopursuedevelopmentwiththepartnershipofarchitects.Apartfromprovidinginformationthroughpublications,italsodoessothroughanextensivenetworkofclients,localarchitecturecenters,andotherpartnersatvariouslevelsofauthority.

ArchitectuurLokaal,operatesinlargepartatthelocallevel.However,theytargetmunicipalauthoritiesandprivate‐sectorpartiesatboththelocalandregionallevels.Theyalsoengageinternationally,extendingtheirnetworkandsharingexpertise.OnerecurringprojectinvolvingArchitectuurLokaalisPanoramaEurope,agatheringofexpertsoncommissioningdevelopmentandchallengesfacingspatialplanningpolicy.Thisoccursbetweentwocountriesand,inpreviousyears,hasinvolvedGermany,BelgiumandtheUnitedKingdom(Scotland).

ArchitectuurLokaalactsasacentralbridge‐builderbetweenstakeholdersinvolvedinthebuildingprocess.Itoffersconsultationsonmattersrelatingtoarchitecturalpolicy,spatialqualitypolicyandbusinesscommissioning.Italsoprovidesclientswithprogramstofurtherdeveloptheirexpertiseintheseareas,particularlyinmattersofpolicy.Bywayoftheseactivities,theeconomicandculturalvaluesofarchitecturearealsotransmittedtotheclient,whoisencouragedtoidentifytheaddedvalueofincorporatingarchitecturetotheirbuildingprojects.

OneofthemostappealingservicesrunbyArchitectuurLokaalistoadvisepublicandprivateclientsontheselectionofdesignersandpropertydevelopers.Simplyput,theclient’sinvestmentintothedesignandqualityoftheirprojectsduringtheconstructionphasewillnotablypayoffinthelongrun,whenthevalueoftheirbuildingisbasedonitsaestheticandculturalvalueinadditiontoitsstructurallysoundconstruction.

Throughtheiractivitiesofactivelyengagingandadvisingpotentialbuilders,andwiththeirexpertise,theorganizationstimulatesthesectorofarchitectureandthusthecreativeandculturalindustriesasawhole,intheNetherlands,primarily,butalsoinotherareasofEurope.

http://www.arch­lokaal.nl

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 9

BestCase8:ESA:EuropeanAdvertisingStandardDigitalmarketingcommunicationandsectoraladvisesonselfregulation

EuropeanAdvertisingStandardAllianceEU

EASAisthesingleauthoritativevoiceonadvertisingself‐regulationissuesandpromoteshighethicalstandardsincommercialcommunicationsbymeansofeffectiveself‐regulation,whilebeingmindfulofnationaldifferencesofculture,legalandcommercialpractice.Asanon‐pro<itorganisationbasedinBrussels,itbringstogethernationaladvertisingself‐regulatoryorganisations(SROs)andorganisationsrepresentingtheadvertisingindustryinEurope.EASApromotesresponsibleadvertisingbyprovidingdetailedguidanceonhowtogoaboutadvertisingself‐regulationacrosstheSingleMarketforthebene<itofconsumersandbusinesses.Itstrengthensexistingself‐

regulation.In2004,theadvertisingindustrysignedtheEASAadvertisingSelf‐RegulationCharterwhichmeantsettingupsystemsinsomeofthenewcountries,whichdidnotyethaveaself‐regulatorysystem,andstrengtheningthealreadyexistingsystems.OneofthewaysthatEASAstrengthensandconsolidatesself‐regulationisbyprovidingself‐regulatoryorganisations(SROs)withBestPracticeRecommendations.EASAcurrentlyhasBestPracticeRecommendationsinareassuchasdigitalmarketingcommunications,con<identiality,complaintshandlingorfunding,andmanymore.EASAalsoprovidesresearchandinformationontheadvertisementmonitoringoncontroversialareas.

www.easa­alliance.org

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 10

BestCase9:DissenyHubBarcelonaSectoralnetworkservingasresearchcentreaswellasstimulatingcollaborationbetweendesignersandbusinessesandCCIs

DissenyHubBarcelonaSpain

TheprimaryaimofDHUBistopromotegreaterunderstandingandpromotionofthedesignworld.DHUBispartoftheInstitutodeCulturadeBarcelona,andthroughthisinstitutepromotestheadvancementofallfacetsofthedesigndiscipline.Thisisachievedbyoperatinginbothavirtualandphysicalenvironmentandbyorganizingdiverseactivitiesyearround.Inaddition,DHUBprovidesanaccessiblenetworkofdesigncurators,creatorsandconsumersandstrivestoachieveaforumforprofessionaldialogueandappraisal,disseminatingknowledgetothepublic,andstrengtheningtheeconomythroughthecreativeandculturalindustries.

Toachieveitsgoals,DHUBboastsactivitiessuchasexhibitions,studygalleries,symposiums,conferencesandeducationalprogramaddressedeitherforsecondaryschoolstudentsoradults.Exhibitionsand

studygalleries,fromtheirpart,encouragetheinvestigationandappreciationofexistingwork.

Inadditiontotheseactivities,DHUBisactiveinresearchandreferenceresources.Areferencecenter,tobeopenedthisyear,willcoverthefourareasofoperationofDHUB,thesebeingarchitectureandinteriordesign,visualcommunicationdesign,productdesign,andfashiondesign.

DHUB,simplythroughitswebsite,alsoprovidesandextensivedigitalresourcereferencecenter.Bytargetingadiverseaudienceandparticipantsfromvarioussectorwithinthedesignindustry,includingdesignprofessionals,studentsandthegeneralpublic,DHUBstimulatescollaborationwithinandbetweenthebusiness,economically‐oriented,world,andthecreativeindustriesinSpainandinEuropeasawhole.

http://www.dhub­bcn.cat/en

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 11

BestCase10:EDIMAEuropeanProjecttoopenthelegalframeworkfornewdigitalproductstocreateasingleEuropeandigitalmarket

EDIMAEuropeanUnion

EDiMA(EuropeanDigitalMediaAssociation)projectoftheEUaimsatcreatinganopenandlegalframeworkfornewdigitalproductsthroughouttheEUsoastoavoidthelegalbarriersblockingasingleEuropeandigitalmarket.

Itaimsatimprovingconsumercon<idence,increasethecoordinationofpolicyformationbyestablishinganewEPinter(national)grouponthenewmediasector,haveabetterimplementationoflaws,andensureabetter<itwithregardstothecopyrightlicensingregimeforthedigitalage.TheEuropeancommissionerVivianeReding(Not

commissionerforthisanymore)acknowledgedsimilarneedsincompletingasingledigitalmarket.AsingledigitalmarketwouldensureabetterandeasiercoordinationofproceduresfornewmediaservicesacrosstheEU.Copyrightissuescouldbecoordinated.AEuropeantrust‐markcouldbecreatedandfacilitatethedigitalizationofbooksandorphanworks,buildingontheexistingprojectssuchasARROW120(AccessibleRegistriesofRightsInformationandOrphanWorks)andEuropeana121.

http://www.europeandigitalmedia.org/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 12

BestCase11:MEDIAEuropeanSupporttoAudiovisualSector­Finance,AccesstoMarket,Trainingandshortlyloanguarantee

MEDIAEuropeanUnion

MEDIAistheEUsupportprogrammefortheEuropeanaudiovisualindustry.

MEDIAco‐<inancestraininginitiativesforaudiovisualindustryprofessionals,thedevelopmentofproductionprojects(feature<ilms,televisiondrama,documentaries,animationandnewmedia),aswellasthepromotionofEuropeanaudiovisualworks...more

TheMEDIA2007‐2013ProgrammecomprisesaseriesofsupportmeasuresfortheEuropeanaudiovisualindustryfocusingon:

■ trainingprofessionals■ developingproductionprojects■ distributing<ilmsandaudiovisual

programmes■ promoting<ilmsandaudiovisual

programmes■ supporting<ilmfestivals

Thisprogrammewashighlightedasanexampleofbestsupporttoasectorasittookunderconsiderationthedifferentpartsofthecreativeprocess.Anewfocusonsupportingthesectortofacethedigitalshiftthroughinnovativeactioninthe<ieldofdigitisationandthroughabetteraccesstocredit.

http://ec.europa.eu/culture/media/index_en.htm

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 13

BestCase12:FEP:FederationofEuropeanPublishersSectoralsupportattheEUlevelaswellasnationallyinnetworkbuilding,assistancetofacethedigitalshiftandprovisionofadvicesandtraining

FederationofEuropeanPublishers(FEP)EuropeanUnion

FEPisanindependent,non‐commercialumbrellaassociationofbookpublishersassociationsintheEuropeanUnion.FEPrepresents26nationalassociationsofbookpublishersoftheEuropeanUnionandoftheEuropeanEconomicArea.

ItmainlydealswithEuropeanlegislationandadvisespublishers'associationsoncopyrightandotherlegislativeissues.In2010,itsactivitiesincludedcontributingtothedigital

strategyofDGInformationSocietyandmedia,severalcontributionsregardingcopyrightsandcollectivemanagementoritsparticipationtoEuropeanCulturalPlatformsaswellasmaintainingthenetworkofEuropeanpublisherstogether.

Thisprovidesthepublishingentrepreneurwithadhocsectorspeci<ictrainingaswellasconsultancyservices.

www.fep­fee.eu

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 14

BestCase13:IMAGINOVIMAGINOVGameClusterinFrancesupportedbytheregionandstimulatingmulti­disciplinaryprojectspromotingsectoralformarketopportunity

IMAGINOVFrance

IMAGINOVisaLyonbasedregionalclusterwhichwasbornoutofthecluster/poleofcompetitiveness“DigitalLeisure”focusedonvideogamescompanies.ThepolewasacknowledgedbytheFrenchgovernmentin2007.

Themembersoftheorganisation(around210)represent1,13billion€ofrevenuesandrepresent12700ofemployments.TheclusterhasattractedmanyenterprisestoLyon.Seriousgamescompanieshaveanexponentiallyturnoverandhavereceivedspeci<icsupportfromtheclusterthroughworkshopsandactingasmarketintermediariesaswellasthroughsubsidiesforR&D.

TheregionofRhoneAlpeshasspeci<icallyprovidedpreferentialregulatoryenvironmentbygivingataxcreditforvideogamesindustry(20%),accesstosubsidiesforR&Dthroughthepoleofcompetitivenessfunds.

