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\n \n\n \n \n \n \n \n \n What’s going on in Toronto’s arts scene? Inside the crisis closing festivals and arts organizations left, right and centre.\n \n \n \n \n\n\n \n Chong, J.\n\n\n \n\n\n\n The Toronto Star. March 2025.\n \n\n\n\n
\n\n\n\n \n \n $\"What’s$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{chong_whats_2025,\n\ttitle = {What’s going on in {Toronto}’s arts scene? {Inside} the crisis closing festivals and arts organizations left, right and centre},\n\tshorttitle = {What’s going on in {Toronto}’s arts scene?},\n\turl = {https://www.thestar.com/entertainment/visual-arts/whats-going-on-in-torontos-arts-scene-inside-the-crisis-closing-festivals-and-arts-organizations/article_a328aaf8-f5aa-11ee-aad3-33ecca95b947.html},\n\tabstract = {Dozens of arts organizations in Toronto have shuttered completely or reduced operations since the pandemic due to financial pressures.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tjournal = {The Toronto Star},\n\tauthor = {Chong, Joshua},\n\tmonth = mar,\n\tyear = {2025},\n\tkeywords = {Toronto, arts sector, case study (method), community impact (indicator), culture (indicator), economic (indicator), funding agency, operations, organizations},\n}\n\n\n\n

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\n \n 2024\n \n \n (8)\n \n \n