TheRegionRhoneAlpeshasalsoencouragedinnovationandnewbusinessmodelsthroughseveralcontestssuchas“ImaginovCommercial”and“ImaginovInternational”.100companieshavebeenrewardedinthreeyears.

Withthehelpoftheregion,theclusterhasbeenamajorplayerintermsofsectoralspeci<icities.Ithashelpedattractcompaniesintheregion.

www.imaginove.fr

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 15

BestCase14:DutchMediaHubSectorclusterprovidingservicesincontentproduction,distribution,developmentaswellasactsasanetworkwithmunicipal,regionalandnationalauthorities

DutchMediaHubTheNetherlands

TheDutchMediaHubaimstobundletherichvarietyofDutchcreative,mediaandfacilitycompanies.ThiswaybecomingtheDigitalGatewaytoEurope.TheDutchMediaHubtriestoachievethisbystimulatingthecorporationamongstpartnersandbyorganizingpromotionalactivities.

TheDutchMediaHubbundlesthecompaniesinvolvedbyprovidingsupportservicesforcontentproduction(suchasInternetfacilities),contentdistribution(fromstreamingtoDigitalRightsmanagementadvise),servicesdevelopment(suchasprototypeorprojectmanagement).Italsoprovidescontentstoragesupport(format

management,mediaassetmanagementforexample)aswellasitalsocontributestothecompanieswithtranslationservices,conversion,transcodingorlocalisation.

TheparticipantsintheHubalsoparticipateonstandarisationprocedures,interoperabilityissues,anti‐piracyisssuesorinternationalmarketing.

TheHubgathersmediacompaniesaswellasmunicipal,regionalandnationalauthoritiesaswellasChamberofCommerce.

www.dutchmediahub.com

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 16

BestCase15:BandpoolSupportingsectorthroughcoachingandnetworkingopportunities

BandpoolGermany

TheBandpoolprojectisoperatedbyPopAcademyBaden‐Wuerttemberg‐UniversityofPopularMusicandMusicBusiness.ThePopAcademyBaden‐Wuerttembergisanacademythatdistinguishesitselffromothersthroughoutoutstandingreputationsforallaspectsofthemusicbusiness.ThisissupportedbynumerousprojectsrangingfromEuropeanpartnershipstotheregionaldevelopmentandeconomicsupportformediabusinessesintheregionofBaden‐Wuerttemberg.

Thisprojectwasinitiatedasacoachingtoolforbandsandsingleartists,whointendtotakethedecisivesteptowardsaseriouscareerasprofessionals.ThisprojectssupportsbandsandsingleartistsintheMusicIndustryby,withinaperiodof18months,offeringthemone‐to‐onecoaching,intensiveworkshops,objectiveanalysis,givingthem

theopportunitytomakecontactsandaswellasmanyotheroutcomes.Thisisdonewiththesupportofexpertsfromthemusicindustry.

Theresultsofthisprojectareevident:manyBandpoolactshavealreadysignedwithrenownedlabelsandthereareseveralchartentriesandnominationsformusicawards.Topromoteimprovednetworkingbetweenthemusicandmediascenesaswellasbetweenpoliticsandtheeconomyeventsarealsoorganizedtoserveasmeetingpointsforpeoplefrommusicandmediaindustries.Thesemeetingsincreasesgeneralawarenessofthemusicbusinessasaninnovativeandcreativesectorofeconomy.

www.popakademie.de

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 17

BestCase16:UPTEXSectoralinnovationclusterinvolvingmulti­disciplinaryparticipantsandadvisesonlegal,fundingexpertiseaswellasactsasacollaborativeplatform

UPTEXFrance

Involvingresearchinstitutes,highereducationlabs,fashionenterprisesandchamberofcommerce,UPTEXisaninnovationclusterthataimsatinnovatingthetextileandfashionsectortointegratenewperformances.Aimingatreachingnewtextiles,newpoly‐sensorialtechniquesandintegratingdesignandmasscustomisation,UPTEXintegratesuser‐demandprocessesinordertodevelopcustomisedtextile.

Notonlyistheclusterinnovatingintermsoftechnological,scienti<icandindustrialtechniquesbutitisalsointegratingsoftinnovationprocessessuchasmanagerialandorganisationalprocessesinordertobetterbeabletorespondtoconsumer’sdemand.

UPTEXoffersitsmemberslegalservices,economicexpertiseandfunding

opportunitiesaswellasitprovidesforacollaborativeplatformtopromoteinformationexchangewithintheclusteraswellasmatchingservicesforspeci<icscienti<icandindustrialpartnersforthedesigners.

Moreover,asthesectorisinherentlyinternational,theclusteraimsatsupportingtheinternationalisationofitsmembersbydevelopingtheinternationallevelofenterprisesandencourageinter‐clustercollaboration.Italsoprovidesmarketresearchinformationforthememberstosupporttheiraccessinthemarket.

www.up­tex.fr

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 18

BestCase17:OnlineArtCollectingsocietiesbyandforvisualartistsenablingaccessaswellasreward

OnlineArtBelgium

ThecollectingsocietiesforvisualartistshavebuildupaninternationalnetworktolicenseInternetusesforworld‐widelicensingofprimaryrights.Itrepresentsover30000authorsandestatesofart.

OnLineArtistheOne‐stop‐shopforworldwidelicensesonworksof<ineartforusesontheWorldWideWeb‐beitcommercialornon‐commercial.OnLineArtistheinterfaceconnectingmarketdemandsforeasyaccesstoworldwiderightsandtheauthorsandtheirestatesinterests'representedbytheirvisualartscollectivemanagementsocieties.Newtechnologiesoffernewopportunitiesforbroaddisseminationofworkstoalargeinterestedpublic.

OnLineArtrecognisesthestrongmarketdemandforeasylegalaccesstocontentandoffersamarketsolutionbasedonbestpracticeandknow‐how.AtthesametimeOnLineArtensuresthatauthors'interestsareprotectedandthattheyarerewardedwhentheirworksareexploitedbyothers.

Thus,userscangoaheadwithwebsiteprojectsinlegalcertaintyandartists<indthemselvesinanenvironmentwherethevaluetheyaddtotheculturesceneandgrowthofeconomyisequitablyrewarded.ThemembersofOnLineArtareallnot‐for‐pro<itorganisations;theyactforauthorsastheirtrustees.Theyarepartoftheculturallandscapeinthelanguageandcultureareatheyarelocated.Theyhavelongstandingcontractualcontactswithmuseums,educationalinstitutions,libraries,broadcastersandartpublishers.Withtheirservicestheycontributesigni<icantlytothemaintenanceandfurtherdevelopmentofculturaldiversity.

OnLineArtalsogiveslegaladvicesandputsinplaceabroaddatabasethatcanserveasinformativefuturemarketdirectionsinformingtheauthorsaboutlegalusesaroundtheworld.Itappliesacommontariffssothatuseraretreatedequallyandreceivedstandarisedandsimplelicencingservice.

www.onlineart.info

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 19

BestCase18:DepartureFinanciallysupportingCCIsbyprovidingalinkbetweentheeconomyandtheCCIsandpromotingastrongnetworkinlocal,regional,nationalandinternationalfrontiers

DepartureAustria

Departure,afundinginstitutionbasedinVienna,Austria,endorsescreativeprofessionalswhoconsiderthemselvespartoftheeconomyandwhostrivetorevealtheirproductsorskillstothecityofVienna,therebycontributingtotheprosperityofthemetropolis.ManyofthosewhomDeparturesupportsarealreadyentrepreneursorcompanyfoundersactiveinthecreativeindustries,andthusawareoftheinternationalandcultural<lairtheycanbringtoVienna.However,manyarealsoindividualsinterestedinturningacreativeideaintoabusinessopportunity.Departurestrivestoidentifyand<inanciallysupportoutstandingandvisionaryprojectsinthecreativeindustries.

ThemainobjectivesofDeparturearetodevelopaneconomicallysustainablebasisforlocalcreativeprofessionalswiththeeffectsofpromotingeconomicgrowththrough,forinstance,thecreationofnewcompaniesandjobs.Todoso,Departureemphasizesknowledgeexchangeandco‐operationbetweenthecreativeindustriesandtheeconomy.Inaddition,itadvocatestheestablishmentofcreativeservices(e.g.design)forclassiccompaniesthatmightnormallyfailtoincorporatecreativeindustriestotheirproductionprocesses.

Departureisveryactiveintheareaoffundingthroughfourprogramsthatsupportindividualandcreativetopperformances.Ofthese,oneprogramaddressesyoungandcreativetalentsandaidstheminstartinganenterprise,withupto€15,000attheirdisposal.30%ofthefundinghastobeusedforexpertcoaching,therebyprovidinganopportunityforbusinessskillsacquisition.AnotherfundingprogramthroughDeparturetargetsexistingclassiccompaniesbyprovidingthesewithcoachingonwaysto

reorienttheirbusinesstonewmarkets.Atotalof13.3millionEuroshavebeenusedto<inance182projects(2009),whichsubsequentlyledto52.9millionEurosworthofprivateinvestmentandcreatedover943jobs.

Inadditiontofundingprograms,Departurebene<itsfromawidenetwork.Throughthisnetworktheorganizationassistsintheestablishmentofnewplatformsforthecreativeandculturalindustries.Thenetworkcrosseslocal,regionalandinternationalfrontiersandfurtherdistinguishesViennawithregardstoadvancementsinthecreativeindustries.Additionally,competitions,suchas"DesignStrategyforVienna",aremadeavailabletoprofessionalsofmanysectorsataninternationallevelandprovideanopportunitytogainrecognitionandexhibitwork.

ThoughresourcesthroughDepartureareratherinteractiveinnature,Departurealsoengagesinresearchactivities,coveringsubjectsrelatingtothecreativeindustries.AnannualLook/Bookispublished,reportingoneachyear’smajorthemeswithregardtotheindustrythroughvisuallyappealingwork.

Departureexplicitlystatesitsroleasasupportstructuretowardstheintegrationofculturalandcreativeoutputintoeconomiclife,ratherthananartfundinginstitution.It'seconomicorientationandthegoalofcontributingtotheprosperityofVienna,hasgreatlyimprovedcommunicationandco‐operationbetweenthecreativeindustryrepresentativesandthecityadministration.Finally,ithasachievedthiswhilestillprovidingessentialresourcesandplatformsforcreativeprofessionalsandprogressfortheindustryasawhole.

http://departure.at

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 20

BestCase19:IFCICBankLoanGuaranteesystemfor7inancingCCIs

IFCICFrance

TheMinistryofCultureandCommunicationandtheFrenchMinistryofFinanceestablishedIFCICwiththeaimtocontributetothedevelopmentoftheculturalindustryinFrancebymakingiteasierforcompanieswithinthesectortoobtainbank<inancing.

IFCICisaneutralandindependentinstitutionandisalimitedprivate‐sectorcompanyentrustedwithaserviceofgeneralinterest.ItscapitalisownedbyFrenchbanks,largepublic<inancialinstitutions,andtheFrenchState.

TheloansguaranteedbyIFCICcovermostoftheneedsofcompanies,atallstagesoftheirdevelopment.SinceitwasseenthatCCIsdidnotonlyconcerncreatorsbutalsopublishers,producers..,IFCICwasestablishedtoguaranteetherisksthatCCIshaveduetotheuncertaintyofbeingaSMEcomplementedwiththerisktakenwiththeirculturalproduct/service.

IFCICdoesnotgivesubsidiesbutratherguaranteestheloanstakenbyCCIinthebanksThebanksthatworkwithIFCICarenotonlygiven<inancialguaranteesintheeventthatcompaniesshouldfail,butalsoriskanalysesthatarespeci<ictotheculturalindustries.IFCICalsohelpsentrepreneurialcompaniestoget<inancialbackingforprojectsfromtheirbanks(IFCICtypicallyguarantees50%oftheloansobtained);andalsooffersitsown<inancialexpertise.

Inthiscase,IFCICnotonlyprovides<inancialpossibilitiestoCCSMEsbutalsoactsasamarketanalystandCC“consultant”forthebanks.

IFCIChasequityofabout€16millionand,moreimportantly,twoactiveguaranteefundswithatotalgrossvalueexceeding€75million:theFondsdegarantieCinémaetAudiovisuel,whichisfundedbytheCentreNationaldelaCinématographie(CNC)andtheFondsIndustriesCulturelles,fundedinlargepartbytheMinistryofCulture,.

ThesefundsenableIFCICtoguaranteeupto€273million(IFCICshare),correspondingtototalloansoftheorderof€565million,andstillhavesuf<icientcapacitytotakeonnewrisk.Riskratiosareregularlyveri<ied.IFCICguaranteesloansto<ilmandaudiovisualproducersand/ordistributorswhoseactivitiesmakethemeligibleforCNCbacking,fortheproductionordistributionofEuropeanworkssusceptibleofattracting<ilminvestmentorfundingfromtheaudiovisualproductionsupportfund.IFCICguaranteesclosetotwo‐thirdsoftheindependent<ilmsproducedeachyear.Apartfromtheaudiovisual,AllcompaniesregisteredintheEUandactiveinthecultureindustryareeligibleforIFCICguarantees.

http://www.ifcic.fr/english­version.html

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 21

BestCase20:ICOPubliccreditinstitutions7inancingCCIs

ICOSpain

TheOf<icialCreditInstituteisapubliceconomicentityundertheMinistryofFinanceandEconomy.TheInstitutehasthelegalstatusofacreditinstitution,withautonomyinit'smonetarymattersandmanagementtoachievetheiraims.

ICOpromoteseconomicactivitiesthatarerelevantforsocietyincultural,innovativeor/andecologicalterms.TheysupportinvestmentprojectsofSpanishcompanies,seekingtoobtainamorecompetitivemarketandthuscontributingtotheeconomicprogressofSpain.Theirinvestmentincompaniesaimstoboostsectorslikethe<ilmindustry,transport,technologicalinnovationprojects,renewableenergiesandthestrengtheningofSpanishcompaniesabroad.Furthermore,ICOgetsinvolvedineconomicpolicyprogrammesincrisissituations,naturaldisastersorasaninstrumenttosupportSpanishexports.

Asapublic<inancialinstitution,ICOoperatesaccordingtotheprincipleof<inancialequilibrium.ThismeanstheICOcollaborateswithother<inancialinstitutions,serving<inancialneedsthattheprivatesystemdoesnotcover,orbutonlycoverspartially.

TheICO’sfunctionscanbeorganisedintwobranches:First,itisaspecialisedcreditinstitution,meaningthat<irmsinSpainor

Spanishcompaniesthatareestablishedabroadarefundedbothinthemediumandlong‐term.RegardingthisaspecttheICOactsintwoways:onebeingasalineofmeditation(theappropriationsarerequestedinbanksandthrifts),andsecondthroughdirectoperations(companiesapplyingforfundingdirectlytotheICO).Second,theICOworksastheStateFinancialAgency,managingfundsthatthegovernmenthasexpresslyaskedtogotothoseaffectedbysituationsofseriouseconomiccrises,naturaldisastersorsimilarsituations.

Asmentionedpreviously,thekeyobjectivesoftheICOareaimedatcontributingtogrowthandimprovingthedistributionofnationalwealth,withaparticularemphasisinaddressingsituationsthathaveasocial,cultural,innovativeorecologicalsigni<icance.Themannersbywhichthisisdoneareto:

•PromoteinvestmentinSME's.•Promotetherentalofhousingandlanddevelopment.•PromotetheinternationalisationofSpanishcompanies.•StrengthentheSpanish<ilmindustry.•SupportthedevelopmentoflargeinvestmentprojectsinSpain.

www.ico.es

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 22

BestCase21:CultuurInvestFinancialintermediaryinvestingshortandlongtermloansintheCCIs

CultuurInvestBelgium

CultuurInvestisanindependentinvestmentfundmanagedbytheParticipatieMaatschappijVlaanderen(PMV).Thefundisaimedatentrepreneursintheculturalindustries,whohaveproductsorserviceswithaculturalcontent,creationandmarketing.WiththesupportofCultuurInvest,theseentrepreneursseekindependenceandeconomicgrowththroughabalancedbusinessmodel.

Since2006,Flandershasinvestedinfundingforculturalactivitiesandbusinesses.Giventhelackofprivateinvestmentinculturalindustries,CultuurInvestwascreated.Itisimportanttomakeclearthattheydoinvest,asopposedtobeingagrantprovidingbody,andthereforeexpecta<inancialreturn.Theinvestmentsaremadeinthesectorsof:newmediaandcomputergames;audiovisualanddigitaldesign;themusicindustry;fashiondesign;printedmediaandgraphicdesign;publishersandbooksellers;musicalandperformingarts;distributioninthevisualarts.

Theinvestmentbodycurrentlyholdsacapitalof€21.5million.ThiswashalffundedbyPMV,withandtheotherhalfbeingprovidedbysevenstrategicprivatepartners.Withan

assumedrateofreturnof3.5millioneuroperyear,aftertwelveyearsthefundisexpectedtohaveanimpactonthemarketof€100million.ThisobjectivecanonlybeachievedifCultuurInvestoperatesasarollingfund,meaningthatthefundsthatareinvestedmakeapro<it.ThebasisforCultuurInvesttoinvestistherefore<irstandforemostawell‐foundedbusinessplanandacompetentteamofentrepreneurs,withculturalcriteriatakingonanimportantbutsecondaryrole.

Theyinvestprimarilyinprojectsofcompaniesthroughshorttermloans,butalsoworkwithloansforlongerperiods.Theseloansarealwaysgrantedtotheenterprise,andnottheindividuals.Besidesloans,CultuurInvestcanalsoparticipateinthecapitalofthecompanies,butdoesthisonlybyraisingtheexistingcapital.Bothare<inancialinstrumentsdesignedtogiveaboosttotheculturalentrepreneursandthusopenthemtogreateropportunities.Furthermore,CultuurInvestalsocollatesdataandinformationfromarangeoforganisationswithservicesavailablethatarespeci<icallygearedtowardsthecreativeandculturalindustries.

www.cultuurinvest.be/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 23

BestCase22:AdvantageCreativeFundVentureCapitalforCCIs

AdvantageCreativeFund(ACF)UnitedKingdom

TheinvestmentfundisoperatedbyAdvantageCreativeFund(ACF)andwassetupin2003asthe<irstventurecapitalfunddedicatedtoinvestinginthecreativeindustries.

Thefundwassetupwhenitwasdiscoveredthatthecreativeindustrieshavetraditionallybeendisadvantagedwhenitcomestosourcesofinvestmentsupportduetotheirintangibleproductsanddynamicnature.Thefundoperatesbymakinginvestmentsfrom

£10,000anduptoasumof£250,000increativecompaniesbasedintheWestMidlandsandinreturnthesetakeasmallequitystake.Theinterestingpartofthisprojectisthatitisopentoproposalsfromall

kindsofcreativebusinessesincludingstart‐upenterprisesandestablishedcompanies.Thereisanamountof€280000onequityinvestment.

Theprojecthoweverpaysspecialattentiontobusinessesthatdemonstrate:asoundunderstandingoftheirmarketofoperation,adesiretomakemoneyandalsoawillingnesstotakerisks.Unlikemostventurecapitalfunds,thisprojecteventhoughitispubliclyfunded,aimsatstrengtheninganddevelopingthecreativeindustrysectorthroughouttheWestMidlands.

Theprojectis<inancedbytheEURegionalandDevelopmentFUndoftheEUCohesionPolicy.

www.advantagecreativefund.co.uk

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 24

BestCase23:CreateBerlinDesignerplatformslinkingdesigners,politicalandeconomicdecisionmakers

CREATEBERLINGermany

CREATEBERLINisaninitiativebyandforBerlinDesigners.CREATEBERLINwasfoundedin2006by15establishedBerlin‐basedcreativebusinesses.Nowitisanetworkwithover60membersrepresentingthecreativediversityoftheBerlindesignscene.CREATEBERLINbringstogetherenergiesandideasandprovidescreativetalentswithopportunitiestorealisetheirvisionsbystronglybelievingintheimportanceofthecreativeindustriesinthecity’seconomicdevelopment.CREATEBERLINalsoaimstoconnectandbringtogetherBerlin’screativetalentswithpoliticalandeconomicdecisionmakers.

IntermsofsupportforentrepreneursintheCulturalandCreativeIndustries,CREATEBERLINservesasasupportinghubforcreativemindsandideasinandaroundBerlin.

CREATEBerlinalsopromotestheeconomicpotentialofBerlinsindustriesbysupportinginnovativeprojectsandalsooffersdesignersanopportunitytofurthernetworkand

markettheirproducts.ThisisdonethroughmonthlyShowroomswhichseekstobethehotspotsfortheregionalandinternationaldesignsceneinBerlin.Theshowroomswhichmainlyaimsatshowcasingtheideasandproductsofdesigneralsoattractsart‐anddesignloversaswellasthegeneralpublic.