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\n \n\n \n \n \n \n \n \n The Arts Funding Crisis Is an Opportunity to Prioritize Artists.\n \n \n \n \n\n\n \n Berry, S. M.\n\n\n \n\n\n\n April 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{berry_arts_2024,\n\ttitle = {The {Arts} {Funding} {Crisis} {Is} an {Opportunity} to {Prioritize} {Artists}},\n\turl = {https://www.thegrindmag.ca/the-arts-funding-crisis-is-an-opportunity-to-prioritize-artists/},\n\tabstract = {Description: Festivals prioritizing corporate sponsorship, such as TIFF, Hot Docs and CONTACT, are struggling. Festival vet Scott Miller Berry digs into what has gone wrong with arts funding, and what questions this moment presents.},\n\tlanguage = {en-US},\n\turldate = {2025-03-15},\n\tjournal = {The Grind Magazine},\n\tauthor = {Berry, Scott Miller},\n\tmonth = apr,\n\tyear = {2024},\n\tkeywords = {Toronto, artistic and creative impacts (indicator), artists, artists and creative workers (indicator), arts sector, case study (method), community engagement (indicator), diversity (indicator), equity (indicator), funding},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Forest for the Trees: Collective Accountability and Trust as Groundwork for Systems Change.\n \n \n \n \n\n\n \n Salehi, S.; and Infante, P.\n\n\n \n\n\n\n The Foundation Review, 16(2). October 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Forest$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{salehi_forest_2024,\n\ttitle = {Forest for the {Trees}: {Collective} {Accountability} and {Trust} as {Groundwork} for {Systems} {Change}},\n\tvolume = {16},\n\tissn = {1944-5660},\n\tshorttitle = {Forest for the {Trees}},\n\turl = {https://scholarworks.gvsu.edu/tfr/vol16/iss2/6},\n\tdoi = {10.9707/1944-5660.1707},\n\tabstract = {Since 2020, trust-based philanthropy has gained momentum as a strategy to alleviate inherent power imbalances between funders, nonprofits, and the communities they serve. The cornerstone of the approach is a set of grantmaking practices, such as multiyear unrestricted funding and streamlined paperwork, that support nonprofit self-determination toward achieving impact goals. At a deeper level, trust-based philanthropy is driven by core values that position funders as collaborators and supporters working alongside nonprofits to advance a more just and equitable society. This requires a radically different stance on accountability from conventional philanthropic norms. Rather than reinforcing a sense of one-way transactional accountability, which is common in conventional and “strategic” philanthropy, trust-based philanthropy prioritizes mutuality between funders and nonprofits — relational accountability — toward a shared sense of commitment to the communities being served — collective accountability. This fosters a strong ecosystem of relationships and accountability that allows for social impact in ways that otherwise would not be possible. Through insights, analysis, and stories from social-sector leaders, this article argues that philanthropy is inherently more strategic and effective when funders embrace trust-based practices and collaborate with nonprofits with a spirit of collective accountability. It also provides concrete examples of systems change that has been possible as a result of trust-based philanthropic partnerships rooted in relational and collective accountability.},\n\tnumber = {2},\n\tjournal = {The Foundation Review},\n\tauthor = {Salehi, Shaady and Infante, Pia},\n\tmonth = oct,\n\tyear = {2024},\n\tkeywords = {accountability, case study (method), collaboration, community (indicator), equity (indicator), funding agency, non-profit, qualitative (method), trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Participatory Grantmaking in Philanthropy.\n \n \n \n \n\n\n \n Gibson, C. M.; Cardona, C.; Johnson, J. M.; and Suarez, D.,\n editors.\n \n\n\n \n\n\n\n Georgetown University Press, Washington, 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Participatory$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{gibson_participatory_2024,\n\taddress = {Washington},\n\ttitle = {Participatory {Grantmaking} in {Philanthropy}},\n\turl = {http://press.georgetown.edu/Book/Participatory-Grantmaking-in-Philanthropy},\n\tabstract = {A new community-based framework assessing the impact of participatory grantmaking on philanthropy Institutional foundations are influential, yet it can be difficult to understand how they operate. How do their staff members make decisions? What impact do these decisions have on nonprofits, civil society, and democracy more broadly? One practice that holds promise for demystifying this relationship is participatory grantmaking, whereby stakeholders and grantees participate in making decisions about grant dollars that were previously reserved for professional foundation staff. The community-based case studies in Participatory Grantmaking in Philanthropy signal a cultural shift away from the power of elite institutions and their penchant for top-down decision-making. This book combines perspectives from academics and practitioners who address how participatory grantmaking relates to other features of contemporary giving, including trust-based philanthropy; giving circles; crowdfunding; conservative philanthropy; giving traditions in communities of color; and global giving. Using in-depth case studies, quantitative research, and other evidence-based methods of exploration, Participatory Grantmaking in Philanthropy will be a strong resource for philanthropy practitioners not only at the community level but also at large institutional foundations as well as megadonors seeking to integrate diversity, equity, and inclusion into their decision-making practices.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {Georgetown University Press},\n\teditor = {Gibson, Cynthia M. and Cardona, Chris and Johnson, Jasmine McGinnis and Suarez, David},\n\tyear = {2024},\n\tkeywords = {accountability, case study (method), collaboration, community (indicator), development (indicator), equity (indicator), funding agency, mixed methods (method), quantitative (method), stakeholder, trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n In reciprocity, we trust: Improving grantmaking through relational philanthropy.\n \n \n \n \n\n\n \n Petzinger, J.; and Jung, T.\n\n\n \n\n\n\n Journal of Philanthropy and Marketing, 29(2): e1840. 2024.\n _eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1002/nvsm.1840\n\n\n\n
\n\n\n\n \n \n $\"In$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{petzinger_reciprocity_2024,\n\ttitle = {In reciprocity, we trust: {Improving} grantmaking through relational philanthropy},\n\tvolume = {29},\n\tcopyright = {© 2024 The Authors. Journal of Philanthropy and Marketing published by John Wiley \\& Sons Ltd.},\n\tissn = {2691-1361},\n\tshorttitle = {In reciprocity, we trust},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1002/nvsm.1840},\n\tdoi = {10.1002/nvsm.1840},\n\tabstract = {With a growing emphasis on empowering communities amongst the practices of philanthropic foundations, practitioners recognise the need for giving strategies grounded in communities of practice's contextual and contingent knowledge. This bringing of beneficiaries' lived experiences into grantmaking represents a wider recognition that sees gift-giving as a dialogical process that uses relationships with community beneficiaries as the point of departure for creating progressive forms of philanthropy, broadly referred to as ‘relational philanthropy’. Foundations that declare themselves as relational funders typically take a more trusting approach by offering more unrestricted, longer-term funding, simplifying reporting requirements, and empowering grantees to use the resources provided more flexibly. In this paper, we argue that relational philanthropy expresses a form of ‘relational work’, as it possesses a trust-based character that speaks to the reciprocal power of gift-giving, whereby both benefactors and beneficiaries receive value from the co-created, context-drivengift exchange: beneficiaries receive philanthropic resources (time, treasure, talent, ties) with more control over spending, while the benefactors gain grassroots insights that can inform future funding policies and practices. In this paper, we show that such reciprocity between funders and their beneficiaries is an important step towards empowering communities for three reasons: (1) by strengthening trust in, and sharing power with, their grantees, foundations empower them to engage more thoroughly with their communities; (2) by grantees communicating their community-level lived experiences to foundations, foundations can develop more informed and relevant grantmaking decisions, and; (3) as reciprocal exchanges are built on trust, this relational philanthropy creates social capital that strengthens relationships and solidarity across civil society.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-15},\n\tjournal = {Journal of Philanthropy and Marketing},\n\tauthor = {Petzinger, Janis and Jung, Tobias},\n\tyear = {2024},\n\tnote = {\\_eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1002/nvsm.1840},\n\tkeywords = {accountability, collaboration, funding agency, qualitative (method), trust-based, trust-based approaches (method), trust-based environments (indicator), trust-based funding (indicator)},\n\tpages = {e1840},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Chapter 24: Emerging trust-based evaluation approaches in philanthropy.\n \n \n \n \n\n\n \n Coffman, J.; and Reid, C.\n\n\n \n\n\n\n In Newcomer, K. E.; and Mumford, S. M, editor(s), Research Handbook on Program Evaluation. Edward Elgar Pub, London, June 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Chapter$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{coffman_chapter_2024,\n\taddress = {London},\n\ttitle = {Chapter 24: {Emerging} trust-based evaluation approaches in philanthropy},\n\tisbn = {978-1-80392-828-9},\n\turl = {https://www-elgaronline-com.myaccess.library.utoronto.ca/edcollbook/book/9781803928289/9781803928289.xml},\n\tabstract = {In this chapter, we reimagine learning and evaluation in the context of broader sectoral shifts that are encouraging philanthropy to take a trust-based approach to grantmaking practices and foundation routines. We first describe historical trends that have prompted the need for a rebalancing of power in philanthropy, and why trust-based philanthropy has emerged as a response. We then discuss what trust-based philanthropy means for learning and evaluation, and why we need to shift away from more conventional thinking about measurement and accountability, and instead embrace practices that cede foundation power for the purposes of advancing equity. We offer a three-part trust-based framework to guide philanthropic learning and evaluation practice, and offer examples of how foundations are evolving their approaches in this direction.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tbooktitle = {Research {Handbook} on {Program} {Evaluation}},\n\tpublisher = {Edward Elgar Pub},\n\tauthor = {Coffman, Julia and Reid, Chera},\n\teditor = {Newcomer, Kathryn E. and Mumford, Steven M},\n\tmonth = jun,\n\tyear = {2024},\n\tkeywords = {accountability, community (indicator), development (indicator), equity (indicator), literature review (method), narrative, trust-based, trust-based approaches (method), trust-based environments (indicator), trust-based funding (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Federal Nonprofit Data Coalition celebrates first large-scale survey of sector by Statistics Canada in 20 years but warns that more is needed to address sector’s data deficit.\n \n \n \n \n\n\n \n Imagine Canada\n\n\n \n\n\n\n April 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Federal$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{imagine_canada_federal_2024,\n\ttitle = {Federal {Nonprofit} {Data} {Coalition} celebrates first large-scale survey of sector by {Statistics} {Canada} in 20 years but warns that more is needed to address sector’s data deficit},\n\turl = {https://imaginecanada.ca/en/news/federal-nonprofit-data-coalition-first-large-scale-survey-of-sector-by-statistics-canada},\n\tabstract = {Partial Introduction: On March 20, 2024, Statistics Canada released data on the nonprofit sector collected through a special module of the Canadian Survey of Business Conditions. This is the first time since the 2003 National Survey of Nonprofit and Voluntary Organizations (NSNVO) that Statistics Canada has conducted such a large-scale survey of the sector. Although this survey is significantly smaller in terms of its scope and sample size than the NSNVO, it gives us crucial insights that we haven’t had in 20 years. These insights include that 55\\% of the sector is made up of organizations with no paid staff and that nonprofits make up a slightly larger proportion of the sector than registered charities. The survey also provides information on leadership diversity, organizational finances, who the sector serves, and more.},\n\turldate = {2025-03-15},\n\tauthor = {{Imagine Canada}},\n\tmonth = apr,\n\tyear = {2024},\n\tkeywords = {Canada, business model (indicator), community (indicator), community impact (indicator), non-profit, organizations, surveys (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Racial Justice Requires Trust.\n \n \n \n \n\n\n \n Chioke Williams, N.; and Bonner, L.\n\n\n \n\n\n\n 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Racial$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{chioke_williams_racial_2024,\n\ttitle = {Racial {Justice} {Requires} {Trust}},\n\turl = {https://ssir.org/articles/entry/racial-justice-trust-based-philanthropy#},\n\tabstract = {Description: A commitment to racial justice means transforming conventional practices and embracing trust-based philanthropy.},\n\turldate = {2025-03-15},\n\tjournal = {Stanford Social Innovation Review},\n\tauthor = {Chioke Williams, Nat and Bonner, Liz},\n\tyear = {2024},\n\tkeywords = {USA, business model (indicator), development (indicator), diversity (indicator), economic (indicator), equity (indicator), ethnography (method), funding agency, organizations, trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Cakes and ale: the role of culture in the new municipalism.\n \n \n \n \n\n\n \n Banks, M.; and Oakley, K.\n\n\n \n\n\n\n Cultural Trends,1–15. 2024.\n Publisher: Routledge _eprint: https://doi.org/10.1080/09548963.2024.2344468\n\n\n\n
\n\n\n\n \n \n $\"Cakes$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{banks_cakes_2024,\n\ttitle = {Cakes and ale: the role of culture in the new municipalism},\n\tissn = {0954-8963},\n\tshorttitle = {Cakes and ale},\n\turl = {https://doi.org/10.1080/09548963.2024.2344468},\n\tdoi = {10.1080/09548963.2024.2344468},\n\tabstract = {The rise of ‘new municipalism’ – imaginative and renascent projects of local organization and government – has been occasioned by resourceful efforts on the part of local states and civil societies, responding to the intensified pressures of austerity, the global pandemic and a crisis of public value. Yet, despite the expansion internationally of an array of municipal initiatives, there appears (as yet) no significant role for culture and the cultural industries, and certainly this is the case in the UK. This review article suggests some possible reasons why UK municipalism might lack something of a cultural contribution or presence, before outlining the potential benefits that could be gained through development of both a “pragmatic” and “managed” – as well as more “radical” – integration of arts and culture into new municipal projects.},\n\turldate = {2025-03-15},\n\tjournal = {Cultural Trends},\n\tauthor = {Banks, Mark and Oakley, Kate},\n\tyear = {2024},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/09548963.2024.2344468},\n\tkeywords = {UK, artistic and creative measures (indicator), case study (method), community impact (indicator), cultural and creative industries, literature review (method)},\n\tpages = {1--15},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Direction and Desire: Culture Sector Research for the Next Decade.\n \n \n \n \n\n\n \n Luka, M. E.; and Sokoloski, R.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): 63–83. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Direction$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{luka_direction_2023,\n\tseries = {Special {Edition} - {Mass} {Culture}: {Return} to {Imapct}: {A} {Process} of {Imagining}},\n\ttitle = {Direction and {Desire}: {Culture} {Sector} {Research} for the {Next} {Decade}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Mary Elizabeth Luka, Robin Sokoloski},\n\tissn = {1911-7469},\n\tshorttitle = {Direction and {Desire}},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7375},\n\tdoi = {10.18192/clg-cgl.v8i2.7375},\n\tabstract = {In this contribution, Research in Residence (RinR) co-facilitators Mary Elizabeth Luka and Robin Sokolsoki host a conversation with members of the RinR Funder Advisory, addressing the dynamics of collaboration, impact assessment, and applied research in the Canadian culture sector, using RinR as a case in point. While projects and operational approaches that incorporate partnerships and collaboration have been encouraged and funded for many decades through programs such as the Digital Strategy Fund at the Canada Council for the Arts, or by the Social Sciences and Research Council of Canada through its suite of partnership grants, how funders collaborate or enable partnerships among themselves or more directly with sector organizations has been less supported or evident. Additionally, over the last decade, industry and scholarly researchers have repeatedly noted that the sector tends to depend on a narrow band of research practices to conduct impact assessments— primarily from financial or economic points of view—and thereby to inform future directions not just for the organizations but also for the sector. To respond to this situation, in 2020, Mass Culture convened a series of discussions that resulted in various levels of resource support as well as participation commitments from several funder organizations for what became the Research-in-Residence: Arts’ Civic Impact initiative in 2021-23. This article traces the snowball effect of bringing various levels of funders onboard for this project before turning to discussions of how the group worked together throughout the project, including key learnings shared across the funding ecosystem and into the sector.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Luka, Mary Elizabeth and Sokoloski, Robin},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {Canada, artistic and creative impacts (indicator), arts sector, collaboration, culture (indicator), funding agency, knowledge-sharing (indicator), mixed methods (method), networking (indicator)},\n\tpages = {63--83},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Arts Sector Research in Development: Participant Perspectives on a Community-Engaged Research Initiative.\n \n \n \n \n\n\n \n Gamble, J.; and Nelson, R.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): 45–62. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Arts$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{gamble_arts_2023,\n\tseries = {Special {Edition} - {Mass} {Culture}: {Return} to {Imapct}: {A} {Process} of {Imagining}},\n\ttitle = {Arts {Sector} {Research} in {Development}: {Participant} {Perspectives} on a {Community}-{Engaged} {Research} {Initiative}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Jamie Gamble, Robin Nelson},\n\tissn = {1911-7469},\n\tshorttitle = {Arts {Sector} {Research} in {Development}},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7374},\n\tdoi = {10.18192/clg-cgl.v8i2.7374},\n\tabstract = {Despite good intentions, academic research often reflects an extractive model and is not always seen as useful within the Canadian arts sector. Mass Culture is a non-profit organization that aims to bring together cultural workers and academics in support of collaborative research and better knowledge mobilization. To that end, their Research in Residence (RinR) initiative involved complex collaborations between the arts sector and academia to explore five applied research projects on a topic of shared importance to participants - that is, articulating the value of the arts through qualitative rather than quantitative measurements.\\&nbsp; To learn from the experimental research design, participants conducted a developmental evaluation with five lines of inquiry: benefits and effects, program design adaptations, values alignment, efficacy and potential, and knowledge mobilization and research engagement. The evaluation had three purposes: (1) to gather data and facilitate analysis of the key questions that the initiative was trying to understand; (2) to inform Mass Culture's implementation and adaptation of the initiative; and (3) to generate insights on principles and practices that could inform the design of future initiatives. This article considers the second and third purposes, outlining key lessons learned that shaped the initiative and/or should inform future projects.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Gamble, Jamie and Nelson, Robin},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {Canada, artistic and creative impacts (indicator), artistic and creative measures (indicator), arts sector, collaboration (indicator), community, community (indicator), mixed methods (method), non-profit, organizations},\n\tpages = {45--62},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Indigenous Ways Infiltrating the Research Realm.\n \n \n \n \n\n\n \n Pascal, S.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): 38–44. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Indigenous$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{pascal_indigenous_2023,\n\tseries = {Special {Edition} - {Mass} {Culture}: {Return} to {Imapct}: {A} {Process} of {Imagining}},\n\ttitle = {Indigenous {Ways} {Infiltrating} the {Research} {Realm}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Sydney Pascal},\n\tissn = {1911-7469},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7373},\n\tdoi = {10.18192/clg-cgl.v8i2.7373},\n\tabstract = {The summer of 2021 was the beginning of my experience as a researcher from Emily Carr University of Art \\&amp; Design on a project that connected me with other researchers across Canada. The project was titled Research in Residence: Arts’ Civic Impact, and was an initiative in collaboration with Mass Culture, the Canada Council for the Arts, the Culture Statistics Working Group, the Ontario Trillium Foundation, and the Toronto Arts Foundation. Each researcher had their own area of interest, with my focus being on researching and exploring the innovative ways of reframing research methods and connecting with communities in the arts sector and academic institutions to align with methods derived from an Indigenous way of gathering information.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Pascal, Sydney},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {Canada, artistic and creative impacts (indicator), artistic and creative measures (indicator), arts sector, community, diversity (indicator), equity (indicator), mixed methods (method), organizations},\n\tpages = {38--44},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Reflections on the 2021-2022 Arts’ Civic Impact Project.\n \n \n \n \n\n\n \n Richmond, A.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): 1–18. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Reflections$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{richmond_reflections_2023,\n\tseries = {Special {Edition} - {Mass} {Culture}: {Return} to {Imapct}: {A} {Process} of {Imagining}},\n\ttitle = {Reflections on the 2021-2022 {Arts}’ {Civic} {Impact} {Project}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Aaron Richmond},\n\tissn = {1911-7469},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7371},\n\tdoi = {10.18192/clg-cgl.v8i2.7371},\n\tabstract = {In this article, Aaron Richmond develops the foundations for an evaluation framework that has the potential to impact how notions of embodied accessibility in creative performance will work in the near future. Richmond focuses on the specificity of discourse and decision-making that enables the inclusion of various audiences, choreographers, and performers in the field of dance. In the process, Richmond thinks through a series of questions grounded in a field of study that first emerged upon noticing several recent Montreal-based dance projects aimed at making dance accessible for blind and low-vision communities. These questions include: What does accessibility look like when it doesn’t look like anything? When, above all, it cannot be imagined as an interface of constraints neatly lifted and boxes suitably checked? What is an accessibility that accepts and defends the functional gains of earlier activists, while also setting new horizons for disability justice⁠? Conducted between 2021-2023, this investigation enquires deeply into the discourses circulating around and through the actual production processes being observed. More specifically, the research brings critical disability studies into conversation with current forms of expression on the stage in more nuanced ways than have been previously investigated. What results is a framework that Richmond names Access in Counterpoint. The framework consists of five pairs of terms - each pair introducing a particular set of questions for those working in the field of accessible dance, and aiming to understand their own investment in impact, defined broadly. At first glance, these terms could be thought of as binaries or opposites, but as Richmond demonstrates in the concluding section of the article, these contrasting terms begin to trace out a spectrum of possibility: a way of thinking while doing in the field, in design, in development, in performance, and upon reflection.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Richmond, Aaron},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {accessible (indicator), accountability, artistic and creative impacts (indicator), artists, civic and social engagement (indicator), diversity (indicator), equity (indicator), mixed methods (method)},\n\tpages = {1--18},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Threads That Become Tendrils: Exploring EDI in the Settler-Canadian Arts and Culture Sector.\n \n \n \n \n\n\n \n Bernicky, S.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): 19–37. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Threads$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{bernicky_threads_2023,\n\tseries = {Special {Edition} - {Mass} {Culture}: {Return} to {Imapct}: {A} {Process} of {Imagining}},\n\ttitle = {Threads {That} {Become} {Tendrils}: {Exploring} {EDI} in the {Settler}-{Canadian} {Arts} and {Culture} {Sector}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Shanice Bernicky},\n\tissn = {1911-7469},\n\tshorttitle = {Threads {That} {Become} {Tendrils}},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7372},\n\tdoi = {10.18192/clg-cgl.v8i2.7372},\n\tabstract = {The settler-state of Canada continues to reconcile with the genocide of the original Indigenous custodians of the lands on which we operate, alongside the underserving and discriminating against racialized, black, disabled, and LGBTQ2+ peoples all while navigating a climate crisis, the proliferation of equity, diversity, and inclusion (EDI) nomenclature and plans permeates every social and financial sector. EDI initiatives, while called many names throughout history such as social inclusion and affirmative action, experienced a rise in creation in 2020 because of public outcries for the acknowledgement of systemic racial injustice and pressure to address this ongoing form of violence. Canada’s arts and culture sector is not immune from this scrutiny. Having a long history of engaging in social services, the arts and culture sector is often tasked with “fixing” issues when funding is cut to education, health, and community programs, yet arts institutions are not equipped to do this. This paper follows one resident researcher’s journey as they were tasked with developing an arts civic impact framework suggesting equity practices in the arts. The study used a mixed-methods approach, drawing from the walking interview, reverse photo-elicitation, feminist manifestos and research-creation to bring cultural workers across the country together to develop an accessible tool to carefully engage in equity practices within the sector. As a critique and response to flat and prescriptive EDI plans, what was created based on this cross-country collaboration was a non-linear, spiraling framework existing online that arts organizations can make use of and adapt based on their circumstances. Weaving together a historical account of arts administration, Western managerialism, and the EDI in the arts sector, this article responds to the research question: How can access to the arts and culture sector from coast-to-coast-to-coast be more equitable?},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Bernicky, Shanice},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {Canada, artistic and creative impacts (indicator), artistic and creative measures (indicator), arts sector, creative and cultural industries, diversity (indicator), mixed methods (method), organizations},\n\tpages = {19--37},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Introduction to special issue: Return to Impact: A Process of Imagining.\n \n \n \n \n\n\n \n Luka, M. E.; Nelson, R.; Newman, S.; and Sokoloski, R.\n\n\n \n\n\n\n Culture and Local Governance, 8(2): i–iv. 2023.\n Number: 2\n\n\n\n