ProjectscarriedoutbyCREATEBERLINcreatesawarenessandsteerthefocusofaninternationalaudiencetowardstheGermanCapital,itscreativesceneaswellasitseconomicpotential.Throughitsprojects,CREATEBERLINstrengthensBerlin’sreputationasauniqueandaspiringmajorcityfordesignandastheUNESCOdesignated“CityofDesign”.

AsacommunicationplatformspanningalldesigndisciplinesCREATEBERLINpromotesBerlin’screativesceneasaneconomicfactortobetakenseriouslybecausesinceitsestablishmentin2006theinitiativehasalreadymanagedmanyvariousprojectsinEurope,theUSandAsia.

www.create­berlin.de

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 25

BestCase24:FinproStimulatingtheinternationalisationofCCSMEs

FinproFinland

FinproisanassociationfoundedbyFinnishcompanies.FinprodealswithFinnishcompaniesatdifferentstagesofinternationalisationandaimsatguaranteeingthatFinnishcompanies,especiallysmallandmediumsizecompanies,haveaccesstohighquality,comprehensiveinternationalisationservicesaroundtheworld.FinproactsasconsultantandspecialisttoFinnishclients,smallandmediumsizedcompanies,aswellasgrowthcompaniesinparticular.WorkingwithFinprogivesclientsaninterestingopportunitytouseandbuildpersonalcompetency.

OneprojectofFinprothatisworthmentioningistheLuovimoProject.Luovimoisatwoyearinternationalisationprogramforcreativecompanies<inancedbytheMinistryofEconomyandEmploymentandtheMinistryofEducation.Thisprojectaimstoboosttheinternationalisationof20creativecompanies,promotenetworkingandsharedlearningbetweendifferentcreativeindustrycompaniesaswellasco‐creationofnewcreativeconcepts.Thisprojectaimstorecognisebestpracticesandmodelsforgrowthandinternationalisationincreative

industries,andincreaseunderstandingoncreativeindustry.

Finprohelpsentrepreneursandcompaniesintheculturalandcreativeindustriesbyhelpingthemrealisetheirinternationalisationplanandboostingtheinternationalgrowthofcompaniesthatarealreadyactiveinternationalbutareinneedofextraresources.Thisprojectisfocusedonthemusic,design,performingarts,gamesandcontentbusiness,and<ilm,tv,av‐industries.ThisprojectsupportsentrepreneursandcompaniesbyprovidingthemwithaTailormadeinternationalisationsupportforcreativeconcepts.ThroughthisprojectparticipatingcompaniesareofferedInternationalisationprogrammewhichistailoredtocompanyspeci<icneeds,lessonsonInnovationprocess,wherecompaniesrecognizesharedchallengesormarketopportunitiesandworkinsmallteamssolutionsornewofferingstomeetthem.Alsocompaniesgettheopportunitytolearnandnetworkwithothercreativeindustrycompanies,Publicinnovationnetworkandmedia.andnetworkwithothercreativeindustrycompanies,Publicinnovationnetworkandmedia

http://www.@inpro.@i/en­US/Programs/Luovimo/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 26

BestCase25:CreativeDepotSecuringinformalIPRonline

CreativeDepotAustria

CreativeDepotispartofCreativwirtschaft.Theyprovidesecureregistrationofauthorshipofcreativeworkings,frompoetrytophotography.Itisanelectronicservicewherecreativepeoplecanuploadtheirconcept,ideaandanytypeof<ilethatdescribesorexpressestheircreativegood.TheconceptcantheneitherberevealedinwhichcaseCreativedepotservesasatoolformarketingoritcanremainhiddeninwhichcaseitsimplyservestoestablishapriorityon

authorshipincasetheworkisbeinginfringedbyathirdparty.

Thisisatooltosecureorprovepropertyinanareainaninformalway.Italsoservesasatooltoincreaseawarenessandvisibilityofcreativeproducts.Itisnotaplacewherecreativescanregisterforapatentbutitimprovestheproofofauthorshipwithinthescopeofcopyright.

www.creativdepot.at

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 27

BestCase26:OwnItOnlineprotectionofindividualassetsandIPinformationcentreforCCIs

OwnItUnitedKingdom

OwnItisafreeintellectualpropertyadviceforcreativebusinesses.Itisanextremelysuccessfulorganisationwhichhasraisedawarenessandpromotedunderstandingofintellectualproperty(IP)amongstthecreativeindustries.Itwascreatedin2004andhasanaverageof7,000visitorspermonth.OwnitisapubliclyownedservicebasedattheUniversityoftheArtsLondonwithapartnershipprojectwiththeLondonDevelopmentAgency(LDA).

WhatmakesOwnituniqueisthatitisaspecialisedanddedicatedIPsupportwebsiteservingtheneedsoftheUKcreativeindustries.OwnItworkswithnational,localandsector‐speci<icorganisationstodeliveritsresults.Itconsistsof11,000creativebusinessmembers,3,000organizationmembersandworkswith14law<irms.IthasanadditionalIPprobonoserviceprovidedbyalaw<irm.

Itaimstoprovidecreativeentrepreneurswithaccessible,specializedknowledgeIPsystemswhichareintegratedwithintheCreativeLondonframework.Creativesareableto:i).protectandexploittheirintellectualassets,ii).takefulladvantageoftheheldcapital,andiii).usetheirIPtosustain,developandgrowtheirbusiness.

OwnItbelievesthatIPeducationshouldbeacompulsorypartofallundergraduateart,designandcommunicationcourses:“Soyes,OwnItisabrilliantlysuccessfulmodelofsupportbutitisonlyservingonesideoftheequationanditisonlyservingtheendofbusiness.Itisnotreallychangingtheaudienceasawholesothereforeweneedtodomorewithineducation.”OwnItbelievesthatstudentsaswellascreativebusinessadvisorsshouldbeknowledgeableandbeabletoadvisestudentsandprofessionalsonIP.ItbelievesthatIPstrategyshouldbepartofabusinessplanforallcreativebusinessesinordertobesuccessfulinthemarket.

OwnIthasalsobeeninvolvedinotherprojectswiththeaimofincreasingknowledgeprovidingservicesforstudentsaswellasprofessionals.ShedevisedanddevelopedTheEnterpriseCentrefortheCreativeArtsin2000(ECCA,www.Ecca‐london.org)attheUniversityofArtsLondon.Thisonlinesiteaimsto‘guideLondon’screativepeoplethroughbusiness’andoffersfreeadviceandimmediatesupportandguidancesuchas:aface‐to‐faceadviceservice,coaching,seminars,workshops&networking,industryevents&trainingopportunities,aresourcelibrary,adirectoryofagencies&services,factsheets&podcastsandcasestudies.

www.own­it.org

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 28

BestCase27:Kunst&ZakenDevelopingnewbusinesssolutionsforCCIs

Kunst&ZakenTheNetherlands

Modeledafterathesuccessfulconceptcalled“Arts&Business”whichrunsintheUKandGreatBritain,“Kunst&Zaken”hasbeenfoundedin1996inordertoprovideexecutiveandmanagementsupporttopublicandnon‐pro<itculturalinstitutions.Speci<icallyforartacademies,theyprovidesupportinordertomakethetransitionfromart‐studenttocreativeworkermoreeffective.Theyalsoaimtoenhancethepaletteofpossibilitiesforthecreativeworkersbytryingto<inddifferentmodelsinwhichtheycantradetheirintellectualvaluetoregularbusinesses.

Their“Creativity2Business”programistheonlyspeci<icsupporttheyoffertoCCI’s.“Kunst&Zaken”functionsinthisprogramasaintermediatebetweenbusinessesandartists.Thegoalofthisprogramistocometonew,innovativesolutionsforbusinessissues.It’suseandfeasibilityliesinthedevelopmentofknowledgeinordertocreatenoveldevelopbusinesssolutions.Byintroducingcreativeworkerswiththeircreativethinkingcapabilitiesinthisdevelopmentprocess,theparticipatingbusinessescreatetheoptionsforthemselveswithwhichtheycanstrengthentheirmarketpositionandcreatecompetitivebene<its.

ChangeManagement:

FollowingthesuccessfulcontributionfromCreativity2BusinesstotheannualBusinessLeadershipProgramin2008organisedbyMediq,Creativity2BusinesswasaskedagaininDecember2009totakecareofapartofthisprogram.ThecentralquestioninthispartoftheprogramwashowtomakeonebusinessofMediq,insteadofachainofseveralsmallercompanies.Theperceptionoftheinternational(group)directorswastheapproachbeingused:HowcantheyexperienceMediqfromtheheart?AndhowcantheindividualexperiencesofthegroupdirectorstellonesinglestoryaboutMediq?

Thereductionofapproximately45individualstoriesintoastoryisacomplexprocess.Theaimwastomakethisprocessmoreef<icient,effectiveandappealing.Toachievethis,Creativity2Businesshasusedthestorytellingandvisualizationdisciplines.ArtistsandparticipantspublishedastoryaboutMediqwithco‐creationastheirwork‐form.Ultimately,theCEOusedthisasaninputtothepresentationhegaveattheendoftheday.TheresultwasastoryinwordsandpicturesaboutMediq.

Entrepeneuralskills:

Boer&CroonCorporateStrategyhascreativityinhighesteemandtheystrivetodevelopthemselvesinthisarea.TheconsultantsofBoer&CroonCorporateStrategyhavealreadyhadacreativitytraininginthepastwherecreativityandproblemsolvingwascentral.Creativity2Businesshasgivenaworkshopontheroleofcreativityinthecreativeprocess.Thecentralquestionwashowtheworkoftheconsultantscouldbeevenbetter.InordertoaddressthisissueCreativity2Businesshadtheworkoftheconsultantcomparedtothecreationofthearts.Analysisofthepracticeofartists,scientistsandengineersshowsthatgenerallyconductedtheyarealongthesamelines.Understandingthevariousstagesofaprocessofcreationandcreativitythatcanbeaddressedwhilethestrengthofindividuals,teamsandorganizationsincrease.Creativity2Businessmadeuseofcreativewritingtechniquestodemonstratethedifferentprocesses.

www.kunst­en­zaken.nl

KunstenZakenwillconvergetheirforceswithKunstenaarsenCoinanorgansationcalledCultuurenOndernemenonCultureandEntrepreneurship

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 29

BestCase28:DemolaLinkingUniversitiesandCCIs

DemolainCreativeTempereFinland

DemolaispartofaprojectinCreativeTampere,theCityofTampere'sbusinessdevelopmentpolicyprogramme,(2006‐2011),whichaimstofacilitatenewbusiness,services,innovativenessandcreativity.ItisFinnishlargestregionalcreativeeconomydevelopmentprogrammeandformanyyearsTamperehasbeenrecognisedinternationallyforitsinitiativesinthebusinesssector,culturalindustryandcontentdevelopment.Thetargetoftheprogrammeistocreateprojectsworthover€40million,aftertwoyearsofoperation,morethan€14millionhavebeenaccumulatedin61projects.Seedmoneyforinitiatingtheprojectshasbeenreservedinthebudget.

Theprogrammeoffersaframeworkandfundingforkickingoffprojectsthatcreatenewbusiness,andactsasanacceleratorandasacreatorofnetworks.Companiesandorganisationsplanandimplementtheprojectsselectedintheprogramme.

Theprogrammeisdividedintothreeareas,suchasCreativeindustries,InnovationsandentrepreneurshipandAttractivecity.CreativeTemperehasprojectssuchasLuke‐Thecreativeindustriesdevelopmentprogramme,or“CreativeTools”aLeonardoprogramme.

Indevelopingentrepreneurship,youthandcreativeindustriesareourmaintargetgroupsintheCreativeTampereprogramme.OneexampleofaninnovationplatformisDemola.

Demolamakestheco‐operationbetweencompaniesanduniversitiescloser.Itteamsupstudentofdifferentbackgrounds:technical,economical,artordesigntomakethemworktogether.TheDemolateamsmakecompanyprojectswithanopeninnovationprinciple.

Thereisacombinationofapedagogicalprojectaswellasappliedresearchonthebasisofopeninnovation.Thecompanyprovidestheproblemtosolveforthestudentteams,theteamstrytosolvetheproblemandcreateafeasiblesolution/ademo.Intheend,theinventor/teamownstherightstotheinventionandgetscompensationforit

DemolaprojectisledbyTechnologyCentreHermiatogetherwithuniversities.NokiawastheinitiatorforDemola.Itstartedinautumn2008.

www.luovatampere.@i/eng

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 30

BestCase29:HelsinkiSchoolofCreativeEntrepreneurshipStimulatingentrepreneurshipintheCCIs

HelsinkiSchoolofCrea1veEntrepreneurshipFinland

TheHelsinkiSchoolofCrea2veEntrepreneurship(HSCE)wasestablishedinlate2005toactasacatalysttodeveloptheentrepreneurialcapacityandtos2mulateandsupportresearchcommercialisa2oneffortsintheHelsinkiregion.

HSCEdrawsuponthetalentpoolofFinland’sleadingdesign(TaiK),business(HSE),andtechnical(TKK)universi2es.Start‐upfundingandsupporthasbeenprovidedbyTeknologiateollisuuden100‐vuo2ssää2ö,theci2esofHelsinki,Espoo,VantaaandKauniainen,theMinistryofInterior,andfromtheHelsinkiMetropolitanDevelopmentAgency,Culminatum.

Indescribingthiscollabora2veini2a2veasa'school',thenetworkfirmlyestablishestheimportanceofeduca2onastheirprimarymission.Opera2ngincloseco‐opera2onwith,butatarm’slengthfromtheuniversi2es,HSCEisabletoexperimentwithhighimpactapproachestoentrepreneurialeduca2onthatwouldbedifficulttoundertakeorfinancewithinthecurrentframeworkinwhichuniversi2esoperate.HSCEstudentswillbenefitfromtheinsightsofleading'thinkers'and‘prac22oners'ofentrepreneurship.

ThestudentsintheIDBMprogrammetakecoursesatallthreeuniversi2esintechnology,businessmanagement,designandart,thusexpandingtheirperspec2ves.Thentheyoffertheirknowledgeintheformofindustryprojects.Eachprojectiscompletedbyteamsof3to5students,represen2ngallthreeuniversi2esinvolved.Aprojectmanagerandan

expertarechosenfromtheuniversi2estosupervisetheprogressoftheproject.Theprojectsareconfiden2al;ifnecessary,thestudentsandthesupervisorswillsignanon‐disclosureagreement.

Theprojecttopicshavedealtwithnewproductconcepts(designanduserinterfaceissues),thedefini2onofcustomerneedsandthefutureenvironmentofaproduct,theanalysisofmarketsandcustomerfeedback,andtheexamina2onofcorporateiden2ty,communica2onsanddesignmanagement,amongotherthings.Usuallythedura2onoftheindustryprojectisoneacademicyear(fromSeptembertoMay).Aprojectcanalsobecompletedwithina2ghterscheduleifnecessary.Thecostofaprojectforthecompanyisabout€10.000+VATdependingonthesizeofthestudentteam(3to5persons)andtheamountofworkdone(4to8creditsperstudent).

Intheindustryprojects,thecompanyinvolvedisabletocomeintocontactwithyoung,innova2vestudentsandtoobtainfirst‐handinforma2ononthemostrecentresearchandtraininginthefield.Duringthecourseoftheproject,thecompanyalsohasanopportunitytoevaluatethestudentsinviewofpossiblefuturecollabora2on.

• In2009theIDBMprogrammewaslistedinthetop30ofthebestdesignprogrammesintheworldbyBusinessWeek.

• IDBMhasbeencitedasoneofthetopnineprogrammestoWatch.3

• Graduatestypicallyfindjobsindesignmanagement,research,orconsulta2on.

www.culminatum.fi,h>p://project.hkkk.fi/idbm/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 31

BestCase30:FirstportSupportondemandforsocialentrepreneurs

FirstportUnitedKingdom

Firstportservesnewandemergingsocialentrepreneursthroughface‐to‐facesupportandadvice.Owingtothefactthattheyworkdirectlywithindividualsandtheirenterprises,theirpracticalneedscanbequicklyidenti<iedandaddressed,fromtheearlystagesoftheentrepreneurialprocess,whennewentrepreneursrequireabasicunderstandingoftheirideas'marketpotential,tothelaterstagesoftheenterprise'slife‐cycle.

AccordingtoFirstportcorrespondent,beginningentrepreneursarelackingtheunderstandingoftwoessentialmatters:moneyandmarkets.Thatbeingthecase,thosewhoapproachFirstportforassistanceareoffered,initially,apersonalconsultationbywhichthesupportstaffcanhear<irsthandwhataretheideasandvisionsoftheentrepreneur,andcantherebyassesstheskillsthatwillbeneededtofaceupcomingchallenges.Thisone‐to‐oneinteractionisoneofthemostattractivefeaturesofworkingwithFirstport,inpartbecauseitiscompletelyfreeofcost.

Inadditiontoapersonalmeetingandadvicesession,Firstportplugsnewentrepreneursintoexistingnetworksthatcorrespondtothenewentrepreneurs'geographicalconvenience.Throughthese,theentrepreneurhasaccesstoregularnetworkingmeetingswhereknowledgeandexperiencescanbeexchanged.Ratherthanorganizingthesemeetings,Firstportfacilitatestheconnectionbydirectingentrepreneurstoorganizationsintheirownregionthathostmeetingsandotheractivities.

Last,butnotleast,Firstportprovidestrainingthroughworkshopsandgroupbasedmasterclassesonmattersrelatedtobusinessandmanagerialskills.Informationonoftencomplex<inancial,legislativeandregulatoryframeworkismadeapproachablethroughexpertadvice.And,asmanycreativeentrepreneursare,bynature,temptedtochangeandimprovedesigns,Firstport,throughitstrainingprograms,enablesthemtolearnskillsinkeepingabusinessplanconsistent,yetproductive.

www.@irstport.org.uk

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 32

BestCase31:CreativeApprenticeshipGivingtheopportunitytoyoungpeopletolearnon­the­jobthroughapprenticeshipintheCCIs

CreativeApprenticeshipUnitedKingdom

CreativeApprenticeshipispartoftheCreative&CulturalSkillsintheUKSectorSkillsCouncilforCrafts,CulturalHeritage,Design,Literature,Music,PerfomingandVisualArts.TheCouncilbridgesthegapbetweenindustry,educationandthegovernment,togiveemployersarealin<luenceovereducationandskillsintheUK.FoundedinMay2004,Creative&CulturalSkillswasgranteditslicencetooperatebytheSectorSkillsDevelopmentAgencyon1stJune,2005.

TheCreativeApprenticeshipwasfoundedonthebasisthatthequali<icationsofthegraduatesarenotnecessarily<ittingthedemandsoftheCCIssuchasentrepreneurial<lairortherightsskills.

Acultureofunpaidworkexperiencedominatesthecreativeandculturalindustries.Foremployers,someonewithrelevanton‐the‐jobexperienceismorevaluablethananuntestedgraduatesometimes.Thisdiscriminatesagainstthose

whocannotaffordtoworkforfreeandtheimpactissigni<icant.

TheCreativeApprenticeshipaimsatgivingyoungtalentedpeopleastartinthecreativeandculturalindustries.

Itisamixofonthejobandoffthejobtrainingwhereyoungpeoplehavetheopportunitytoacquireskillsandknowledgeandattainquali<icationswhiledoingso.Thesequali<icationsaredesignedandapprovedbyindustry.On‐the‐joblearningisasigni<icantcomponentoftheCreativeApprenticeship.

Launchedof<iciallyinSeptember2008,theCreativeApprenticeshipsisthe<irstindustryapprovedandgovernmentfundedapprenticeshipframeworkforthecreativeandculturalindustries.

http://www.ccskills.org.uk/Apprenticeships/CreativeApprenticeships/tabid/82/Default.aspx

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 33

BestCase32:CreativwirtschaftTraining,networkandrepresentationofinterestsofCCIs

ArgeCreativWirtshaftAustria

Argecreativwirtschaftaustria(cwa)is“acompetencecentreforcreativeentrepreneursandindividualsandrepresentstheinterestsoftheAustriancreativeeconomycountry‐widesince2003.EmbeddedintheAustrianFederalEconomicChambercwaactsasalinktotheeconomyandsupportsallcreativepeoplewhowanttobeactiveasentrepreneursinthis<ield.”Actvitiesarefocusedonthreeareas:i).entrepreneurialskills‐(trainingandsupportinnetworking),ii).representationofinterests‐iii).informationandawareness‐cwaactsasaknowledgehubfortheinterestsofthecreativeindustries.