\n\n\n\n \n \n $\"Introduction$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{luka_introduction_2023,\n\ttitle = {Introduction to special issue: {Return} to {Impact}: {A} {Process} of {Imagining}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2025 Mary Elizabeth Luka, Robin Nelson, Shawn Newman, Robin Sokoloski},\n\tissn = {1911-7469},\n\tshorttitle = {Introduction to special issue},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/7370},\n\tdoi = {10.18192/clg-cgl.v8i2.7370},\n\tabstract = {In the first of this double issue, we grounded the collection in Mass Culture’s Research in Residence: Arts’ Civic Impact (RinR) project. Aimed at creating a suite of impact measurement frameworks for arts organizations to assess where and how their work has impact, the SSHRC- and Mitacs-funded project embedded four individual graduate student researchers and one team of two graduate students—all from different post-secondary institutions—in arts organizations across the country. Also supported by a group of arts funders comprising an advisory, this first-of-its-kind initiative has had impressive impacts of its own in both the academic and culture sector spheres. Since publishing our first collection of articles, the landscape has changed. RinR’s graduate student researchers have all moved on in some way, be it finishing a master’s degree and starting a doctorate, finishing a doctorate and moving into a post-doctoral fellowship, finishing graduate school and working within an academic institution, and even continuing with their studies while starting a family. Other people involved in RinR have likewise changed jobs or even left the arts sector or academia altogether. Assembling this second issue has afforded us, the co-editors, some very welcome reflection on the project, the relationships we built through it, and how it continues to shape both our individual careers and perspectives on the arts’ civic impact.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-27},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Luka, Mary Elizabeth and Nelson, Robin and Newman, Shawn and Sokoloski, Robin},\n\tyear = {2023},\n\tnote = {Number: 2},\n\tkeywords = {artistic and creative impacts (indicator), artists, arts sector, management, mixed methods (method), policy},\n\tpages = {i--iv},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Access in Counterpoint.\n \n \n \n \n\n\n \n Richmond, A.\n\n\n \n\n\n\n 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"Access$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{richmond_access_2023,\n\ttitle = {Access in {Counterpoint}},\n\turl = {https://massculture.ca/arts-impact/access-in-counterpoint/},\n\tabstract = {Framework Description: What follows is the result of research which followed multiple creative initiatives aimed at making dance accessible for people with visual impairment. While considering the creative process and language used by each of these initiatives, I asked: How does the exploration of dance beyond the visual enable a rethinking of accessibility beyond its strictly logistical dimensions?},\n\tlanguage = {en-CA},\n\turldate = {2025-03-27},\n\tjournal = {Mass Culture: Research in Residence},\n\tauthor = {Richmond, Aaron},\n\tyear = {2023},\n\tkeywords = {accessible (indicator), accountability, artistic and creative impacts (indicator), artists, arts sector, diversity (indicator), ethnography (method), interviews (method)},\n}\n\n\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n \n Spiralling Outwardly for Equity in Public Arts.\n \n \n \n \n\n\n \n Bernicky, S.\n\n\n \n\n\n\n 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"Spiralling$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{bernicky_spiralling_2023,\n\ttitle = {Spiralling {Outwardly} for {Equity} in {Public} {Arts}},\n\turl = {https://massculture.ca/arts-impact/spiralling-outwardly-for-equity-in-public-arts/},\n\tabstract = {Framework Explanation: Imagine a big circle to represent the earth and water that surround us all. In this circle’s orbit is the sun, a bright warm ball. Within the large circle is a spiral with no beginning and no end. This is the framework’s core. Three dynamic entities floating on open terrain. My name is Shanice Bernicky (she/her, elle) and I am a PhD student at Carleton University. This framework was constructed as part of the Mass Culture and Mitacs Research in Residence project. The Framework is designed to assist public arts organizations develop equitable practices for employees and community members. If you make use of this project, you must use CC BY-NC. I can be reached at shanicebernicky@cmail.carleton.ca and invite your feedback.},\n\tlanguage = {en-CA},\n\turldate = {2025-03-27},\n\tjournal = {Mass Culture: Research in Residence},\n\tauthor = {Bernicky, Shanice},\n\tyear = {2023},\n\tkeywords = {artistic and creative impacts (indicator), artistic and creative measures (indicator), arts sector, community, community (indicator), equity (indicator), mixed methods (method), organizations},\n}\n\n\n\n\n\n\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n \n Living Climate-Impact Framework for the Arts.\n \n \n \n \n\n\n \n Bugg, E.\n\n\n \n\n\n\n 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"Living$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{bugg_living_2023,\n\ttitle = {Living {Climate}-{Impact} {Framework} for the {Arts}},\n\turl = {https://massculture.ca/arts-impact/living-climate-impact-framework-for-the-arts/},\n\tabstract = {This framework was designed as part of the Research in Residence: Arts Civic Impact Initiative by Mass Culture, and was produced in collaboration with CreativePEI. Thus, the framework was primarily built with CreativePEI’s context in mind, but we encourage other practitioners within and outside of the arts to consider the utility of this framework in their unique contexts. The framework presents categorized indicators in three groupings: Who (who is and isn’t being reached or engaged by the work); How (what modes and strategies are being used to carry out the work); and What (what goals and outcomes are being worked towards). The framework also presents two categories that investigate impact on a larger scale and which show the intersections and fluidity of indicators among the categories. Even though we’ve presented the indicators in these categories, we encourage you to explore new combinations and understand that many indicators can shed light on impact in multiple ways! Each impact area in the framework contains various impact indicators which can be used to help plan and measure the impact of your activities.},\n\tlanguage = {en-CA},\n\turldate = {2025-03-27},\n\tjournal = {Mass Culture: Research in Residence},\n\tauthor = {Bugg, Emma},\n\tyear = {2023},\n\tkeywords = {accessible (indicator), artistic and creative impacts (indicator), arts sector, community, mixed methods (method), organizations, sustainability (indicator), sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Threads That Become Tendrils: Exploring EDI in the Settler-Canadian Arts and Culture Sector.\n \n \n \n\n\n \n Bernicky, S.\n\n\n \n\n\n\n Culture and Local Governance, 8(2). 2023.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{bernicky_threads_2023,\n\ttitle = {Threads {That} {Become} {Tendrils}: {Exploring} {EDI} in the {Settler}-{Canadian} {Arts} and {Culture} {Sector}},\n\tvolume = {8},\n\tshorttitle = {({PDF}) {Threads} {That} {Become} {TendrilsDes} fils qui deviennent des vrilles},\n\tdoi = {https://doi.org/10.18192/clg-cgl.v8i2.7372},\n\tabstract = {The settler-state of Canada continues to reconcile with the genocide of the original Indigenous custodians of the lands on which we operate, alongside the underserving and discriminating against racialized, black, disabled, and LGBTQ2+ peoples all while navigating a climate crisis, the proliferation of equity, diversity, and inclusion (EDI) nomenclature and plans permeates every social and financial sector. EDI initiatives, while called many names throughout history such as social inclusion and affirmative action, experienced a rise in creation in 2020 because of public outcries for the acknowledgement of systemic racial injustice and pressure to address this ongoing form of violence. Canada’s arts and culture sector is not immune from this scrutiny. Having a long history of engaging in social services, the arts and culture sector is often tasked with “fixing” issues when funding is cut to education, health, and community programs, yet arts institutions are not equipped to do this. This paper follows one resident researcher’s journey as they were tasked with developing an arts civic impact framework suggesting equity practices in the arts. The study used a mixed-methods approach, drawing from the walking interview, reverse photo-elicitation, feminist manifestos and research-creation to bring cultural workers across the country together to develop an accessible tool to carefully engage in equity practices within the sector. As a critique and response to flat and prescriptive EDI plans, what was created based on this cross-country collaboration was a non-linear, spiraling framework existing online that arts organizations can make use of and adapt based on their circumstances. Weaving together a historical account of arts administration, Western managerialism, and the EDI in the arts sector, this article responds to the research question: How can access to the arts and culture sector from coast-to-coast-to-coast be more equitable?},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-15},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Bernicky, Shanice},\n\tyear = {2023},\n\tkeywords = {Canada, artistic and creative measures (indicator), artistic and creative values (indicator), arts sector, creative and cultural industries, diversity (indicator), equity (indicator), mixed methods (method), organizations},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Using trust-based philanthropy with community-based organizations during the COVID-19 pandemic.\n \n \n \n \n\n\n \n Powell, R.; Evans, D.; Bednar, H.; Oladipupo, B.; and Sidibe, T.\n\n\n \n\n\n\n Journal of Philanthropy and Marketing, 28(2): e1786. 2023.\n _eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1002/nvsm.1786\n\n\n\n
\n\n\n\n \n \n $\"Using$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{powell_using_2023,\n\ttitle = {Using trust-based philanthropy with community-based organizations during the {COVID}-19 pandemic},\n\tvolume = {28},\n\tcopyright = {© 2023 National Foundation for the Centers for Disease Control and Prevention. Journal of Philanthropy and Marketing published by John Wiley \\& Sons Ltd.},\n\tissn = {2691-1361},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1002/nvsm.1786},\n\tdoi = {10.1002/nvsm.1786},\n\tabstract = {Community-based organizations (CBOs) fill a critical role in acting as public health partners and trusted resources for their communities, especially in an emergency. The CDC Foundation, an independent, nonprofit organization, used trust-based philanthropy to manage more than 110 COVID-19 grants focused on equitable vaccine information, outreach, and access. The CDC Foundation team uses a trust-based philanthropy paradigm by applying five out of six of the grantmaking practices: do the homework; simplify and streamline paperwork; be transparent and responsive; solicit and act on feedback; and offer support beyond the check. By applying trust-based philanthropy practices, the CDC Foundation is empowering CBOs through flexible grant management and more equitable power dynamics as grantee and grantor. This has been essential to CBOs in their efforts of tackling health inequities during the COVID-19 pandemic and improving community resilience. Lessons learned will inform future collaborations with CBOs where the power dynamics are shared.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2025-03-15},\n\tjournal = {Journal of Philanthropy and Marketing},\n\tauthor = {Powell, Rachel and Evans, Dorothy and Bednar, Hailey and Oladipupo, Brittany and Sidibe, Turquoise},\n\tyear = {2023},\n\tnote = {\\_eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1002/nvsm.1786},\n\tkeywords = {case study (method), collaboration, community impact (indicator), equity (indicator), mixed methods (method), non-profit, quantitative (method), surveys (method), trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n\tpages = {e1786},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Suburbanization of Poverty: Transport Inequalities in Canadian Cities. In Canadian Urban Institute.\n \n \n \n \n\n\n \n Farber, S.\n\n\n \n\n\n\n In At the Crossroads: Maximizing Possibilities, pages 131–133. 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"Suburbanization$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{farber_suburbanization_2023,\n\ttitle = {Suburbanization of {Poverty}: {Transport} {Inequalities} in {Canadian} {Cities}. {In} {Canadian} {Urban} {Institute}},\n\turl = {https://canurb.org/wp-content/uploads/CUI_SOCC_At-the-Crossroads-1.pdf},\n\tabstract = {Introduction: A distressing undercurrent of income inequality is leading to a series of interconnected challenges for Canadian cities. Rapid urbanization in Canada is leading to both prosperity and disparity. The echoing consequences of this divide are seen most vividly in the suburbanization of poverty. Driven by growing income disparities, individuals with limited financial means are pushed to the lower cost outskirts of cities in search of housing and sustenance. Tragically, the potential affordability benefits of the periphery can be met by a myriad of unforeseen transportation obstacles that perpetuate a cycle of disadvantage. Food, healthcare and employment access become an uphill battle. Seeking to escape financial strain, suburban migrants find themselves ensnared in a new web of transportation woes. The very suburbs that offer a semblance of economic relief often present an automobile-centric way of life. Suburban land uses pose an obstacle to the provision of adequate transit services that cater to the needs of suburban residents. The dynamic generates a two-pronged challenge: income inequalities fuel suburbanization, while automobile-oriented suburbs stymie the alleviation of transport deficiencies},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tbooktitle = {At the {Crossroads}: {Maximizing} {Possibilities}},\n\tauthor = {Farber, Steven},\n\tyear = {2023},\n\tkeywords = {Canada, accessible (indicator), cities, community impact (indicator), economic (indicator), emotional measures (indicator), equity (indicator), mixed methods (method), sustainability (indicator), sustainable},\n\tpages = {131--133},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Challenges and opportunities in cultural tourism: Insights from Canada.\n \n \n \n\n\n \n Dubois, L.; Newman, S.; and Dimanche, F.\n\n\n \n\n\n\n In Routledge Handbook of Trends and Issues in Global Tourism Supply and Demand, pages 127–137. Routledge, New York, 2023.\n Num Pages: 11\n\n\n\n
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@incollection{dubois_challenges_2023,\n\taddress = {New York},\n\ttitle = {Challenges and opportunities in cultural tourism: {Insights} from {Canada}},\n\tisbn = {978-1-00-326079-0},\n\tshorttitle = {Challenges and opportunities in cultural tourism},\n\tabstract = {Over the past few decades, cultural tourism has garnered much attention, both in the field and in academia. The COVID-19 pandemic, which abruptly closed international borders and cultural venues, further highlighted the economic importance of cultural tourism for communities around the world. Based on the case of Ontario, Canada, this chapter explores ongoing challenges, as well as trends related to cultural tourism. It identifies the lack of institutional coordination and support, as well as social justice considerations, as issues requiring immediate attention for this sector to continue to develop. The chapter also suggests how demographic and technological changes, in addition to a renewed appreciation of the arts, are bound to make more complex and grow cultural tourism offerings. Implications for stakeholders are offered in the closing section.},\n\tbooktitle = {Routledge {Handbook} of {Trends} and {Issues} in {Global} {Tourism} {Supply} and {Demand}},\n\tpublisher = {Routledge},\n\tauthor = {Dubois, Louis-Etienne and Newman, Shawn and Dimanche, Frédéric},\n\tyear = {2023},\n\tnote = {Num Pages: 11},\n\tkeywords = {Canada, case study (method), community impact (indicator), cultural and creative industries, culture (indicator), development (indicator), economic (indicator), stakeholder},\n\tpages = {127--137},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Benefit as a Standard Unit of Measure for Arts Organizations: A Conceptual Analysis.\n \n \n \n \n\n\n \n DeVereaux, C.; and Keeney, K.\n\n\n \n\n\n\n Culture and Local Governance, 8(1): 83–101. December 2023.\n Number: 1\n\n\n\n
\n\n\n\n \n \n $\"Benefit$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{devereaux_benefit_2023,\n\ttitle = {Benefit as a {Standard} {Unit} of {Measure} for {Arts} {Organizations}: {A} {Conceptual} {Analysis}},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2023 Dr. Kate Keeney, Dr. Constance DeVereaux},\n\tissn = {1911-7469},\n\tshorttitle = {Benefit as a {Standard} {Unit} of {Measure} for {Arts} {Organizations}},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/6663},\n\tdoi = {10.18192/clg-cgl.v8i1.6663},\n\tabstract = {Benefit is a commonly used concept for expressing positive outcomes of arts participation. The inherent ambiguity of benefit applied to a broad range of arts activities raises issues for research, decision-making, program design, and evaluation. This article offers a conceptual analysis of benefit as a standard unit of measure for design and evaluation of third sector arts organization services. In this article, we explore the possibilities for a standard unit of measure, called Benefit Unit that works toward dispelling the inherent ambiguities of “benefit” in the current discourse on arts programs and services. Conceptual analysis is applied to existing theories of benefit analysis and transaction theory, to advance a framework for Benefit Unit that offers ease of use, coherence, and wide acceptance. Developed for arts organizations, we see potential for any nonprofit organization seeking to establish appropriate measures of the intangible merits of its services. Our research is aimed at decision makers, policy agents, public administrators, and funders who have interest in improving available tools for measuring outcomes of arts services.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Culture and Local Governance},\n\tauthor = {DeVereaux, Constance and Keeney, Kate},\n\tmonth = dec,\n\tyear = {2023},\n\tnote = {Number: 1},\n\tkeywords = {artistic and creative impacts (indicator), artistic and creative measures (indicator), arts sector, case study (method), cultural and creative industries, literature review (method), non-profit, organizations},\n\tpages = {83--101},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The pandemic politics of cultural work: collective responses to the COVID-19 crisis.\n \n \n \n \n\n\n \n de Peuter, G.; Oakley, K.; and Trusolino, M.\n\n\n \n\n\n\n International Journal of Cultural Policy, 29(3): 377–392. April 2023.\n Publisher: Routledge _eprint: https://doi.org/10.1080/10286632.2022.2064459\n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{de_peuter_pandemic_2023,\n\ttitle = {The pandemic politics of cultural work: collective responses to the {COVID}-19 crisis},\n\tvolume = {29},\n\tissn = {1028-6632},\n\tshorttitle = {The pandemic politics of cultural work},\n\turl = {https://doi.org/10.1080/10286632.2022.2064459},\n\tdoi = {10.1080/10286632.2022.2064459},\n\tabstract = {The scope, unevenness, and severity of the COVID-19 pandemic’s impact on cultural work has been widely acknowledged. This article turns to how sections of the cultural industries responded to the onset of this crisis. Our account is based on document research completed during the first wave of the pandemic. We gathered news reports, impact survey results, policy recommendations, open letters, event announcements, and other grey literature generated by a range of organizations in the cultural sector, including trade unions, professional associations, and activist groups, among others. Framed by the concepts ‘labouring of culture’ and ‘policy from below’, our thematic analysis of this material reveals that cultural workers responded to the pandemic by surfacing the idea of cultural production as work; by enacting practices of care and mutual aid; and by proposing policy changes. These collective responses are marked by multiple tensions, particularly between rehabilitating the status quo in the cultural sector and radically reimagining it for a post-COVID-19 world.},\n\tnumber = {3},\n\turldate = {2025-03-15},\n\tjournal = {International Journal of Cultural Policy},\n\tauthor = {de Peuter, Greig and Oakley, Kate and Trusolino, Madison},\n\tmonth = apr,\n\tyear = {2023},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/10286632.2022.2064459},\n\tkeywords = {cultural and creative industries, culture (indicator), document analysis (method), emotional measures (indicator), labour, mixed methods (method), policy, policy instruments (indicator), social relations (indicator)},\n\tpages = {377--392},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n At the Crossroads: Maximizing Possibilities.\n \n \n \n \n\n\n \n Canadian Urban Institute\n\n\n \n\n\n\n 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"At$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{canadian_urban_institute_at_2023,\n\ttitle = {At the {Crossroads}: {Maximizing} {Possibilities}},\n\turl = {https://canurb.org/wp-content/uploads/CUI_SOCC_At-the-Crossroads-2.pdf},\n\tabstract = {Report and Event Description: The State of Cities Summit is a critical in-person convening of city builders who are passionate about the challenges and opportunities facing our urban spaces from coast-to-coast.},\n\turldate = {2025-03-15},\n\tauthor = {{Canadian Urban Institute}},\n\tyear = {2023},\n\tkeywords = {Canada, accessible (indicator), cities, community impact (indicator), economic (indicator), emotional measures (indicator), equity (indicator), mixed methods (method), sustainability (indicator), sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creativity in climate adaptation: Conceptualizing the role of arts organizations.\n \n \n \n \n\n\n \n Bugg, E.; Wright, T.; and Zurba, M.\n\n\n \n\n\n\n Culture and Local Governance, 8(1): 17–32. December 2023.\n Number: 1\n\n\n\n
\n\n\n\n \n \n $\"Creativity$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{bugg_creativity_2023,\n\ttitle = {Creativity in climate adaptation: {Conceptualizing} the role of arts organizations},\n\tvolume = {8},\n\tcopyright = {Copyright (c) 2023 Emma Bugg, Dr. Tarah Wright, Dr. Melanie Zurba},\n\tissn = {1911-7469},\n\tshorttitle = {Creativity in climate adaptation},\n\turl = {https://uottawa.scholarsportal.info/ottawa/index.php/clg-cgl/article/view/6666},\n\tdoi = {10.18192/clg-cgl.v8i1.6666},\n\tabstract = {In the face of the climate emergency, it is becoming clear that cultural change is a necessary transformative shift that must occur to ensure human survival. Climate change is entangled with behavioural and social dimensions of our lives, necessitating that we undergo cultural transformation to access the potential of existing climate solutions. While there is both an increase in research regarding how the arts can contribute to this needed cultural transformation, as well as increasing participation in climate work by those within the arts sector, the marriage between evidence and practice in this field is in its infancy. Existing literature highlights the exciting potential of the arts to make meaningful contributions to climate action through interdisciplinary contributions to knowledge creation, public engagement forums that go beyond fact-sharing, and imagining future scenarios for our world. That said, arts organizations are often left out of the conversation. In an effort to bridge the gap between study and practice in this field, this paper reports on interviews with key members of CreativePEI to better understand how one arts organization and its members conceptualize their role in climate action as well as identifying critical barriers to conducting climate work within the arts. Further, the paper situates the results of the study within the current literature, examining any synergies between the findings of the study and scholarly works in the field. By showcasing the ways in which one arts organization situates itself within the broader project of climate change, this work sheds new light on the current state of climate work in the arts in Canada and how cultural organizations can reimagine their role to better align with the evidence about what the arts can uniquely offer to climate action.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Culture and Local Governance},\n\tauthor = {Bugg, Emma and Wright, Tarah and Zurba, Melanie},\n\tmonth = dec,\n\tyear = {2023},\n\tnote = {Number: 1},\n\tkeywords = {Canada, artistic and creative impacts (indicator), arts sector, case study (method), literature review (method), organizations, sustainability (indicator), sustainable},\n\tpages = {17--32},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n One Foundation’s Journey towards Centering Community-Led Work.\n \n \n \n \n\n\n \n Abdinur, M.; Gonzalez, C.; Hanson, A.; Hassen, R.; and O'Hara, D.\n\n\n \n\n\n\n Interdisciplinary Journal of Partnership Studies, 10(1): 1–12. June 2023.\n Number: 1\n\n\n\n
\n\n\n\n \n \n $\"One$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{abdinur_one_2023,\n\ttitle = {One {Foundation}’s {Journey} towards {Centering} {Community}-{Led} {Work}},\n\tvolume = {10},\n\tcopyright = {Copyright (c) 2023 Maryan Abdinur, Camille Gonzalez, Ambar Hanson, Rabya Hassen, Danyelle O'Hara},\n\tissn = {2380-8969},\n\turl = {https://pubs.lib.umn.edu/index.php/ijps/article/view/5465},\n\tdoi = {10.24926/ijps.v10i1.5465},\n\tabstract = {For decades, the nonprofit and philanthropic sectors have been trying to solve issues in communities that have been harmed for hundreds of years by the impacts of colonization, capitalism, and other isms. One thing has become abundantly clear: if nonprofits and foundations continue determining solutions, the changes in communities will be mostly slow and unsustainable. Embracing this truth, Mortenson Family Foundation has been working to share power with communities for decisions about how and where resources should be allocated. We are doing this because people in and close to communities are best situated to define and implement solutions in the most meaningful, relevant, and sustainable ways. This article highlights some of our learnings as we embrace our emergent journey to build a more equitable partnership among our foundation, the nonprofits we partner with, and the communities we all care about.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Interdisciplinary Journal of Partnership Studies},\n\tauthor = {Abdinur, Maryan and Gonzalez, Camille and Hanson, Ambar and Hassen, Rabya and O'Hara, Danyelle},\n\tmonth = jun,\n\tyear = {2023},\n\tnote = {Number: 1},\n\tkeywords = {action-research (method), case study (method), community, equity (indicator), non-profit, sustainability (indicator), trust-based approaches (method), trust-based environments (indicator), trust-based funding (indicator)},\n\tpages = {1--12},\n}\n\n\n\n