Choch3(Ctothethirdpower),workshopsforCreativeCommunityCoachingForCCIandentrepreneurs,networkingandknowhowareprerequisitesforbusinesssuccess.ThecoachingprojectwasinitiatedbyArgein2008andhasdevelopedwiththehelpofEvolve,theinitiativeforthedevelopmentofinnovationforcreativebusinesses,theMinistryofEconomyinco‐operationwithregionalandlocalpartners.

Theworkshop’saimistoestablisharegionalgroupofpeerswhoareatasimilarstageintheirbusinessdevelopment,wheretheycanimprovetheirentrepreneurialcompetenceandincreasetheircreativity.Youngentrepreneursacrosstherangeofcreativeindustriesinthecreativesectorcanapplyforthistraining.Toobtainthe‘best<it’possible,selectionisdoneaccordingtofactorssuchascollectivelearningpotentialandfuturenetworkingpossibilitiesoftheentrepreneurs(withinandacrosssectors).Agoalistocreatenetworkopportunitiesforcreativeentrepreneurs,tostimulateentrepreneurialcon<idenceandbusinessskills,andtoincreaseone’sknowledgeandinsights.Participantsaresupportedtocreatetheirown‘entrepreneurialpersonality’anddevelop‘couragetobecomeindependent’.

Theabilitytoconceivenewideasandincreasetheresponsibilityofthegroupisalsodeveloped.Thisisdonetoestablishanenduringnetworkofcolleagues.

ThelearningapproachisaclassicalMentoringSettings(peertopeersupportandmentoring).Thespeci<icneedsoftheparticipantsarecateredforbythisbottom‐upapproach.Expertsofdifferentareasofexpertise(e.g.accounting)arealsointroducedwhentheneedarises.Inordertoenhancetheprobabilitythatthenetworkremainsaftertheworkshops,peergroupmeetingsarealsoarranged.

CreativDepotCreativDepotisanonlineservicewhichallowsindividualstomanagetheintellectualpropertyrightsofaself‐devisedconcept.Registereduserscandigitallyuploadtheirpieceofwork(e.g.text,video,concept)andreceiveadigitaltimestamp,aCreativeCommonsicon.TheworkislinkedtotheauthorandcanbehelpfulwithregardstoIPright.Datawhichhasbeenaddedtothesiteispubliclyaccessible.Thedescriptionoftheworkisvisible.However,onecanchoosewhethertheuploaded<ileisvisibletoothers.Itispossibletouploadatotalofthree<ilesperaccountandyear.Thisisnotapatentorutilitymodel.CreativDepotdoesnotestablishnewrights.Itsaimistoimprovetheproofofauthorshipwithinthescopeofcopyright.Incaseofinfringementdisputes,creativewirtschaftAustria(CWA)offersmediationservices.(www.creativedepot.at)

InformationHubOneofthefacilitiesoftheinformationhubistheproductionofbrochureswhichareofinterestforcreativeentrepreneursandarecontinuallyrevised.Researchisalsodoneinordertoascertainwhethertheneedsofthecreativeentrepreneursaremet.Informationandawarenessisexchangedviathewebsite.

www.creativwirtschaft.at

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 34

BestCase33:CreativeIndustriesKnowledgeTransferAdvancinginnovationthroughknowledgetransfer

Crea1veIndustriesKnowledgeTransferUnitedKingdom

TheCrea2veIndustriesKnowledgeTransferispartofthe24KnowledgeTransferNetworks(KTN)fundedbytheUKTechnologyStrategyBoard.TheseKTNsarena2onalnetworksinaspecificfieldoftechnologyorbusinessapplica2onwhichbringstogetherpeoplefrombusinesses,universi2es,research,financeandtechnologyorganisa2onstos2mulateinnova2onthroughknowledgetransfer.

TheCrea2veIndustriesKTNissetinplacetoimprovetheUK’sinnova2onperformancebyincreasingthebreadthanddepthortheknowledgetransferoftechnologyintoUK‐basedbusinessesandbyaccelera2ngtherateatwhichthisprocessoccurs.ThespecificaimsofaKnowledgeTransferNetworkincludetheimprovedinnova2onthroughnewcollabora2onsbetweenpeople,knowledgeandexperienceinbusiness,andacrosssector.

Italsohasthefollowingspecificobjec2ves:• Todriveknowledgetransferbetween

thesupplyanddemandsidesoftechnology‐enabledmarketsthroughahighquality,easytouseservice;

• Tofacilitateinnova2onandknowledgetransferbyprovidingUKbusinesseswiththeopportunitytomeetandnetworkwithindividualsandorganisa2ons,intheUKandinterna2onally;

• Toprovideaforumforacoherentbusinessvoicetoinformgovernmentofitstechnologyneedsandaboutissues,suchasregula2on,whichareenhancingorinhibi2nginnova2onintheUK.

Throughmul2‐disciplinarynetworksandtriangula2onbetweenresearch,businessanddifferentsectors,thecrea2veindustriesKTNaimatprac2calsolu2onstoimproveinnova2on.TheBeaconProject(forKnowledgeTransfer‐KT)aimsatcrea2ngavisiontoincreasetheexchangeofknowledgewithintheCCIsbycrea2ngabaselineinformingofopportuni2esandthema2cbarriersforKTinCCIs.Thekeyfindingsofthefirstphasereportunderlinedtheneedofexchangeofinforma2on(especiallytechnicalandinsightcontent),especiallyinformalexchangeofknowledgeandofconnec2ngformalandinformalknowledgebetweendifferentcommuni2essuchasacademia,CCIsandbusinesses.TheissueofIPRsandinternalandexternalorganisa2onalculturewerealsokeyelements.Akerthecrea2onofthisbaseline,theCIKTNhavecreatedscenariosencompassingtheopportuni2esandbarriersthatCCIshavetofaceintermsofknowledgetransfers.Thishelpedinbringingrecommenda2onsinordertoincreasetheinnova2onbyfocusingonknowledgetransfer.

www.crea1veindustriesktn.orgh>p://crea1veindustriesktn.org/beacons

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 35

BestCase34:SEESharingknowledgeandexperienceinordertodevelopnewthinking

SEEProjectUnitedKingdom

SEE–SharingExperienceEurope–Policy,Innovation&Designisanetworkofelevenorganizations’sharingknowledgeandexperienceinordertodevelopnewthinking,disseminategoodpracticesandin<luencelocal,regionalandnationalpoliciesfordesignandinnovationintheircountries.ThepartnerscomefromUK,Belgium,Denmark,Estonia,Finland,France,Ireland,Italy,Poland,SloveniaandSpain.Allcurrentlyworkasanintegralpartoftheirownregionalinnovationpolicyandtheirregionalgovernmentshavecommittedtoexploringimprovementsintheprovisionanddeliveryofinnovation,entrepreneurshipanddesignthroughindividualorjointpolicies.

Themainobjectiveofthisprojectistoshareknowledgeandexperienceonhowtointroduceandintegratedesignintoinnovationpoliciesintoregionalandnationalpoliciestoboostinnovation,sustainabilityandsocialandeconomicdevelopment.Thisprojectalsoaimstostimulatedebate,developnewthinkingandbuildrapportandcredibilityinordertoin<luencedesignandinnovationpolicyatregionalandnationallevels.AlsoworkingdirectlywithgovernmentsinparticipatingcountriesineachoftheelevencountriesthisprojecthopestolobbyandpromoteinnovationpolicyinEurope.

EventhoughtheSEEProjectdoesnotprovidedirectsupporttoSME,sintheCulturalandcreativeIndustriesithasthroughworkshopssucceededinprovidingcompanieswithdetailedandprovenknowledgeofhowtheycaneffectively<itdesignintotheirstrategicplanning.Ithasalsoprovidedopportunityformanagerstomeetdesignersandalsonetworkbetweencompaniessinceguestduringtheseworkshopsareencouragedtointeractwitheachother.

Alsothroughseminarsandtrainingthisprojecthasresultedinimprovementsinnewcompetenciesintheregion(eco‐designers)andthecreationofaneco‐designclub.Moreeco‐designprojectsareunderwayandacollectiveproject,“CradletoCradle”hasstartedup.

ThisprojectwasthroughworkshopsalsoabletoencouragedtraditionalmanufacturersinandmakersinTunisiatoreinterprettheirproducts,toinnovateandactivatecompetitionaswellasencouragestudentstoreconsidertraditionaldesignstandardsandstimulateinnovationapproaches.

Theoutputfromthisprojectaresonumerousthatawholelibraryofcasesstudieshasbeenpublishedfromit.

http://www.seeproject.org/index

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 36

BestCase35:IBBTInnovationthroughtechnology

IBBTBelgium

IBBT(InterdisciplinaryIns2tuteforBroadbandTechnology)isanindependentresearchins2tutecreatedbytheFlemishgovernmenttomo2vateICTinnova2on.Thisisachievedthroughvariouswaystoac2velysupportcompaniesandorganiza2onsinresearchanddevelopment.Theins2tutebridgestogethercompanies,authori2esandnon‐profitorganiza2onsthroughresearchprojectsthataddresstechnicalandnon‐technicalissues.

IBBT,asaresearchins2tu2on,placesgreatemphasisonengaginginmul2‐disciplinary,demand‐drivenresearchstudies.ThesearecarriedoutfortheFlemishbusinesscommunityandtheFlemishgovernmentandincorporatetechnological,legalandsocialdimensions.Throughtheseresearchendeavors,thereistheobjec2veofmakingFlandersintoaleadingandinterna2onallyrecognizedplayerwithinthesectorofICTandICTinnova2on.Themaindomainsbeings2mulatedthroughresearchareeHealth(ICTapplica2onsforthehealthcaresector),newmedia(newcommunica2onmedia),mobilityandlogis2cs(enhancingthemobilityofpeopleandgoods),enhancingtechnologies(ICTsupportforawiderangeofapplica2ons),andeGovernment(applica2onsforpublicauthori2es).

Intermsoftheculturalandcrea2veindustries,IBBThasonefocuscalled“Art&D”,co‐opera2onwithinartandresearch.IBBTisoftheopinionthatresearch,organiza2onandcrea2vitymustbeintegratedtodeveloparealanddurablecompe22veadvantage.Thus,theartprogramsupportsprojectsthatarecuong‐edge,refreshingandhaveanar2s2cpoten2aland

encouragecollabora2onbetweenar2stsandresearchers.