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\n \n 2022\n \n \n (6)\n \n \n

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\n \n\n \n \n \n \n \n \n The paradox of impact measurement in cultural contexts.\n \n \n \n \n\n\n \n Anzel, A.; Beer, H.; and Currie, G.\n\n\n \n\n\n\n Cultural Trends, 32(5): 552–568. 2022.\n Publisher: Routledge _eprint: https://doi.org/10.1080/09548963.2022.2081487\n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{anzel_paradox_2022,\n\ttitle = {The paradox of impact measurement in cultural contexts},\n\tvolume = {32},\n\tissn = {0954-8963},\n\turl = {https://doi.org/10.1080/09548963.2022.2081487},\n\tdoi = {10.1080/09548963.2022.2081487},\n\tabstract = {The cultural sector has increasingly adopted practices of impact measurement to justify public investment. While scholars have investigated the (de)merits of this cultural trend, literature on its rationale, development, and evolution is limited. We address this oversight by uncovering the intellectual history of impact measurement in cultural contexts. We reveal how measurement justification and practice became misaligned over time, creating a latent paradox of impact measurement in cultural contexts. We argue that current practices of impact measurement both strengthen and weaken the justification for public cultural investment. In the short term, impact measurement strengthens investment justification by providing cursory evidence of produced outcomes. In the long term, current practices weaken this justification by failing to produce counterfactual accounts for how cultural spend achieves funding objectives. We problematize this paradox and outline future research to either confront, embrace, or cope with its existence.},\n\tnumber = {5},\n\turldate = {2025-03-15},\n\tjournal = {Cultural Trends},\n\tauthor = {Anzel, Andrew and Beer, Haley and Currie, Graeme},\n\tyear = {2022},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/09548963.2022.2081487},\n\tkeywords = {artistic and creative measures (indicator), cultural and creative industries, document analysis (method), economic (indicator), literature review (method)},\n\tpages = {552--568},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Canadian Cultural Policy in Transition.\n \n \n \n \n\n\n \n Beauregard, D.; and Paquette, J.,\n editors.\n \n\n\n \n\n\n\n Routeledge, Abingdon, 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{beauregard_canadian_2022,\n\taddress = {Abingdon},\n\ttitle = {Canadian {Cultural} {Policy} in {Transition}},\n\turl = {https://www.routledge.com/Canadian-Cultural-Policy-in-Transition/Beauregard-Paquette/p/book/9780367680619},\n\tabstract = {This book offers a comprehensive overview of Canadian cultural policy and research, at a time of transition and redefinition, to establish a dialogue between conventional and emerging foundations. Taking a historical view, the book informs insights on current trends in policy and explores global debates underpinning cultural policy studies within a local context.The book first acknowledges what Canadian cultural policy research conventionally recognizes and refers to in terms of institutions, values, and debates, before moving on to take stock of the transformations that are continuing to reshape Canadian cultural policy in terms of values, orientations, actors, and institutions. With a focus on all levels of government-- federal, provincial, and local -- the book also centers on Indigenous arts policies and practices.This systematic and inclusive volume will appeal to academic researchers, graduate students, managers of arts and culture programs and institutions, and in the areas of cultural policy, public administration, political science, cultural studies, film and media studies, theatre and performance, and museum studies.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {Routeledge},\n\teditor = {Beauregard, Devin and Paquette, Jonathan},\n\tyear = {2022},\n\tkeywords = {Canada, culture (indicator), governance, mixed methods (method), policy, policy instruments (indicator), social structures (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Giving With Pride: Considering Participatory Grantmaking in an Anti-Racist, LGBTQ Community Foundation.\n \n \n \n \n\n\n \n Dale, E.; and Plastino, N.\n\n\n \n\n\n\n The Foundation Review, 14(1): 7–19. March 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Giving$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{dale_giving_2022,\n\ttitle = {Giving {With} {Pride}: {Considering} {Participatory} {Grantmaking} in an {Anti}-{Racist}, {LGBTQ}  {Community} {Foundation}},\n\tvolume = {14},\n\tissn = {1944-5660},\n\tshorttitle = {Giving {With} {Pride}},\n\turl = {https://scholarworks.gvsu.edu/tfr/vol14/iss1/5},\n\tdoi = {10.9707/1944-5660.1599},\n\tabstract = {Institutional racism is woven into organizations, processes, and practices in complex ways that inhibit transformational change. Participatory grantmaking and trust-based philanthropy are two paradigms that can shift such power dynamics in foundation giving. This article examines how Pride Foundation, a regional LGBTQ+ community foundation in the Pacific Northwest, restructured its grantmaking as part of a broader organization-wide commitment to racial justice.Through an embedded case study, the authors followed Pride Foundation in the first year of transforming its grantmaking to address two questions: the factors foundations should consider when exploring participatory grantmaking, and how a foundation can best navigate a transition. This article documents the foundation’s self-study year and details five issues that emerged as pivotal aspects of the grantmaking transition: staffing, communication, community participation, funding restrictions, and organizational readiness.The resulting discussion contributes to foundations’ knowledge about what it takes to manage this type of transformation, and provides other foundations committed to racial justice a better understanding of what to expect in undertaking this shift.},\n\tnumber = {1},\n\tjournal = {The Foundation Review},\n\tauthor = {Dale, Elizabeth and Plastino, Nicole},\n\tmonth = mar,\n\tyear = {2022},\n\tkeywords = {business model (indicator), case study (method), diversity (indicator), equity (indicator), funding agency, organizations, trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n\tpages = {7--19},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n #CultureForSDGs – A practical guide to the United Nations Sustainable Development Goals for cultural and heritage organizations in Canada.\n \n \n \n \n\n\n \n Canadian Commission for UNESCO\n\n\n \n\n\n\n 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"#CultureForSDGs$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{canadian_commission_for_unesco_cultureforsdgs_2022,\n\ttype = {Toolkit},\n\ttitle = {\\#{CultureForSDGs} – {A} practical guide to the {United} {Nations} {Sustainable} {Development} {Goals} for cultural and heritage organizations in {Canada}},\n\turl = {https://cultureforsdgs.ca/},\n\tabstract = {Description: We want to ensure that Canada’s culture sector is on the frontlines and plays a full role in helping the world to realize the 2030 Agenda. Use this Toolkit to embrace the SDGs, support your communities, and participate in the work to improve quality of life for current and future generations in our rapidly shifting world.},\n\turldate = {2025-03-15},\n\tauthor = {{Canadian Commission for UNESCO}},\n\tyear = {2022},\n\tkeywords = {Canada, action-research (method), cultural and creative industries, culture (indicator), development, development (indicator), mixed methods (method), organizations, strategic planning, sustainability (indicator), sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Theatrical Calls to Climate Action: Excerpts of a Conversation.\n \n \n \n \n\n\n \n Christie, S.; Osnes, B.; Geary, D. W.; Gupa, D. D.; Garrett, I.; Hall, J.; Welch, K.; Fanconi, K.; Richards, K. S.; and Sharplin, S.\n\n\n \n\n\n\n Theatre Research in Canada, 43(1): 125–136. April 2022.\n Publisher: University of Toronto Press\n\n\n\n
\n\n\n\n \n \n $\"Theatrical$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{christie_theatrical_2022,\n\ttitle = {Theatrical {Calls} to {Climate} {Action}: {Excerpts} of a {Conversation}},\n\tvolume = {43},\n\tissn = {1196-1198},\n\tshorttitle = {Theatrical {Calls} to {Climate} {Action}},\n\turl = {https://utppublishing.com/doi/10.3138/tric.43.1.f02},\n\tdoi = {10.3138/tric.43.1.f02},\n\tabstract = {This article excerpts a discussion about performance and climate action that took place during the annual Canadian Association for Theatre Research (CATR) conference, Partition/Ensemble 2020. Ten artists, activists, and academics share their experiences of using performance as a resource in climate-change action. They explore challenges and tactics, detail examples of theatrical climate action, and urge other artists and activists to use the tools of theatre and performance to tell the stories of climate collapse. This article reflects the groundswell of creative energy being brought to the climate crisis, providing an inspiration for others who want to use their artistic skills to support climate action.},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Theatre Research in Canada},\n\tauthor = {Christie, Sheila and Osnes, Beth and Geary, David W. and Gupa, Dennis D. and Garrett, Ian and Hall, Jordan and Welch, Katie and Fanconi, Kendra and Richards, Kimberly Skye and Sharplin, Scott},\n\tmonth = apr,\n\tyear = {2022},\n\tnote = {Publisher: University of Toronto Press},\n\tkeywords = {Canada, artistic and creative impacts (indicator), artistic and creative values (indicator), artists, creative work, ethnography (method), interviews (method), knowledge-sharing (indicator), sustainability (indicator), sustainable},\n\tpages = {125--136},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Is it really about the evidence? argument, persuasion, and the power of ideas in cultural policy.\n \n \n \n \n\n\n \n Belfiore, E.\n\n\n \n\n\n\n Cultural Trends, 31(4): 293–310. August 2022.\n Publisher: Routledge _eprint: https://doi.org/10.1080/09548963.2021.1991230\n\n\n\n
\n\n\n\n \n \n $\"Is$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{belfiore_is_2022,\n\ttitle = {Is it really about the evidence? argument, persuasion, and the power of ideas in cultural policy},\n\tvolume = {31},\n\tissn = {0954-8963},\n\tshorttitle = {Is it really about the evidence?},\n\turl = {https://doi.org/10.1080/09548963.2021.1991230},\n\tdoi = {10.1080/09548963.2021.1991230},\n\tabstract = {In the move towards a supposedly “evidence-based” cultural policy, “evidence” is rarely the main driver of decision-making. If “evidence” is not the actual basis of policymaking, then what is its real role? Why is there so much “bad” or unverifiable evidence of impact in cultural policy documents? The article suggests focusing on recent developments in policy theory for more accurate and sophisticated approaches on the connection between evidence and policymaking, and the role that ideas and values have in shaping policy. A closer engagement with theories of policy formation demonstrates policymaking has a fundamentally discursive character: it is based on ideas, processes of argumentation and persuasion, so can never be an ideologically neutral exercise. The article concludes that cultural policy studies can benefit from a more systematic engagement with policy theory.},\n\tnumber = {4},\n\turldate = {2025-03-15},\n\tjournal = {Cultural Trends},\n\tauthor = {Belfiore, Eleonora},\n\tmonth = aug,\n\tyear = {2022},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/09548963.2021.1991230},\n\tkeywords = {culture (indicator), governance, literature review (method), policy, policy instruments (indicator)},\n\tpages = {293--310},\n}\n\n\n\n

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\n \n 2021\n \n \n (6)\n \n \n