Addi2onally,IBBTencouragesmaximizingthevalorisa2onpoten2alofresearchresults.Todothis,IBBTprovidesresearchgroupsandpartnercompanieswithsupportrangingfromIPRsupporttoaccesstofunding.IBBTalsospecificallyworksonincuba2onprojectsthatconverttechnologyandresearchwithmarketpoten2alintocommercializedac2vi2es.Inordertoachievethis,IBBTusesthestagegateprocesstodriveincuba2onprojects,whichconsidersthetechnical,marketandbusinessaspectsofanidea.IBBTalsoprovidestes2ngfacili2esatitsiLabtoassesstheprac2calfeasibilityofaninnova2on.

Alsointeres2ngareIBBT’siSteptrainingsessions,whichbeganin2006.These,conductedtogetherwithVlerickLeuven‐GentManagementSchool,areaimedatresearchersinIBBTprojectsandofferthemsupportintheareasofdevelopmentandimplementa2onofresearchresults.Par2cipantslearnhowtolinktechnologywiththemarketandhowtechnologyprojectscanbedevelopedtothepointwheretheycanactuallybeputintothemarket.

FocusingonICTinnova2ons,asanall‐encompassingdomain,IBBTprovidesnumeroussupportmechanismstothecrea2veprofessionalandentrepreneur.Crea2vityandnewideasares2mulatedandnurturesbyac2vi2essuchastheincubatorandthelabfacili2es.Theinterdisciplinaryresearchapproachthuss2mulatestheinvaluableco‐opera2onandexchangebetweenknowledgecenters,companies,publicauthori2esandthecrea2veindustriesatlarge.

h>p://www.ibbt.be

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 37

BestCase36:TULIFinancingresearchintoinnovationproduct/servicesandCCIs

TULIFinland

TheTULIprogramisanation‐wideprogramfundedbyTekes(theFinnishFundingAgencyforTechnologyandInnovation)thatturnsresearchresultsintobusinessinnovations.Involvingmorethan46researchinnovationsinFinland,theprogrambeganin2008andwillrununtil2013.Itreliesonabudgetofapproximately50millionEuros.TheTULIprogram,thoughnotexclusivetotheculturalandcreativeindustries,hasestablishedcompaniessellingproductsandservicesinsectorssuchasgamingandfashion.

TheservicesprovidedbyTULItotheemergingentrepreneurwhobelievestheyhaveagreatideaisalmosttoogoodtobetrue.Theprocessfromideatoenterprisebeginswithanevaluationprocessthatcanbefurtherdividedintothreesteps:initialevaluation(expertservicesevaluatetheinitialcommercialpotentialofanidea;upto5000Eurosavailable),evaluation(acommercializationpathfortheideaisdevelopedtoopenupnewprospectsandremovingobstacles;20000Euros),andre<inement(challengesandpossiblebottleneckssolvedintheareasofproductdevelopmentandtesting;30000Euros).Inventorstakenopersonalresponsibilityforthefunding.Thus,thereisno<inancialriskinvolved,whichcanbeoneofthemostintimidatingobstaclesinhibitinganideafromreachinganywherenearthepointofcommercialization.

ThefundingmadeavailablethroughtheTULIprogramnotonlyeasesthetransitionfromideatoproductorservice,butalsoprovidestheentrepreneurswithinvaluableknowledge

ontheirpotentialenterpriseandthewaysinwhichthewillhavetocope,onceestablished.Informationsuchaspatentingprocedures,legalaspects,marketanalyses,thedevelopmentofbusinessandfundingplans,prototypedevelopmentandahostofadditionalservicesareoffered.Additionally,importantconnectionsandnetworksareestablishedwithinterestedpartiesinthebusinesscommunity.Particularlyinthe<inalstagesoftheTULIprocess,theaimisto“providetheideawithitsowncapablewingsandsettheprojectonitswaytowardssuccess.”

AlthoughtheTULIprogramiswillinitiallyassessanyidea,thesemustberesearch‐based.Inthisway,TULIreinforcesthevalueofinnovationanddevelopmentthroughresearchandalsosafeguardstheavailablefundsfromunderdevelopedideas.ResearchinstitutionsplayapivotalroleintheTULIprogramastheynotonlyencouragenovelideas(e.g.auniversitymayattractstudentswithfresh,innovativeideas),butalsofunctionasintermediariesbetweentheTULIandthemainmunicipalitiesofFinland.

TheTULIprogram’smostattractivefeatureisthatalltheservicesareofthehighestqualityandabsolutelyfreeofcharge.Inaddition,itsfocusonresearchanddevelopmentbyenlistingtheco‐operationofresearchinstitutionsisnoteworthy.Therefore,therehasbeentremendousinterestataEuropeanandeveninternationalscale.ItisamodelworthmodelingintheinterestsofinnovationandtechnologyaswellastheculturalandcreativeindustriesinEurope.

http://www.tuli.info/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 38

BestCase37:DigiDemoFinancialsupportforassistingCCIsindevelopingcreativecontentdigitally

DigiDemoFinland

Intheautumnof2002theMinistryofEducation2andthePromotionCentreforAudiovisualCulture(AVEK)agreedonsupportingproductdevelopmentofaudiovisualcontentthroughapilotprojectnamedFundingforProductDevelopmentforCreativeIndustriesfrom2002to2005.Intheautumnof2005theMinistryandAVEKlaunchedanewthreeyearDigitalDemoProject:DigiDemo(2006‐2008).

DuringtheFundingforProductDevelopmentforCreativeIndustriesprogrammethetotalamountofsubsidieswassmall€115.000,butforDigiDemotheannualamountof<inancialsupportwasraisedtoabout€400.000peryear,andsubsidiesareallocatedtwiceayear.Atthebeginningof2008theamountofmoneywasraisedfrom€2.000to€5.000perproject.Thesubsidyamountcancoverupto50%ofthetotalcostsofthedevelopmentprojectandisaimedformicro,smallandmediumsizedenterprises.

Themaingoalofthetwopilotprojectswastosupportthedevelopmentofculturallyrelevantdigitalcreativecontent,whichenablescompaniestoallocateresourcestodevelopmentwork.DigiDemosubsidesaretargetedatpre‐productionstageprojectswhichhaveagoodchanceofgoingintoproduction,andarecontentproductsthatutilisemultipledigitalchannelsandseeknewnarrativeformsinvarious<ieldsofcultureandentertainment.Fundingisgrantedfordevelopingaproject’sconcept(ormanuscript)orplan,orfortheactualdemophase.Criteriaforgrantingsubsidiesincludetheproject’slevelofinnovativeness,anditsprospectsofcommercialsuccess.

Atthemoment(2008)theprogrammerepresentsquiteauniqueinstrumentasitsupportsinnovativedigitalproductionsintheproductdevelopmentphasethatdonoteasilyconformtoasinglemediumortraditionalcultural<ield.ThefeasibilityandeffectivenessofDigiDemowasstudiedbyanoutsideevaluator.Andtheevaluativereport,whichfocusesonthecommercialeffectsofcontentproductionprojects,wascarriedoutbyresearchersofTurkuSchoolofEconomicsMediaGroup:

Onecouldsaythattheoriginalaimofthemeasurehasbeenreached:DigiDemosubsidieshavebeenimportantforpreproductionphasedevelopmentprojects,forwhichverylittleotherfundingisavailable.Theprogrammehasbeenparticularlyeffectiveinriskybutpromisingproductions.DigiDemocanbecomparedtosupportgrantedbyTEKES(FinnishFundingAgencyforTechnologyandInnovation)fortechnologicalinnovationprojects.

75%oftheprojectsinthe<irstDigiDemoprogrammehaveproduceda<inisheddemoanddemonstratedcontentproductioninaformwhichiscompleteandcoherentfromaprofessionalandindustrialpointofview.However,thecontenthasnotyet(reportwrittenin2008)spreadwidelytoadditionalplatformsaftertesting.Amainreasonbeingthataremarkableshareofcontentproductsaregamesorcontentservicestargetedtoacertainplatform.

Theprogrammehasplayedanimportantroleinpromotingthedevelopmentofatotalof21newcommercialproducts,13newcontentservices,andatotalof15newconceptdesignsduring2003‐2006.Nearly70%ofthenewcommercialproductsaregames

www.minedu.@i

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 39

BestCase38:InserralvesIncubatorSupportingCCIstart­upsandbridgingthegapsbetweenbusinessesandCCIs

InserralvesIncubatorPortugal

InserralvesProjectisoperatedbyTheSerralvesFounda2onwhichisanEuropeanculturalins2tu2onservingthena2onalcommunity,whosemissionistoraisethegeneralpublic'sawarenessconcerningcontemporaryartandtheenvironment.

Thisprojectisaspecialisedincubatorfors2mula2ngandsuppor2ngentrepreneurialini2a2vesinthecrea2veindustries.Thisincubatoraimsatbridgingthewellknowngapsbetweencrea2vepeopleandar2sts,andthebusinessworld,byprovidingadequateenvironmentandcondi2ons.

Thisprojectswasintroducedbecauseoftheneedtogiveabusinessdimensiontotheac2vityofar2stsandcrea2veentrepreneurs.Itwasalsointroducedbecausear2standcrea2vepeoplemostofthe2metendtohavealimitedbackgroundandknowledgeincri2caltopicsforseongupabusiness,suchasbasicideasonmanagement,businessstrategy,projectmanagementandfunding,marke2ngandsalespolicies.

Aspartofitsinnova2venaturethis“incubator”aimstoprovideentrepreneursintheCCIwithaspecialphysicalenvironmentforan“open”

developmentoftheirentrepreneurialprojectsandfortheirinterac2onsoastopromoteinnova2onandconvergenceofdisciplines.Amongotherthisprojectalsoaimstocreatenewdevelopmentandmarke2ngopportuni2esforentrepreneursby“breeding”newcompaniesinafavourableenvironmentintermsofcrea2vity.

Thisprojectisexpectedtohaveasignificanteconomicimpactpar2cularlyinthePortoRegion.Againitisalsoexpectedtohaveconsiderableculturaleffectsbecausetheresultsoftheenterpriseac2vi2escoverabroadspectrumofareas,rangingfrommusicproduc2ontowebTV,mul2‐mediadesignforspaces,contemporaryartrestora2on,“didac2cclothing”,jewellery,ortheproduc2onofmul2‐disciplinaryworkshopsforchildren.