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\n \n\n \n \n \n \n \n \n (In)equality Through Unrestricted Grantmaking: Examining Trust and Power in the Collaboration Between the Dutch Charity Lotteries and Their Grantees.\n \n \n \n \n\n\n \n Hunnik, O.; Wit, A. d.; and Wiepking, P.\n\n\n \n\n\n\n The Foundation Review, 13(2): 38–51. June 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"(In)equality$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{hunnik_equality_2021,\n\ttitle = {({In})equality {Through} {Unrestricted} {Grantmaking}: {Examining} {Trust} and {Power} in the {Collaboration} {Between} the {Dutch} {Charity} {Lotteries} and {Their} {Grantees}},\n\tvolume = {13},\n\tissn = {1944-5660},\n\tshorttitle = {({In})equality {Through} {Unrestricted} {Grantmaking}},\n\turl = {https://scholarworks.gvsu.edu/tfr/vol13/iss2/7},\n\tdoi = {10.9707/1944-5660.1563},\n\tabstract = {Since 1989, the Dutch Charity Lotteries have provided multiyear unrestricted funding, a type of grantmaking that is fairly unique for the Netherlands, to a wide range of nonprofits at home and abroad. This article shares insights into how unrestricted grantmaking influences the relationship between funders and grantees, specifically highlighting how staff at a sample of grantee organizations experience collaboration with this large social enterprise. It discusses hidden and invisible power dynamics that exist in the relationship, even when there are few formal restrictions on grantees’ spending. Grantee representatives interviewed for this study stated that openness and honesty in communication with the Dutch Charity Lotteries leads to mutual trust, and that they experience few formal restrictions. Nevertheless, even unrestricted funding may come with stated or unstated expectations from the funder, and many grantees reported that receiving the grant support leaves them with a sense that they have to “prove they’re worth it.” Relaxing formal restrictions gives rise to some uncertainty about what grantees actually have to “prove.” To ensure a more equal collaboration, it is advisable for foundations to try to detect and consider expectations that are explicit and implicit, conscious and unconscious, and address these. This article offers suggestions for how foundations can do so.},\n\tnumber = {2},\n\tjournal = {The Foundation Review},\n\tauthor = {Hunnik, Olivier and Wit, Arjen de and Wiepking, Pamala},\n\tmonth = jun,\n\tyear = {2021},\n\tkeywords = {case study (method), collaboration, funding agency, non-profit, social structures (indicator), trust-based, trust-based environments (indicator)},\n\tpages = {38--51},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Future of Good.\n \n \n \n \n\n\n \n \n\n\n \n\n\n\n September 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Future$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{noauthor_future_2021,\n\ttype = {Blog},\n\ttitle = {Future of {Good}},\n\turl = {https://futureofgood.co/},\n\tabstract = {We equip impact-focused people with stories and insights covering stories, innovations, and trends shaping social impact in Canada.},\n\tlanguage = {en-US},\n\turldate = {2025-03-15},\n\tmonth = sep,\n\tyear = {2021},\n\tkeywords = {Canada, civic and social engagement (indicator), collaboration, collaboration (indicator), community, community building (indicator), community engagement (indicator), innovation, innovation (indicator), mixed methods (method), social capital (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Arts Policy, Heritage Policy, and the Construction of a Canadian Identity (1840-1949).\n \n \n \n \n\n\n \n Dholandas, C.; and Paquette, J.\n\n\n \n\n\n\n In Paquette, J.; and Beauregard, D., editor(s), Canadian Cultural Policy in Transition, pages 3–13. Routeledge, London, 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Arts$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{dholandas_arts_2021,\n\taddress = {London},\n\ttitle = {Arts {Policy}, {Heritage} {Policy}, and the {Construction} of a {Canadian} {Identity} (1840-1949)},\n\turl = {https://www.routledge.com/Canadian-Cultural-Policy-in-Transition/Beauregard-Paquette/p/book/9780367680619},\n\tabstract = {This chapter provides an historical overview of Canadian cultural policy from the perspective of its European history and origins. Parks were meant to contribute to a certain definition of Canadian identity around wilderness and rugged land. In addition to parks and the park system, the creation of the Historic Sites and Monuments Board of Canada in 1919 is the other important piece in a federal heritage policy. Historians made a number of observations about cultural life and its regulation under the French regime. The French colony expanded its territory to encompass a large portion of contemporary Canada and the United States, including land ranging from Hudson Bay to the actual Louisiana. In terms of cultural policy, the issue of culture and the mass media became the most salient issue of the 1920s in Canada. From 1840 to 1920, the institutions that developed following the creation of the Province of Canada and the Canadian Confederation focused on artistic development and heritage.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tbooktitle = {Canadian {Cultural} {Policy} in {Transition}},\n\tpublisher = {Routeledge},\n\tauthor = {Dholandas, Carl and Paquette, Jonathan},\n\teditor = {Paquette, Jonathan and Beauregard, Devin},\n\tyear = {2021},\n\tkeywords = {Canada, arts sector, case study (method), culture (indicator), governance, literature review (method), policy, policy instruments (indicator)},\n\tpages = {3--13},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creator Culture: An Introduction to Global Social Media Entertainment.\n \n \n \n \n\n\n \n Cunningham, S.; and Craig, D.,\n editors.\n \n\n\n \n\n\n\n NYU Press, New York, 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Creator$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{cunningham_creator_2021,\n\taddress = {New York},\n\ttitle = {Creator {Culture}: {An} {Introduction} to {Global} {Social} {Media} {Entertainment}},\n\tshorttitle = {Creator {Culture}},\n\turl = {https://www.jstor.org/stable/j.ctv27ftts6},\n\tabstract = {There is a new class of cultural producers-YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others-who are part of a rapidly emerging and highly disruptive industry of monetized "user-generated" content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied. In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies. This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries. Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill},\n\turldate = {2025-03-15},\n\tpublisher = {NYU Press},\n\teditor = {Cunningham, Stuart and Craig, David},\n\tyear = {2021},\n\tkeywords = {artistic and creative impacts (indicator), artists, artists and creative workers (indicator), creative work, cultural and creative industries, culture (indicator), digital, economic (indicator), mixed methods (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Balancing Reconciliation at the Royal Winnipeg Ballet.\n \n \n \n \n\n\n \n Cauthery, B.; and Newman, S.\n\n\n \n\n\n\n In Farrugia-Kriel, K.; and Nunes Jensen, J., editor(s), The Oxford Handbook of Contemporary Ballet, pages 299–317. Oxford University Press, London, June 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Balancing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{cauthery_balancing_2021,\n\taddress = {London},\n\ttitle = {Balancing {Reconciliation} at the {Royal} {Winnipeg} {Ballet}},\n\tisbn = {978-0-19-087149-9},\n\turl = {https://doi.org/10.1093/oxfordhb/9780190871499.013.4},\n\tabstract = {As part of efforts across Canada to address and reconcile the nation-state’s violent colonial histories, the Royal Winnipeg Ballet (RWB) premiered Mark Godden’s newest work, Going Home Star: Truth and Reconciliation, in 2014. The work narrates one element of settler colonialism in Canada: the Indian Residential School System. With no Indigenous dancers in the company, and few Indigenous people involved in the production overall, the project has received criticism as yet another non-Indigenous endeavor speaking for Indigenous peoples. In this chapter, we approach Going Home Star in ways that question the appropriateness of contemporary ballet as a medium for negotiating contemporaneous reconciliation between Indigenous and settler peoples in Canada and its checkered history of Indigenous representation.},\n\turldate = {2025-03-15},\n\tbooktitle = {The {Oxford} {Handbook} of {Contemporary} {Ballet}},\n\tpublisher = {Oxford University Press},\n\tauthor = {Cauthery, Bridget and Newman, Shawn},\n\teditor = {Farrugia-Kriel, Kathrina and Nunes Jensen, Jill},\n\tmonth = jun,\n\tyear = {2021},\n\tdoi = {10.1093/oxfordhb/9780190871499.013.4},\n\tkeywords = {Canada, artistic and creative impacts (indicator), case study (method), creative work, diversity (indicator), equity (indicator), performance},\n\tpages = {299--317},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Care-ful Work: An Ethics of Care Approach to Contingent Labour in the Creative Industries.\n \n \n \n \n\n\n \n Alacovska, A.; and Bissonnette, J.\n\n\n \n\n\n\n Journal of Business Ethics, 169(1): 135–151. February 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Care-ful$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{alacovska_care-ful_2021,\n\ttitle = {Care-ful {Work}: {An} {Ethics} of {Care} {Approach} to {Contingent} {Labour} in the {Creative} {Industries}},\n\tvolume = {169},\n\tissn = {1573-0697},\n\tshorttitle = {Care-ful {Work}},\n\turl = {https://doi.org/10.1007/s10551-019-04316-3},\n\tdoi = {10.1007/s10551-019-04316-3},\n\tabstract = {Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing on in-depth interviews with creative workers in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Journal of Business Ethics},\n\tauthor = {Alacovska, Ana and Bissonnette, Joëlle},\n\tmonth = feb,\n\tyear = {2021},\n\tkeywords = {accountability, artistic and creative impacts (indicator), artists and creative workers, cultural and creative industries, interviews (method), labour, social},\n\tpages = {135--151},\n}\n\n\n\n

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\n \n 2020\n \n \n (6)\n \n \n

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\n \n\n \n \n \n \n \n \n Canadian Communication Policy and Law.\n \n \n \n \n\n\n \n Bannerman, S.\n\n\n \n\n\n\n Canadian Scholars, Toronto, 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{bannerman_canadian_2020,\n\taddress = {Toronto},\n\ttitle = {Canadian {Communication} {Policy} and {Law}},\n\turl = {https://canadianscholars.ca/book/canadian-communication-policy-and-law/},\n\tabstract = {Canadian Communication Policy and Law provides a uniquely Canadian focus and perspective on telecommunications policy, broadcasting policy, internet regulation, freedom of expression, censorship, defamation, privacy, government surveillance, intellectual property, and more. Taking a critical stance, Sara Bannerman draws attention to unequal power structures by asking the question, whom does Canadian communication policy and law serve? Key theories for analysis of law and policy issues—such as pluralist, libertarian, critical political economy, Marxist, feminist, queer, critical race, critical disability, postcolonial, and intersectional theories—are discussed in detail in this accessibly written text. From critical and theoretical analysis to legal research and citation skills, Canadian Communication Policy and Law encourages deep analytic engagement. Serving as a valuable resource for students who are undertaking research and writing on legal topics for the first time, this comprehensive text is well suited for undergraduate communication and media studies programs.},\n\tlanguage = {en-US},\n\turldate = {2025-03-15},\n\tpublisher = {Canadian Scholars},\n\tauthor = {Bannerman, Sara},\n\tyear = {2020},\n\tkeywords = {Canada, civic and social engagement (indicator), cultural and creative industries, mixed methods (method), policy, policy instruments (indicator), social structures (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Artists’ Precarity in the Context of Their Social Integration.\n \n \n \n \n\n\n \n Duarte, A. M.\n\n\n \n\n\n\n In Rachwał, T.; Hepp, R.; and Kergel, D., editor(s), Precarious Places: Social, Cultural and Economic Aspects of Uncertainty and Anxiety in Everyday Life, pages 19–39. Springer Fachmedien, Wiesbaden, 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Artists’$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{duarte_artists_2020,\n\taddress = {Wiesbaden},\n\ttitle = {Artists’ {Precarity} in the {Context} of {Their} {Social} {Integration}},\n\tisbn = {978-3-658-27311-8},\n\turl = {https://doi.org/10.1007/978-3-658-27311-8_2},\n\tabstract = {The literature review here presented aims to characterize artists’ precarity in the context of their social integration, along with that precarity’s consequences, the artists’ reactions it provoques and possible ways to counter act it. Using an interdisciplinary approach, the review is based on specialized research literature from psychology, sociology and economy of art. As the review shows, besides being specially affected by professional precarity, most artists are also exposed to ontological precarity, under the form of pressures on their creative work. Both forms of precarity stem from the nature of the artists’ social integration, a critical process in attempting survivance, recognition and identity consolidation and which involves complex interactions with a variety of social players. Altought experienced in multiple ways, artists’ precarity entails risky material and psychological consequences, also affecting the artistic creative process. Finally, artists’ precarity can be counteracted through specific personal coping strategies, along with possible changes in the system.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tbooktitle = {Precarious {Places}: {Social}, {Cultural} and {Economic} {Aspects} of {Uncertainty} and {Anxiety} in {Everyday} {Life}},\n\tpublisher = {Springer Fachmedien},\n\tauthor = {Duarte, António M.},\n\teditor = {Rachwał, Tadeusz and Hepp, Rolf and Kergel, David},\n\tyear = {2020},\n\tdoi = {10.1007/978-3-658-27311-8_2},\n\tkeywords = {artistic, artists, artists and creative workers (indicator), creative practise, creative work, economic (indicator), emotional measures (indicator), equity (indicator), labour, literature review (method), social needs (indicator)},\n\tpages = {19--39},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The myth of ‘evidence-based policymaking’ in a decentred state.\n \n \n \n \n\n\n \n Cairney, P.\n\n\n \n\n\n\n Public Policy and Administration, 37(1): 46–66. 2020.\n Publisher: SAGE Publications Ltd\n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{cairney_myth_2020,\n\ttitle = {The myth of ‘evidence-based policymaking’ in a decentred state},\n\tvolume = {37},\n\tissn = {0952-0767},\n\turl = {https://doi.org/10.1177/0952076720905016},\n\tdoi = {10.1177/0952076720905016},\n\tabstract = {I describe a policy theory story in which a decentred state results from choice and necessity. Governments often choose not to centralise policymaking but they would not succeed if they tried. Many policy scholars take this story for granted, but it is often ignored in other academic disciplines and wider political debate. Instead, commentators call for more centralisation to deliver more accountable, ‘rational,’ and ‘evidence-based’ policymaking. Such contradictory arguments, about the feasibility and value of government centralisation, raise an ever-present dilemma for governments to accept or challenge decentring. They also accentuate a modern dilemma about how to seek ‘evidence-based policymaking’ in a decentred state. I identify three ideal-type ways in which governments can address both dilemmas consistently. I then identify their ad hoc use by UK and Scottish governments. Although each government has a reputation for more or less centralist approaches, both face similar dilemmas and address them in similar ways. Their choices reflect their need to appear to be in control while dealing with the fact that they are not.},\n\tlanguage = {EN},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Public Policy and Administration},\n\tauthor = {Cairney, Paul},\n\tyear = {2020},\n\tnote = {Publisher: SAGE Publications Ltd},\n\tkeywords = {case study (method), governance, literature review (method), policy, policy instruments (indicator), social structures (indicator)},\n\tpages = {46--66},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Impact Evaluation for the Arts for the Kingston Arts Council (workshop guide).\n \n \n \n \n\n\n \n Yung, H.\n\n\n \n\n\n\n Technical Report Laboratory of Artistic Intelligence, 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Impact$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@techreport{yung_impact_2020,\n\ttitle = {Impact {Evaluation} for the {Arts} for the {Kingston} {Arts} {Council} (workshop guide)},\n\turl = {https://artisticintelligence.com/publications-resources/},\n\tabstract = {Reflecting on impact is one of the most nourishing activities your organization can undertake. Creating space to consider questions that matter is an art.\nThis hands-on workshop helped participants construct and/or refine how they track and communicate their organization’s impact. Helen helped participants dive into some key questions and discuss topics that mattered to them: What is difficult to measure? As an artist or organization, how can you ‘capture’ your impact?\nParticipants learned about impact evaluation for the arts and culture and received additional resources to keep and take back to their organization. This workshop was designed for artists as well as arts and cultural heritage organizations.\nThe work done in this worksop was introductory, as a session is not enough to create a complete evaluation strategy.},\n\tinstitution = {Laboratory of Artistic Intelligence},\n\tauthor = {Yung, Helen},\n\tyear = {2020},\n\tkeywords = {community impact (indicator), organizations},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n How Can an Enhanced Community Engagement with Innovation Districts Be Established? Evidence from Sydney, Melbourne and Brisbane.\n \n \n \n\n\n \n Esmaeilpoorarabi, N.; Yigitcanlar, T.; Kamruzzaman, M.; and Guaralda, M.\n\n\n \n\n\n\n Cities, 96. 2020.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{esmaeilpoorarabi_how_2020,\n\ttitle = {How {Can} an {Enhanced} {Community} {Engagement} with {Innovation} {Districts} {Be} {Established}? {Evidence} from {Sydney}, {Melbourne} and {Brisbane}.},\n\tvolume = {96},\n\tabstract = {People's perception about innovation districts are widening. They are now seen not only as a hub for commerce, research and education, but also a node for facilitating recreational, cultural and community-based activities. However, the level of integration of local communities with innovation districts is an understudied area. The paper aims to identify the likely features of innovation districts that can enhance public inclusiveness within this new land use type. This study surveys 1040 participants from three major Australian cities to address the research questions—How can an enhanced community engagement with innovation districts be established? The results reveal that: (a) Currently community engagement with innovation districts is limited to occupational and educational activities; (b) Lack of social coherence between knowledge workers and the public limits community engagement with innovation districts; (c) Advanced amenities, authentic scenes and unique experiences from innovation districts would enhance community engagement. The study informs planning and design policies to improve public engagement in innovation districts.},\n\tjournal = {Cities},\n\tauthor = {Esmaeilpoorarabi, N. and Yigitcanlar, T. and Kamruzzaman, M. and Guaralda, M.},\n\tyear = {2020},\n\tkeywords = {Australia, community, community (indicator), culture (indicator), development, innovation, social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n How Does the Public Engage with Innovation Districts? Societal Impact Assessment of Australian Innovation Districts.\n \n \n \n\n\n \n Esmaeilpoorarabi, N.; Yigitcanlar, T.; Kamruzzaman, M.; and Guaralda, M.\n\n\n \n\n\n\n Sustainable Cities and Society, 52. 2020.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{esmaeilpoorarabi_how_2020,\n\ttitle = {How {Does} the {Public} {Engage} with {Innovation} {Districts}? {Societal} {Impact} {Assessment} of {Australian} {Innovation} {Districts}},\n\tvolume = {52},\n\tdoi = {https://doi.org/10.1016/j.scs.2019.101813},\n\tabstract = {Innovation districts have started to involve community-based practices to further their impact on the general public at large and on local residents particularly. However, there is little empirical evidence about how people perceive the functions, spaces and opportunities of the innovation districts. This paper attempts to bridge this gap in the literature. Data on engagement with innovation districts (e.g., frequency of visit) were collected through an online survey from 1040 residents across the three largest cities in Australia—i.e., Sydney, Melbourne, and Brisbane. The results revealed that: (a) Public perception towards the functions of innovation districts is still limited to professional and educational activities; (b) Locating innovation districts across the inner-city suburbs improves public engagement, as communities living around these districts are more likely to perceive innovation districts as places to work-learn-live; (c) Opportunities provided at the innovation districts only fulfil the expectations of the young and highly educated worker population. The study findings contribute to the efforts in exposing the potential of innovation districts as a new land use type in cities.},\n\tjournal = {Sustainable Cities and Society},\n\tauthor = {Esmaeilpoorarabi, N. and Yigitcanlar, T. and Kamruzzaman, M. and Guaralda, M.},\n\tyear = {2020},\n\tkeywords = {Australia, community, development, economic (indicator), innovation, public engagement (indicator), social (indicator)},\n}\n\n\n\n

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\n \n 2019\n \n \n (21)\n \n \n

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\n \n\n \n \n \n \n \n \n Shifting Identities in New Territories: Creating Theatre with and by Immigrants.\n \n \n \n \n\n\n \n Afolabi, T.; Hallewas, A.; and Sadeghi-Yekta, K.\n\n\n \n\n\n\n In Meerzon, Y., editor(s), Theatre and (Im)migration, pages 451–471. Playwrights Canada Press, Toronto, 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Shifting$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{afolabi_shifting_2019,\n\taddress = {Toronto},\n\ttitle = {Shifting {Identities} in {New} {Territories}: {Creating} {Theatre} with and by {Immigrants}},\n\turl = {https://www.playwrightscanada.com/Books/T/Theatre-and-Im-migration},\n\tabstract = {Theatre and (Im)migration shines a bright light on the impact that immigrant artists have made and continue to make on the development of Canadian theatre, from themes, characters, and world issues to financial structures and artistic techniques. This collection of essays demonstrates how the increased presence of immigrant theatre artists actively contributing to English and French Canadian theatre prompt their audiences to rethink fundamental concepts of nationalism and multiculturalism. Contributors include Moira Day, Alan Filewod, Aida Jordão, Ric Knowles, Natasha Martina Koechl, Rebecca Margolis, Lisa Ndejuru, Nicole Nolette, Eleanor Ty, and many more.},\n\turldate = {2025-03-15},\n\tbooktitle = {Theatre and ({Im})migration},\n\tpublisher = {Playwrights Canada Press},\n\tauthor = {Afolabi, Taiwo and Hallewas, Anita and Sadeghi-Yekta, Kirsten},\n\teditor = {Meerzon, Yana},\n\tyear = {2019},\n\tkeywords = {Canada, artistic and creative measures (indicator), artistic and creative practise (indicator), arts sector, creative and cultural industries, diversity (indicator), mixed methods (method), social (indicator)},\n\tpages = {451--471},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Digital Plenitude: The Decline of Elite Culture and the Rise of New Media.\n \n \n \n \n\n\n \n Bolter, J. D.\n\n\n \n\n\n\n MIT Press, Cambridge, MA, 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{bolter_digital_2019,\n\taddress = {Cambridge, MA},\n\ttitle = {The {Digital} {Plenitude}: {The} {Decline} of {Elite} {Culture} and the {Rise} of {New} {Media}},\n\turl = {https://mitpress.mit.edu/9780262039734/the-digital-plenitude/},\n\tabstract = {Media culture today encompasses a universe of forms—websites, video games, blogs, books, films, television and radio programs, magazines, and more—and a multitude of practices that include making, remixing, sharing, and critiquing. This multiplicity is so vast that it cannot be comprehended as a whole. In this book, Jay David Bolter traces the roots of our media multiverse to two developments in the second half of the twentieth century: the decline of elite art and the rise of digital media. Bolter explains that we no longer have a collective belief in “Culture with a capital C.” The hierarchies that ranked, for example, classical music as more important than pop, literary novels as more worthy than comic books, and television and movies as unserious have broken down. The art formerly known as high takes its place in the media plenitude. The elite culture of the twentieth century has left its mark on our current media landscape in the form of what Bolter calls “popular modernism.” Meanwhile, new forms of digital media have emerged and magnified these changes, offering new platforms for communication and expression. Bolter outlines a series of dichotomies that characterize our current media culture: catharsis and flow, the continuous rhythm of digital experience; remix (fueled by the internet's vast resources for sampling and mixing) and originality; history (not replayable) and simulation (endlessly replayable); and social media and coherent politics.},\n\tlanguage = {en-US},\n\turldate = {2025-03-15},\n\tpublisher = {MIT Press},\n\tauthor = {Bolter, Jay David},\n\tyear = {2019},\n\tkeywords = {arts sector, creative work, cultural and creative industries, cultural capital (indicator), culture (indicator), mixed methods (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Climate Change Art: Examining How the Artistic Community Expresses the Climate Crisis.\n \n \n \n \n\n\n \n Doll, S.; and Wright, T.\n\n\n \n\n\n\n The International Journal of Social, Political and Community Agendas in the Arts, 14(2): 13–29. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Climate$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{doll_climate_2019,\n\ttitle = {Climate {Change} {Art}: {Examining} {How} the {Artistic} {Community} {Expresses} the {Climate} {Crisis}},\n\tvolume = {14},\n\tissn = {2326-9960, 2327-2104},\n\tshorttitle = {Climate {Change} {Art}},\n\turl = {https://cgscholar.com/bookstore/works/climate-change-art},\n\tdoi = {10.18848/2326-9960/CGP/v14i02/13-29},\n\tabstract = {Climate change is not a scientific problem but a cultural one. Although science has been able to identify the various biogeochemical problems related to climate change, it has failed to elicit a widespread meaningful behavioural response. Thus, the solution to the climate crisis is not more science, but initiatives that encourage the development of pro-environment cultural norms. This study identifies works and investigates the expressions of the artistic community related to the climate crisis. By identifying and exploring a 200-piece sample of the current body of climate change art, we were able to identify twenty-eight themes related to climate change art and categorize them under the four meta themes of: cause; outcome; solution; and abstract. By so doing, this preliminary study documents climate change art, and enables the scholarly community to better understand how the artistic community is internalizing and expressing the climate change problem.},\n\tnumber = {2},\n\turldate = {2025-03-15},\n\tjournal = {The International Journal of Social, Political and Community Agendas in the Arts},\n\tauthor = {Doll, Shauna and Wright, Tarah},\n\tyear = {2019},\n\tkeywords = {artistic and creative impacts (indicator), artists, arts sector, community, community (indicator), development, development (indicator), document analysis (method), qualitative (method), sense-making (indicator), sustainability (indicator), sustainable},\n\tpages = {13--29},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Strings Attached to Arts Funding: Panel Assessments of Theater Organizations through the Lens of Agency Theory.\n \n \n \n \n\n\n \n Loots, E.\n\n\n \n\n\n\n The Journal of Arts Management, Law, and Society, 49(4): 274–290. July 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Strings$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{loots_strings_2019,\n\ttitle = {Strings {Attached} to {Arts} {Funding}: {Panel} {Assessments} of {Theater} {Organizations} through the {Lens} of {Agency} {Theory}},\n\tvolume = {49},\n\tissn = {1063-2921, 1930-7799},\n\tshorttitle = {Strings {Attached} to {Arts} {Funding}},\n\turl = {https://www.tandfonline.com/doi/full/10.1080/10632921.2019.1617812},\n\tdoi = {10.1080/10632921.2019.1617812},\n\tabstract = {Agency Theory deliberates the relationship between principals and agents, and the agency problems that originate in information asymmetries and goal conflicts. Through the lens of Agency Theory, with mixed methods, I investigate the decisions about funding of theatre organizations by governments, based on assessments by third parties. In two settings “artistic quality” is the major determinant of public support, to the detriment of criteria as participation, social objectives, efficiency and entrepreneurship. I argue that, next to previously recognized principal-agent relationships between govern- ments and theatres, and governments and panels, a third relationship is very influential: between an arts field and panels.},\n\tlanguage = {en},\n\tnumber = {4},\n\turldate = {2021-05-26},\n\tjournal = {The Journal of Arts Management, Law, and Society},\n\tauthor = {Loots, Ellen},\n\tmonth = jul,\n\tyear = {2019},\n\tkeywords = {agency theory, economic (indicator), international},\n\tpages = {274--290},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Provincial and Territorial Culture Indicators 2017.\n \n \n \n \n\n\n \n Statistics Canada, C. S. A.\n\n\n \n\n\n\n Technical Report 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Provincial$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@techreport{statistics_canada_cultural_satellite_account_provincial_2019,\n\ttitle = {Provincial and {Territorial} {Culture} {Indicators} 2017},\n\turl = {https://www150.statcan.gc.ca/n1/daily-quotidien/190425/dq190425b-eng.htm},\n\tauthor = {Statistics Canada, Cultural Satellite Account},\n\tyear = {2019},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Cultural Policy and Subjective Well-Being in Mexico.\n \n \n \n \n\n\n \n Soltero, G.\n\n\n \n\n\n\n The Journal of Arts Management, Law, and Society, 49(1): 74–88. January 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Cultural$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{soltero_cultural_2019,\n\ttitle = {Cultural {Policy} and {Subjective} {Well}-{Being} in {Mexico}},\n\tvolume = {49},\n\tissn = {1063-2921},\n\turl = {https://doi.org/10.1080/10632921.2017.1422835},\n\tdoi = {10.1080/10632921.2017.1422835},\n\tabstract = {ABSTRACT: This article compares the notions of subjective well-being—which has been underscored as an aim for public policy—and optimism, studied by Oliver Bennett as an implicit cultural policy. It will give an overview of the high level of subjective well-being in Mexico according to several recent surveys and consider the relation that culture and arts have with subjective well-being in different countries. This will help to frame the proposal that happiness and life satisfaction could be promoted in Mexico through arts management and cultural policy.\n\nANNOTATION: Paper seeks to understand why Mexicans report a relatively high level of satisfaction despite low incomes and high crime and corruption. The connection between subjective life satisfaction and participation in cultural or heritage activities is made with the support of several other studies. Three Mexican studies are profiled that point to cultural involvement as a key component of increased personal levels of happiness.},\n\tnumber = {1},\n\turldate = {2021-05-29},\n\tjournal = {The Journal of Arts Management, Law, and Society},\n\tauthor = {Soltero, Gonzalo},\n\tmonth = jan,\n\tyear = {2019},\n\tkeywords = {community, economic (indicator), emotional measures (indicator), international, management, museums, policy, social (indicator)},\n\tpages = {74--88},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n In the making: Open Creative Labs as an emerging topic in economic geography?.\n \n \n \n \n\n\n \n Schmidt, S.\n\n\n \n\n\n\n Geography Compass, 13(9): e12463. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"In$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{schmidt_making_2019,\n\ttitle = {In the making: {Open} {Creative} {Labs} as an emerging topic in economic geography?},\n\tvolume = {13},\n\tissn = {1749-8198},\n\tshorttitle = {In the making},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1111/gec3.12463},\n\tdoi = {https://doi.org/10.1111/gec3.12463},\n\tabstract = {In the past 15 years, we have witnessed an upsurge of collaborative spaces providing an arena for individual and collective creativity, (co)creating craft-based products, urban manufacturing, and experimentation with business or creative ideas using innovative technologies such as 3D printing or CNC milling machines. The discourses on spaces such as coworking, hacker- or makerspaces, accelerators, Fab Labs, and open workshops promise new communities, more innovation, and a transformation of work. This has called for interdisciplinary scholarly attention, primarily from organization and management studies, sociology, and entrepreneurship studies. However, little attention has so far been paid to this development from the perspective of geography. This paper employs Open Creative Labs as an umbrella term for the diversity of spaces and aims at, first, providing an overview of recent interdisciplinary perspectives on the functions of labs in coordinating creativity and entrepreneurship, as well as the motivations of users to utilize these spaces for their projects, and, second, offers an approach to a multiscalar spatial conceptualizations of labs. The paper concludes by exploring policy implications that may benefit from an economic-geography perspective.},\n\tlanguage = {en},\n\tnumber = {9},\n\turldate = {2021-05-29},\n\tjournal = {Geography Compass},\n\tauthor = {Schmidt, Suntje},\n\tyear = {2019},\n\tkeywords = {accessible (indicator), co-working, collaboration, community, diversity (indicator), economic (indicator), entrepreneurship, for-profit, hubs, incubators, innovation, international, management, non-profit, physical space (indicator), policy, taxonomies},\n\tpages = {e12463},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Narratives of Ingenuity: Using Coworking Space Stories to See Systems Change - ProQuest.\n \n \n \n \n\n\n \n Rosencrans, K.\n\n\n \n\n\n\n Ph.D. Thesis, California, United States, 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Narratives$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@phdthesis{rosencrans_narratives_2019,\n\taddress = {California, United States},\n\ttype = {{PhD}},\n\ttitle = {Narratives of {Ingenuity}: {Using} {Coworking} {Space} {Stories} to {See} {Systems} {Change} - {ProQuest}},\n\tshorttitle = {Narratives of {Ingenuity}},\n\turl = {https://www.proquest.com/docview/2281306752/abstract/64D99C6D816843BEPQ/4},\n\tabstract = {Researchers of organizational systems have long been interested in understanding how stories and narratives influence cultural and social system change. Coworking is a story-rich phenomenon that has emerged as a new way of organizing physical, cultural, and social systems for work. This qualitative narrative analysis introduces the term “narratives of ingenuity” into the literature. Narratives of ingenuity are defined as storylines, concepts, ideas, phrases, and metaphors about people working together using unconventional creativity and imagination to navigate institutional constraints and resource limits to develop solutions that are a better fit for the people, resources, and problems in their contexts. This transdisciplinary qualitative study contributes to the literature on organizational systems, coworking, and organizational ingenuity. This study analyzed 150 blogs and other public, digital stories published by and about three novel coworking spaces in Seattle, Washington. The founders of these coworking spaces have articulated aspirations to create social and economic change. The founding stories of the coworking organizations reflect and reveal how founders see and are organizing coworking spaces differently. The narratives of ingenuity emplotted show how founders make sense of coworking as an organizational model that can be adapted contextually to challenge biases and assumptions in existing organizational systems, circumvent constraints, attract resources, and influence social change. As a small study, the findings are not generalizable. The findings suggest that blogs and other public, digital stories within the coworking phenomenon reveal a pattern of narrative sense-making among coworking space founders and their organizations. Systems change can be seen through the stories as founders enact new responses to entrenched problems in traditional social and economic systems, including bias and discrimination, and a desire to solve these problems with a different imagination. Future research is needed to explore the narrative patterns of coworking spaces as public sense-making stories about systemic problems and the need for inventive, positive, and generative change. Future studies could further examine the emergence of coworking spaces that are creating places and cultures for work in response to entrenched social and economic beliefs, biases, and practices that exclude, marginalize and penalize, and foster people based on race, gender, and biology.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tauthor = {Rosencrans, Kendra},\n\tyear = {2019},\n\tkeywords = {artistic and creative practise (indicator), co-working, culture (indicator), economic (indicator), ecosystem, innovation, narrative, physical space (indicator), social (indicator)},\n}\n\n\n\n