Alsomostoftheproductsandservicesresul2ngfromthecompanies’ac2vi2esaresomehowframedorpromotedby“Serralves”thusguaranteeingalargevisibilityanddissemina2on.Thisisbelievedwillgiveagreatervisibilitytotheseprojects,andalsohopefullyhaveareplica2oneffectwithclearculturalconsequences.

h>p://www.serralves.pt/gca/?id=3068

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 40

BestCase39:DutchGameGardenInformalandcross­sectoralnetworkingforboostinginnovativeentrepreneurs

DutchGameGardenTheNetherlands

"It'safoundationnotaimedatpartsofthechain,butatthewholechain."ViktorWijnen

TheDutchGameGarden(DGG)wasfoundedonlytwoyearsagowiththevisionofinspiring,innovating,stimulatingandconnectingtheDutchgameIndustryintheNetherlandsand,ifpossible,internationally.Itssuccesscanbeattributedtotheboldandunconventionalmethodsusedtoconnectandengagewithstudentsandpre‐starters,whichcomprisetherelativelyyoung,butblossoming,professionalsoftheindustry.

TherearethreemainprogramsrunbytheDGGandwhichcatalogthemajorityoftheorganizationsactivities.TheyaretheGameDevelopmentClub,theGameIncubatorand,lastly,theGameDevelopmentBusinessCenters.

IntheDevelopmentClub,theDGGtargetsstudentsbyorganizingcompetitions,orgamejams,inadditiontosummerschools,workshops,andmasterclasses.Sincetherealreadyexistwellestablishedconnectionswitheducationalinstitutions,theDGGhasaccesstofacilitiesandtoolsneededtostimulatestudentstoparticipate.

TheGameIncubatorisaimedprimaryatassistingstudentsinsettinguptheirowncompany.Theincubatorprogramprovidesaffordableandscalablehousingandembedstheyoungentrepreneurintoanalreadyvibrantnetworkofprofessionals.Inaddition,theincubatorprovides<lexiblecoaching,whichallowstheentrepreneuraccesstoinvaluableinsightontechnical,<inancialandlegalaspectsofowningabusiness,nottomentionotherpracticalskillsneededtobesuccessfulinthebusiness.

Finally,theDGGrunsGameDevelopmentBusinessCenters.UnliketheGameIncubator,thesecentersarefocusedonthemorematurecompaniesoftheindustry.Again,<lexibleandaffordablehouseisofferedtotheirmembersalongwithaccesstootherimportantcompaniesandresearchinstitutions.

WhatsetstheDGGapart?OneevolutionaryfeaturethatmakestheDGGuniqueistheirapproachtonetworkingwhichaimsatmaintainingformalrelationshipsininformalways.Insteadofnewspapers,theyuseTwittertokeepmembersup‐to‐date.Likewise,theaverage,dullmeetingisreplacedwith"popup"lunchesandgatheringsduringwhichindividualsfromallprofessionalbackgroundscaninteractandshareexperiences.

"TheindustryasawholecanBlourishwhentheyrenotcontainedwithinone

areaofexpertise."ViktorWijnen

AnotheraspectworthmentioningistheDGG'sphilosophyoncross‐sectoralactivities.Fromitsearlybeginnings,importantconnectionshavebeenestablishedwithinstitutionssuchastheNetherlandsFilmFestival,andtheUtrechtArchives,nottomentionvariousDutchmuseumsandmedicalcenters.GamejamsorganizedbytheDGGofferamutuallybene<icialrelationshipbetweenparticipantsandtheinstitutionsinquestion.

Bycateringtoprofessionalswho<indthemselvesatdifferentstagesoftheentrepreneurialcycleandbybridgingthewidegapbetweenthecreativeandthetechnicalindividuals,theDGGrepresentsafreshand<lexiblemodelwhichunderlinesthatfactthat,whenitcomestothegamingindustry,"onesizedoesn't<itall".

www.dutchgamegarden.nl

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 41

BestCase40:CITIESEuropeanNetworkforCCIsaimingatstimulatingexchangeofpracticestofosterCCIsatthelocalandregionallevels

CITIESEU

CITIES,Crea2veIndustriesinTradi2onalInterculturalSpaces,wasbornasajointprojectwithadura2onof36months,fromOctober2008toSeptember2011,involvingthefollowingsixcountries:Lithuania,Italy,Spain,Portugal,HungaryandSlovenia.TheprojectisledbyKlaipedaCityMunicipalityinLithuaniaandfundedbytheEU’sINTERREGIVCprogramme,underthesub‐theme:entrepreneurshipandsmallandmediumsizedenterprises(SMEs).TheInterregionalCo‐Opera2onProgramme,INTERREGIVC,financedbytheEuropeanUnion’sRegionalDevelopmentFund,helpsregionsofEuropeworktogethertoshareexperienceandgoodprac2ceintheareasofinnova2on,knowledgeeconomy,theenvironmentandriskpreven2on.

CITIESjointini2a2vehasbeengeneratedby9partnersfromthesixdifferentcountries:twoinLithuania,France,Spain,Portugal,Hungary,Slovenia,Italy,Spain.

Throughinterregionalco‐opera2on,thisini2a2veaimstoimproveregionalandlocalpoliciesaddressingthepromo2onandsupportofcrea2veandculturalindustries,asoneofthemostsignificantgrowthsectorsfortheEuropeaneconomyintermsofGDPandaddedvalue.Themostimportantpurposeofthisprogrammeistostrengthenlocalpolicieswiththeaimofsuppor2ngthelocalcrea2veindustry.Thus,oneofthetoolsusedforthisispreciselytheexchangeofexperiencesamongthepar2cipa2ngEuropeanregions,aremp2ngtostrengthenco‐opera2onbetweenpublicandprivatesectors.Itisbelievedthatbestprac2cesincrea2veenterprisesandorganismsoftheCITIESnetworkingcanbeadaptedsuitablytodifferentcountries,culturesandcrea2veindustries’subsectors.

Togainabererperspec2veandunderstandingofCITIES,wecanpinpointtheothermainobjec2veswhichare:improvingregionalandlocalpoliciesaddressingcrea2veandculturalsectors;helpingtorestructureregionsmostlydependentontradi2onalindustries,includingrenewalofindustrialzonesfornewstart‐ups;geonganoverviewofwhatotherEuropeanregionsfrompartnersci2eshavedonetodevelopcrea2veandculturalindustries;growingculture’simpactonregion’seconomybyencouraginginterregionalcrea2vityanddiversityofcultures;suppor2ngregionalbusinessclustersincrea2veandculturalindustriesfield;promo2ngofre‐conversionoftradi2onalsectorsintomoreknowledge‐intensivesectorssuchascrea2veandculturalindustries;andstrengtheningco‐opera2onbetweenstate,private,non‐governmentalins2tu2onsincrea2veandculturalindustriessector.

CITIESwasmovedbythebeliefthatthebasictrendsdefiningtheculturalpoliciesinEuropeoverthelast15yearscouldbenamedasfollows:concentra2onontheexplicitaudi2ng/evalua2on/efficiencyschemes,andregenera2ngtheartsandcrea2veindustries.Thecurrenteconomicsitua2onrepresentsachallengeforthecrea2veandculturalsectorinsomecountries,andtherefore,suchques2onsasfunc2oningoftheartsmarket,andprogrammebasedfinancingversusmaintenanceofexis2nginfrastructureestablishmentneedtobeconsider.CITIEShopesthatthroughtheirnetworkstheycanreachfruitulandposi2vecollabora2onthatwoulds2mulateimprovementandnewdiscourseswithinthepoliciesaddressingthecrea2veindustriessectorsand,inthismanner,opennewwaysforinnova2ontospreadandbedeveloped.

www.eucrea1veindustries.eu/

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 42

BestCase41:CapDigitalClusteringforsupportinginnovativeCCIs

CapDigitalFrance

CapDigitalistheFrenchbusinessclusterfordigitalcontentandservicesinParisandtheIledeFranceregion.Itisanon‐profitorganiza2onof600membersthatareprimarilyinnova2veSMEsbutalsocountmajoruniversi2es,highereduca2onestablishments,researchlabs,andcorpora2ons.

Thecluster’smembersrepresentthedigitalindustry'smostac2veplayersindigitalcontent.Ninevibrantmembercommuni2esmakeavitalcontribu2ontothestrategyanddirec2onofthecluster:Image,SoundandInterac2vity,VideoGames,KnowledgeEngineering,Culture,Press,andMedia,e‐Learningande‐Training,Collabora2veTechnology&Intelligence,MobileLifestyle&Services,Robo2csandCommunica2ngObjects,andDigitalDesign.

Thesector‐specificexper2seismanagedthroughanorganisa2onofThema2cCommissions,DomainCommuni2es,andexperts.Thisstructureispermeableandadap2ve.AmemberofacommissioncanalsobeamemberofacommunityandaCapDigitalexpert.Thisnewstructureaimstomul2plyexchangesbetweentheDomainCommuni2esandmakeroomforfutureevolu2ons. CapDigitalprovidesmemberswithessen2alinforma2on,networks,andresources.Theseincludeongoingcompe22veintelligence,

training,partnerships,fundingsolu2ons,andprojectreviews.PartnershipswithotherleadingEuropeanclusters,atastructuralandprojectlevel,areanessen2alelementofCapDigital'sstrategicac2vi2es.Itofferstrainingonmanagement,fundingaswellashumanresourcesandexportissues.Atthesame2me,ithelpsthebusinesstogrowitsvisibilityinterna2onallybymul2plearendanceatinterna2onalworkshopsessionandwithCapDigital’sinterna2onalpartners.

Thesector‐specificexper2seismanagedthroughanorganisa2onofThema2cCommissions,DomainCommuni2es,andexperts.Thisstructureispermeableandadap2ve.AmemberofacommissioncanalsobeamemberofacommunityandaCapDigitalexpert.Thisnewstructureaimstomul2plyexchangesbetweentheDomainCommuni2esandmakeroomforfutureevolu2ons.

Moreover,ithelpstoarractR&Dandinnova2onfundbysecuringcollabora2veprojectunderarecognisedlabel“ProjectCapDigital”whichisworldrenownandassuchfacilitatesfundingorpartnershipopportuni2es.

CapDigitalcatalysedtheopportuni2esgivenbythedigitalshikandtheopportuni2esgiventoworkonamul2disciplinarybasis.

www.capdigital.com

HKU (2010), The Entrepreneurial Dimension of the Cultural and Creative Industries: Appendix 1 43