\n

\n\n\n

\n Researchers of organizational systems have long been interested in understanding how stories and narratives influence cultural and social system change. Coworking is a story-rich phenomenon that has emerged as a new way of organizing physical, cultural, and social systems for work. This qualitative narrative analysis introduces the term “narratives of ingenuity” into the literature. Narratives of ingenuity are defined as storylines, concepts, ideas, phrases, and metaphors about people working together using unconventional creativity and imagination to navigate institutional constraints and resource limits to develop solutions that are a better fit for the people, resources, and problems in their contexts. This transdisciplinary qualitative study contributes to the literature on organizational systems, coworking, and organizational ingenuity. This study analyzed 150 blogs and other public, digital stories published by and about three novel coworking spaces in Seattle, Washington. The founders of these coworking spaces have articulated aspirations to create social and economic change. The founding stories of the coworking organizations reflect and reveal how founders see and are organizing coworking spaces differently. The narratives of ingenuity emplotted show how founders make sense of coworking as an organizational model that can be adapted contextually to challenge biases and assumptions in existing organizational systems, circumvent constraints, attract resources, and influence social change. As a small study, the findings are not generalizable. The findings suggest that blogs and other public, digital stories within the coworking phenomenon reveal a pattern of narrative sense-making among coworking space founders and their organizations. Systems change can be seen through the stories as founders enact new responses to entrenched problems in traditional social and economic systems, including bias and discrimination, and a desire to solve these problems with a different imagination. Future research is needed to explore the narrative patterns of coworking spaces as public sense-making stories about systemic problems and the need for inventive, positive, and generative change. Future studies could further examine the emergence of coworking spaces that are creating places and cultures for work in response to entrenched social and economic beliefs, biases, and practices that exclude, marginalize and penalize, and foster people based on race, gender, and biology.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Creative Hubs Academy website.\n \n \n \n \n\n\n \n \n\n\n \n\n\n\n 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{noauthor_creative_2019,\n\ttitle = {Creative {Hubs} {Academy} website},\n\turl = {https://www.nesta.org.uk/project/creative-hubs-academy/},\n\tabstract = {ANNOTATION: Network that explores what skills creative hub leaders need to support entrepreneurs, and shaping a learning programme to help them thrive together.},\n\tjournal = {Nesta Foundation},\n\tyear = {2019},\n\tkeywords = {UK, accessible (indicator), creative work, diversity (indicator), economic (indicator), education, entrepreneurship, hubs, non-profit, social values (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n ‘Freelance isn’t free.’ Co-working as a critical urban practice to cope with informality in creative labour markets.\n \n \n \n \n\n\n \n Merkel, J.\n\n\n \n\n\n\n Urban Studies, 56(3): 526–547. February 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"‘Freelance$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{merkel_freelance_2019,\n\ttitle = {‘{Freelance} isn’t free.’ {Co}-working as a critical urban practice to cope with informality in creative labour markets},\n\tvolume = {56},\n\tissn = {0042-0980},\n\turl = {https://doi.org/10.1177/0042098018782374},\n\tdoi = {10.1177/0042098018782374},\n\tabstract = {ABSTRACT: For more than a decade, co-working spaces have proliferated in cities worldwide. The paper discusses co-working as a critical urban practice because these spaces give support to the rising number of freelance workers in culture and creative industries. Freelance workers are an ‘invisible’ workforce whose impact often remains ‘hidden’ (Mould et al., 2014), who are not sufficiently protected through social welfare regulations and do not enjoy the same social entitlements as employed workers. This paper uses the concept of informality to highlight ongoing informalisation processes of employment relationships as well as informal working practices in creative labour markets. It discusses the emergence of co-working as a practice of collective self-help and self-organisation to cope with and to potentially overcome the informality, uncertainty and risks associated with independent work. It argues that co-working can be seen in line with other practices of informal urbanism that become more prevalent in European and North American cities because of the lack of affordable housing, the retrenchment of the social welfare state and the imposed conditions of ‘austerity urbanism’ (Peck, 2012).\n\nANNOTATION: Published in the independent scholarly journal ephemera in February 2015, author Janet Merkel (Technical University of Berlin) leads a narrative exploration of the “collaboratively oriented workplace.” (121) This examination of organizational labour focuses on freelance workers in the culture and creative industries, with particular attention paid to the curatorial practice of the coworking host in regard to organizing the collaborative community. After presenting (albeit slightly outdated) statistics regarding hubs around the world, as well as establishing a definition for the term “coworking,” Merkel then introduces the methodology of their research report. In preparation for this paper, Merkel conducted a series of semi-structured interviews with coworking hosts in Berlin, New York and London, while fortifying their research by consulting various websites, blog posts and handbooks on the subject. The paper aims to situate coworking in a global context as a “strategy coping with structural changes in cultural labour markets and particular features of freelance work.” (123). Next, the role of the coworking host is defined and analysed, and the concept of “curation” is introduced as a method for coworking hosts to design an effective collaborative community. Merkel then introduces coworking as “a new type of urban sociomaterial infrastructure enabling networks of communication across people and cities.” (123) The impact of the 2007/2008 economic crisis and the ensuing global recession on organizational labour is also addressed, as well as the influence of gentrification on the creative labour market. Merkel then frames this “renegotiating (of the) urban commons” within the context of the contemporary sharing economy. (124) The author also draws attention to trends appearing in coworking hubs, such as the act of hubs differentiating themselves further and further to appeal to niche markets. The bulk of the paper focuses on the information revealed from the interviews conducted with coworking hub hosts, who are responsible for “curating social relationships” between the workers. (128) Through the interviews, Merkel categorizes the hosts into two different typologies, that of the “service provider” and “the visionary.” While the service provider concerns themselves with simply providing an appropriate space, the visionary prioritizes “enabling the ‘co’ aspects of coworking such as communication, community and collaboration among the coworkers.” (128) Amongst interviewees, visionaries would describe themselves as “the mother of the space,” “the conductor,” or “social gardeners.” (128) Merkel also touches upon the role of architecture and physical space as a variable of collaborative activity. This paper provides excellent insight into the roles of those who are held responsible for the collaborative work that occurs in coworking hubs. Merkel provides categorization of leadership approaches, as well as concise definitions of coworking hosts’ curatorial practices. Subjects such as architectural influence, social and political action, and community interface are broached, providing a robust yet concise and highly readable overview of coworking organizations.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {Urban Studies},\n\tauthor = {Merkel, Janet},\n\tmonth = feb,\n\tyear = {2019},\n\tkeywords = {UK, co-working, creative work, cultural and creative industries, economic (indicator), entrepreneurship, knowledge-sharing (indicator), labour, self-assessment (method), social (indicator), social relations (indicator)},\n\tpages = {526--547},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: For more than a decade, co-working spaces have proliferated in cities worldwide. The paper discusses co-working as a critical urban practice because these spaces give support to the rising number of freelance workers in culture and creative industries. Freelance workers are an ‘invisible’ workforce whose impact often remains ‘hidden’ (Mould et al., 2014), who are not sufficiently protected through social welfare regulations and do not enjoy the same social entitlements as employed workers. This paper uses the concept of informality to highlight ongoing informalisation processes of employment relationships as well as informal working practices in creative labour markets. It discusses the emergence of co-working as a practice of collective self-help and self-organisation to cope with and to potentially overcome the informality, uncertainty and risks associated with independent work. It argues that co-working can be seen in line with other practices of informal urbanism that become more prevalent in European and North American cities because of the lack of affordable housing, the retrenchment of the social welfare state and the imposed conditions of ‘austerity urbanism’ (Peck, 2012). ANNOTATION: Published in the independent scholarly journal ephemera in February 2015, author Janet Merkel (Technical University of Berlin) leads a narrative exploration of the “collaboratively oriented workplace.” (121) This examination of organizational labour focuses on freelance workers in the culture and creative industries, with particular attention paid to the curatorial practice of the coworking host in regard to organizing the collaborative community. After presenting (albeit slightly outdated) statistics regarding hubs around the world, as well as establishing a definition for the term “coworking,” Merkel then introduces the methodology of their research report. In preparation for this paper, Merkel conducted a series of semi-structured interviews with coworking hosts in Berlin, New York and London, while fortifying their research by consulting various websites, blog posts and handbooks on the subject. The paper aims to situate coworking in a global context as a “strategy coping with structural changes in cultural labour markets and particular features of freelance work.” (123). Next, the role of the coworking host is defined and analysed, and the concept of “curation” is introduced as a method for coworking hosts to design an effective collaborative community. Merkel then introduces coworking as “a new type of urban sociomaterial infrastructure enabling networks of communication across people and cities.” (123) The impact of the 2007/2008 economic crisis and the ensuing global recession on organizational labour is also addressed, as well as the influence of gentrification on the creative labour market. Merkel then frames this “renegotiating (of the) urban commons” within the context of the contemporary sharing economy. (124) The author also draws attention to trends appearing in coworking hubs, such as the act of hubs differentiating themselves further and further to appeal to niche markets. The bulk of the paper focuses on the information revealed from the interviews conducted with coworking hub hosts, who are responsible for “curating social relationships” between the workers. (128) Through the interviews, Merkel categorizes the hosts into two different typologies, that of the “service provider” and “the visionary.” While the service provider concerns themselves with simply providing an appropriate space, the visionary prioritizes “enabling the ‘co’ aspects of coworking such as communication, community and collaboration among the coworkers.” (128) Amongst interviewees, visionaries would describe themselves as “the mother of the space,” “the conductor,” or “social gardeners.” (128) Merkel also touches upon the role of architecture and physical space as a variable of collaborative activity. This paper provides excellent insight into the roles of those who are held responsible for the collaborative work that occurs in coworking hubs. Merkel provides categorization of leadership approaches, as well as concise definitions of coworking hosts’ curatorial practices. Subjects such as architectural influence, social and political action, and community interface are broached, providing a robust yet concise and highly readable overview of coworking organizations.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Is Joining a Business Incubator or Accelerator Always a Good Thing?.\n \n \n \n \n\n\n \n Lukosiute, K.; Jensen, S.; and Tanev, S.\n\n\n \n\n\n\n Technology Innovation Management Review, 9(7): 5–15. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Is$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{lukosiute_is_2019,\n\ttitle = {Is {Joining} a {Business} {Incubator} or {Accelerator} {Always} a {Good} {Thing}?},\n\tvolume = {9},\n\turl = {https://timreview.ca/article/1251},\n\tabstract = {The significance of business accelerator and incubator is examined. The concept of business incubation remains topical and yet it is now more than fifty years old. The spread of business incubation practices across the world has opened a new dimension in management theory and practice. Indeed, over time, the need to manage incubation programs in a way that helps the formation and growth of startups has become increasingly important. Today's typical entrepreneurial ecosystems accommodate multiple incubators, which usually complement each other in terms of the services they offer. Such multiplicity provides an opportunity for early stage startups to maximize their chances for success by shaping specific incubation strategies that combine multiple complementary incubation environments. To deal with these challenges and uncertainties, startups usually benefit from all available resources including existing regional and national business incubation programs.},\n\tnumber = {7},\n\tjournal = {Technology Innovation Management Review},\n\tauthor = {Lukosiute, Kristina and Jensen, Søren and Tanev, Stoyan},\n\tyear = {2019},\n\tkeywords = {Canada, co-working, economic (indicator), entrepreneurship, for-profit, incubators, interviews (method), management, non-profit, social values (indicator), start-ups, taxonomies},\n\tpages = {5--15},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Hubs as Assemblages: Understanding the Reciprocal Forms, Formalised Function and Territorialisation of Creative Hubs.\n \n \n \n \n\n\n \n Luik, J.\n\n\n \n\n\n\n Ph.D. Thesis, University of York, July 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@phdthesis{luik_creative_2019,\n\ttype = {{PhD}},\n\ttitle = {Creative {Hubs} as {Assemblages}: {Understanding} the {Reciprocal} {Forms}, {Formalised} {Function} and {Territorialisation} of {Creative} {Hubs}},\n\tshorttitle = {Creative {Hubs} as {Assemblages}},\n\turl = {https://etheses.whiterose.ac.uk/25419/},\n\tabstract = {The co-location, internal processes and activities that creative hubs — defined here as co-located spaces where heterogeneous elements engage in various activities that support and develop startup companies — enable are widely recognised to be a core part of their value. \n\nHowever, the interrelations of the heterogeneous elements that is a fundamental cause of these valuable configurations remains under-explored. This thesis thus presents a novel perspective on creative hubs as assemblages, centring on the question: how does the Assemblage of a creative hub define the interactions of its heterogeneous elements?\n\nMethodologically, I conducted (i) a qualitative study of three creative hubs in the UK; (ii) an ethnographic study of a startup accelerator in Indonesia; and (iii) a mixed-method study of virtual hubs across the globe. My analytical devices, drawing from Gilles Deleuze and Félix Guattari’s theory of Assemblage, are formalisation, reciprocal presupposition, formalised function and territorialisation.\n\nIn the first study, I framed six themes of the relational aspects of creative hubs as the conditions that organise bodies. In the second study, I showed how an accelerator assemblage —“seed accelerator” and “seed funding”— structures and legitimises the intensive interactions in the startup accelerators. In the third study, I showed how the idea of a virtual hub normalises the work-in-progress of digital incubation. Through these studies, I argue that the Assemblage of creative hubs works through a provisional, rather than an established, arrangement.\n\nUltimately, this thesis contributes an Assemblage-oriented understanding of creative hubs. In this understanding, I argue that the Assemblage of creative hubs in its multiplicity requires, organises and structures human-activity-infrastructure, terms-themes-expectations and other expressions so that creative hubs function to provisionally support the provisional in the creative industries. In turn, this understanding has implications of both setting a ‘limit’ for creative hubs’ operations and providing a ‘map’ for understanding creative hubs.},\n\tlanguage = {en},\n\turldate = {2021-05-26},\n\tschool = {University of York},\n\tauthor = {Luik, Jandy},\n\tmonth = jul,\n\tyear = {2019},\n\tkeywords = {UK, case study (method), co-working, digital, hubs, international, organizations, physical space (indicator), social (indicator), start-ups},\n}\n\n\n\n

\n

\n\n\n

\n The co-location, internal processes and activities that creative hubs — defined here as co-located spaces where heterogeneous elements engage in various activities that support and develop startup companies — enable are widely recognised to be a core part of their value. However, the interrelations of the heterogeneous elements that is a fundamental cause of these valuable configurations remains under-explored. This thesis thus presents a novel perspective on creative hubs as assemblages, centring on the question: how does the Assemblage of a creative hub define the interactions of its heterogeneous elements? Methodologically, I conducted (i) a qualitative study of three creative hubs in the UK; (ii) an ethnographic study of a startup accelerator in Indonesia; and (iii) a mixed-method study of virtual hubs across the globe. My analytical devices, drawing from Gilles Deleuze and Félix Guattari’s theory of Assemblage, are formalisation, reciprocal presupposition, formalised function and territorialisation. In the first study, I framed six themes of the relational aspects of creative hubs as the conditions that organise bodies. In the second study, I showed how an accelerator assemblage —“seed accelerator” and “seed funding”— structures and legitimises the intensive interactions in the startup accelerators. In the third study, I showed how the idea of a virtual hub normalises the work-in-progress of digital incubation. Through these studies, I argue that the Assemblage of creative hubs works through a provisional, rather than an established, arrangement. Ultimately, this thesis contributes an Assemblage-oriented understanding of creative hubs. In this understanding, I argue that the Assemblage of creative hubs in its multiplicity requires, organises and structures human-activity-infrastructure, terms-themes-expectations and other expressions so that creative hubs function to provisionally support the provisional in the creative industries. In turn, this understanding has implications of both setting a ‘limit’ for creative hubs’ operations and providing a ‘map’ for understanding creative hubs.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Democratizing the Maker Movement: A Case Study of One Public Library System’s Makerspace Program.\n \n \n \n \n\n\n \n Lakind, A.; Willet, R.; and Halverson, E. R.\n\n\n \n\n\n\n Reference & User Services Quarterly, 58(4). 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Democratizing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{lakind_democratizing_2019,\n\ttitle = {Democratizing the {Maker} {Movement}: {A} {Case} {Study} of {One} {Public} {Library} {System}’s {Makerspace} {Program}},\n\tvolume = {58},\n\turl = {https://journals.ala.org/index.php/rusq/article/view/7150},\n\tdoi = {https://doi.org/10.5860/rusq.58.4.7150},\n\tabstract = {The maker movement has found a home in public libraries. Field leaders including public libraries in Chicago, Chattanooga, Houston, Louisville, and Toronto have built robust makerspaces, developed maker programming for a diverse range of patrons, connected community experts with library users for the purpose of sharing information, and fostered communities of practice.1 Characterized by open exploration, intrinsic interest, and creative ideation, the maker movement can be broadly defined as participation in the creative production of physical and digital artifacts in people’s day-to-day lives. The maker movement employs a do-it-yourself orientation toward a range of disciplines, including robotics, woodworking, textiles, and electronics. But the maker ethos also includes a do-it-with-others approach, valuing collaboration, distributed expertise, and open workspaces. To many in the library profession, the values ingrained in the maker movement seem to be shared with the aims and goals of public libraries. However, critiques of the maker movement raise questions about current iterations of makerspaces across settings. This article highlights critiques and responses regarding the “democratic” nature of the maker movement, and in particular, the article analyzes ways librarians involved in a prominent public library maker program discursively construct making and maker.},\n\tnumber = {4},\n\tjournal = {Reference \\& User Services Quarterly},\n\tauthor = {Lakind, Alexandra and Willet, Rebekah and Halverson, Erica Rosenfeld},\n\tyear = {2019},\n\tkeywords = {USA, case study (method), community, diversity (indicator), hubs, interviews (method), knowledge-sharing (indicator), space},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Creative Hubs in Question: Place, Space and Work in the Creative Economy.\n \n \n \n\n\n \n Gill, R.; Pratt, A. C.; and Virani, T. E.\n\n\n \n\n\n\n Palgrave MacMillan, UK, 2019.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{gill_creative_2019,\n\taddress = {UK},\n\ttitle = {Creative {Hubs} in {Question}: {Place}, {Space} and {Work} in the {Creative} {Economy}},\n\tabstract = {Creative hubs have become a cornerstone of economic and cultural policy with only the barest amount of discussion or scrutiny. This volume offers the first interrogation of creative hubs, with ground-breaking critical writing from a combination of established scholars and new voices. Looking across multiple sites trans-nationally, and combining theoretical and empirical reflections, it asks: what are creative hubs, why do they matter, and are they making the world a better place? Creative Hubs in Question discusses creative hubs in relation to debates about creative cities, co-working spaces and workers' co-operatives. Featuring case studies from Argentina to the Netherlands, and Nigeria to the UK, the contributions address how hubs are situated in relation to projects of equality and social justice, and whether and in what ways they change the experiences of the creatives who work in them. Drawing on a range of disciplinary perspectives including sociology, geography, economics, media and communications, culture and creative industries, critical policy studies, gender studies, race and ethnicity, and urban studies, this collection will be of interest to policy makers, academics, scholars, students and practitioners across these fields.},\n\tpublisher = {Palgrave MacMillan},\n\tauthor = {Gill, Rosalind and Pratt, Andy C. and Virani, Tarek E.},\n\tyear = {2019},\n\tkeywords = {artistic and creative practise (indicator), case study (method), collaboration, creative work, culture (indicator), discourse analysis (method), diversity (indicator), economic (indicator), entrepreneurship, equity (indicator), financial analysis (method), hubs, interviews (method), policy, social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Application of a Business Development Model in a Creative Collaboration Hub.\n \n \n \n \n\n\n \n Dmukauskaite, E.; and Jurėnienė, V.\n\n\n \n\n\n\n International Journal on Global Business Management & Research, 8(1): 21–31. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Application$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{dmukauskaite_application_2019,\n\ttitle = {Application of a {Business} {Development} {Model} in a {Creative} {Collaboration} {Hub}},\n\tvolume = {8},\n\turl = {https://www.proquest.com/openview/0689ea36a8f578613e3ea1d78a017562/1?pq-origsite=gscholar&cbl=2032289},\n\tabstract = {Creative collaboration hubs are rapidly being established in various countries. England is considered their centre; however, more and more creative collaboration hubs are being established in other countries including Lithuania. Creative collaboration hubs not only assemble creative people, but also are one of the ways that promote development of creative industries and improve the development of a countries creative economy. Hubs actively expand their network and impress with a variety of different structures; however, it is important for a creative collaboration hub to have a suitable business development model for it to be sustainable. Analysis of Lithuanian and foreign literature did not reveal any existing business development model that would be fully adapted to a creative collaboration hub. Therefore, this article aims at providing and testing the applicability and peculiarities of a theoretical business development model in a creative collaboration hub. Moreover, the article describes the scope of creative collaboration hubs in Europe, analysis peculiarities of creative collaboration hubs and presents corrections of the business development model. Annotation: This fairly recent article written by Egle Dmukauskaite and Prof. Virginija Jureniene (both hailing from Vilnius University) was published in the February 2019 edition of the International Journal on Global Business Management \\& Research. Through the synthesis of several management theories and the results from a questionnaire sent to various (unspecified) respondents, authors Dmukauskaite and Jureniene attempt to develop a theoretical business model specifically targeted towards creative collaborative hubs. The paper begins with an overview of creative collaborative hubs in Europe and continues with an exercise in defining the term “hub,” in comparison to terms such as “cluster” or “incubator.” Dmukauskaite and Jureniene then introduce their suggested business model, which is a combination of three established models: “canvas, creative business development model and continuous improvement system model for creative business companies.” (23) The following section is then dedicated to a brief description and justification of the inclusion of each model. After describing the development process of the model, the authors continue with a dissection and analysis of the three driving concepts for this model: communication, knowledge and information, as well as a discussion of the many external factors that may impact the hypothetical hub. The authors then provide a quantitative overview of creative collaborative hubs in Europe, with specific attention to those located in Lithuania. Finally, a brief and general overview of the model itself is present in both visual as well as textual formats. An analysis of the questionnaire results then follows, in which the authors sought feedback for their suggested model from respondents. While general information from organizations and “science parks” are present, the authors admit that establishing results from the surveys was a difficult task as only two of the respondents were familiar with the term “creative collaborative hub.” Unfortunately, the numerous spelling and grammar errors found throughout the paper detract from the research it is presenting, as does the use of outdated terms (such as “businessmen” encompassing all those who work in the business-sector.) Another drawback are the untranslated information tables found throughout the body of the work which remain fully in Lithuanian. These drawbacks, compounded with a suggested business model only described in general terms without any evaluation nor performance measurement strategies, render this article an arguably less then valuable resource for this research paper.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-24},\n\tjournal = {International Journal on Global Business Management \\& Research},\n\tauthor = {Dmukauskaite, Egle and Jurėnienė, Virignija.},\n\tyear = {2019},\n\tkeywords = {business model (indicator), collaboration, community, economic (indicator), hubs, international, management, methods, sustainable},\n\tpages = {21--31},\n}\n\n\n\n

\n

\n\n\n

\n Creative collaboration hubs are rapidly being established in various countries. England is considered their centre; however, more and more creative collaboration hubs are being established in other countries including Lithuania. Creative collaboration hubs not only assemble creative people, but also are one of the ways that promote development of creative industries and improve the development of a countries creative economy. Hubs actively expand their network and impress with a variety of different structures; however, it is important for a creative collaboration hub to have a suitable business development model for it to be sustainable. Analysis of Lithuanian and foreign literature did not reveal any existing business development model that would be fully adapted to a creative collaboration hub. Therefore, this article aims at providing and testing the applicability and peculiarities of a theoretical business development model in a creative collaboration hub. Moreover, the article describes the scope of creative collaboration hubs in Europe, analysis peculiarities of creative collaboration hubs and presents corrections of the business development model. Annotation: This fairly recent article written by Egle Dmukauskaite and Prof. Virginija Jureniene (both hailing from Vilnius University) was published in the February 2019 edition of the International Journal on Global Business Management & Research. Through the synthesis of several management theories and the results from a questionnaire sent to various (unspecified) respondents, authors Dmukauskaite and Jureniene attempt to develop a theoretical business model specifically targeted towards creative collaborative hubs. The paper begins with an overview of creative collaborative hubs in Europe and continues with an exercise in defining the term “hub,” in comparison to terms such as “cluster” or “incubator.” Dmukauskaite and Jureniene then introduce their suggested business model, which is a combination of three established models: “canvas, creative business development model and continuous improvement system model for creative business companies.” (23) The following section is then dedicated to a brief description and justification of the inclusion of each model. After describing the development process of the model, the authors continue with a dissection and analysis of the three driving concepts for this model: communication, knowledge and information, as well as a discussion of the many external factors that may impact the hypothetical hub. The authors then provide a quantitative overview of creative collaborative hubs in Europe, with specific attention to those located in Lithuania. Finally, a brief and general overview of the model itself is present in both visual as well as textual formats. An analysis of the questionnaire results then follows, in which the authors sought feedback for their suggested model from respondents. While general information from organizations and “science parks” are present, the authors admit that establishing results from the surveys was a difficult task as only two of the respondents were familiar with the term “creative collaborative hub.” Unfortunately, the numerous spelling and grammar errors found throughout the paper detract from the research it is presenting, as does the use of outdated terms (such as “businessmen” encompassing all those who work in the business-sector.) Another drawback are the untranslated information tables found throughout the body of the work which remain fully in Lithuanian. These drawbacks, compounded with a suggested business model only described in general terms without any evaluation nor performance measurement strategies, render this article an arguably less then valuable resource for this research paper.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Exploring the Phenomenon of Creative Hubs.\n \n \n \n \n\n\n \n Déziel, M.; and Duchesneau, G.\n\n\n \n\n\n\n Technical Report Telefilm Canada, 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Exploring$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@techreport{deziel_exploring_2019,\n\ttitle = {Exploring the {Phenomenon} of {Creative} {Hubs}},\n\turl = {https://telefilm.ca/en/studies/exploring-the-phenomenon-of-creative-hubs},\n\tlanguage = {en},\n\turldate = {2021-05-24},\n\tinstitution = {Telefilm Canada},\n\tauthor = {Déziel, Marie-Odile and Duchesneau, Guillaume},\n\tyear = {2019},\n\tkeywords = {artistic and creative practise (indicator), business model (indicator), culture (indicator), social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Social Impact of Cultural Districts.\n \n \n \n \n\n\n \n Crossick, G.; and Kaszynska, P.\n\n\n \n\n\n\n Technical Report 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{crossick_social_2019,\n\ttitle = {The {Social} {Impact} of {Cultural} {Districts}},\n\turl = {https://gcdn.net/product/the-social-impact-of-cultural-districts/},\n\tabstract = {This report, commissioned by the Global Cultural Districts Network (GCDN) and written by Professor Geoffrey Crossick analyses the different ways social impact is defined; draws out current good practice, highlighting gaps and challenges; and suggests a framework and principles for future action. We hope it will galvanize districts to reflect further on current approaches and join up where appropriate to share knowledge and practice. This is intended to be the first part of a deeper GCDN enquiry into districts and impact which requires better indicators, pooled resources and a wider set of partners and collaborators. We know there is much to learn from existing initiatives, from the cultural sector and beyond, and look forward to working together on this and contributing to a better body of policy and practice for more successful communities and cities. ****This is a particularly helpful and comprehensive evaluation model. Look specifically to the first 10 pages of the report and to pages 39-49 for detailed explanation of suggested evaluative models. The Global Cultural Districts Network (GCDN) is an independent, international association committed to improving the quality of urban life through the contribution of the arts, culture and creative industries (3). This report was commissioned by GCDN to better understand the ways cultural districts generate social impacts and to explore how those social impacts are evaluated for both cultural districts and their stakeholders (7). The report is an evaluation of how cultural districts can enhance their social impact, as the social condition of cultural districts has not been well assessed/documented. It lists 5 typologies of social impact (8): Equity and Inclusion; Urban Vibrancy and the Public Realm; Neighbourhood and Community; Targeted Social Interventions; Cultural Social Impacts; Innovation Impacts. Report explores the global phenomenon of international cultural districts, defined as instinctive urban areas that combine a rich cultural life with compelling public spaces and architecture ... recognized for their strategic value in defining urban character and identity; improving livability; attracting investment, knowledge workers and tourists; and building community." (5) Report acknowledges this combination of goals is hard to "get right" and requires more than physical infrastructure - it looks to the social conditions in which culture and creative thrive and are nurtured. The report recommends that cultural districts draw on a wide range of methods, including: using data on outcomes rather than outputs; noting it is easier to evaluate targeted interventions rather than broad cultural impacts; recognizing that a rigorous assortment of quantitative and qualitative data methods; acknowledging the research problems of linear casual assumptions and considering the theory of change as evaluative; and accepting that the best evaluations are those that are of value to cultural districts themselves and not solely to funders and governers. Evaluation is comprehensive. It should account for funder, as well as for advocacy, to improve artists practice, and to help shift city-wide policy (39). Community members should be considered evaluative stakeholders. Evaluation should be inclusive of specific motivations for artists and cultural institutions. Most substantial takeaway evaluation recommendation: "Cultural districts would benefit not from a template to follow but a toolkit from which to select the methods most appropriate for the impacts they are seeking to achieve." (43)},\n\tlanguage = {en-US},\n\turldate = {2021-05-24},\n\tauthor = {Crossick, Geoffrey and Kaszynska, Patrycja},\n\tyear = {2019},\n\tkeywords = {ecosystem, hubs, planning, policy, space},\n}\n\n\n\n

\n

\n\n\n

\n This report, commissioned by the Global Cultural Districts Network (GCDN) and written by Professor Geoffrey Crossick analyses the different ways social impact is defined; draws out current good practice, highlighting gaps and challenges; and suggests a framework and principles for future action. We hope it will galvanize districts to reflect further on current approaches and join up where appropriate to share knowledge and practice. This is intended to be the first part of a deeper GCDN enquiry into districts and impact which requires better indicators, pooled resources and a wider set of partners and collaborators. We know there is much to learn from existing initiatives, from the cultural sector and beyond, and look forward to working together on this and contributing to a better body of policy and practice for more successful communities and cities. ****This is a particularly helpful and comprehensive evaluation model. Look specifically to the first 10 pages of the report and to pages 39-49 for detailed explanation of suggested evaluative models. The Global Cultural Districts Network (GCDN) is an independent, international association committed to improving the quality of urban life through the contribution of the arts, culture and creative industries (3). This report was commissioned by GCDN to better understand the ways cultural districts generate social impacts and to explore how those social impacts are evaluated for both cultural districts and their stakeholders (7). The report is an evaluation of how cultural districts can enhance their social impact, as the social condition of cultural districts has not been well assessed/documented. It lists 5 typologies of social impact (8): Equity and Inclusion; Urban Vibrancy and the Public Realm; Neighbourhood and Community; Targeted Social Interventions; Cultural Social Impacts; Innovation Impacts. Report explores the global phenomenon of international cultural districts, defined as instinctive urban areas that combine a rich cultural life with compelling public spaces and architecture ... recognized for their strategic value in defining urban character and identity; improving livability; attracting investment, knowledge workers and tourists; and building community.\" (5) Report acknowledges this combination of goals is hard to \"get right\" and requires more than physical infrastructure - it looks to the social conditions in which culture and creative thrive and are nurtured. The report recommends that cultural districts draw on a wide range of methods, including: using data on outcomes rather than outputs; noting it is easier to evaluate targeted interventions rather than broad cultural impacts; recognizing that a rigorous assortment of quantitative and qualitative data methods; acknowledging the research problems of linear casual assumptions and considering the theory of change as evaluative; and accepting that the best evaluations are those that are of value to cultural districts themselves and not solely to funders and governers. Evaluation is comprehensive. It should account for funder, as well as for advocacy, to improve artists practice, and to help shift city-wide policy (39). Community members should be considered evaluative stakeholders. Evaluation should be inclusive of specific motivations for artists and cultural institutions. Most substantial takeaway evaluation recommendation: \"Cultural districts would benefit not from a template to follow but a toolkit from which to select the methods most appropriate for the impacts they are seeking to achieve.\" (43)\n

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\n \n\n \n \n \n \n \n \n Creativity and the city: testing the attenuation of agglomeration economies in Barcelona.\n \n \n \n \n\n\n \n Coll-Martínez, E.\n\n\n \n\n\n\n Journal of Cultural Economics, 43(3): 365–395. September 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Creativity$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{coll-martinez_creativity_2019,\n\ttitle = {Creativity and the city: testing the attenuation of agglomeration economies in {Barcelona}},\n\tvolume = {43},\n\tissn = {0885-2545, 1573-6997},\n\tshorttitle = {Creativity and the city},\n\turl = {http://link.springer.com/10.1007/s10824-019-09340-9},\n\tdoi = {10.1007/s10824-019-09340-9},\n\tabstract = {The aim of this paper is to infer the spatial extent of agglomeration economies for the creative service industries (CSI) in Barcelona and its relationship with firm performance controlling for urban characteristics and demand factors. Using micro-geographic data from the mercantile register for firms between 2006 and 2015, I estimated the effect of intra-industry and inter-industry agglomeration in rings around location on productivity in Barcelona. The main results are: (1) for CSI, at a micro-spatial level, localisation economies are important within the first 250 m; (2) for non-CSI, having employees in the CSI in close proximity (250–500 m) enhances their productivity; (3) for symbolic-based CSI firms, localisation economies—mainly understood as networking and/or knowledge externalities—have positive effects on TFP at shorter distances (less than 500 m), while for the two other knowledge-based CSI (i.e. synthetic and analytical) localisation economies seem not to be so important; and (4) market potential does not offset localisation economies for CSI. These results strongly suggest the importance of agglomeration externalities in CSI, which are strongly concentrated in the largest cities.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-24},\n\tjournal = {Journal of Cultural Economics},\n\tauthor = {Coll-Martínez, Eva},\n\tmonth = sep,\n\tyear = {2019},\n\tkeywords = {cultural and creative industries, economic (indicator), knowledge-sharing (indicator), physical space (indicator)},\n\tpages = {365--395},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Canada: A Critical Look at a “New” Cultural Policy Framework.\n \n \n \n \n\n\n \n Bourcheix-Laporte, M.\n\n\n \n\n\n\n Technical Report CRTC, June 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{bourcheix-laporte_creative_2019,\n\ttitle = {Creative {Canada}: {A} {Critical} {Look} at a “{New}” {Cultural} {Policy} {Framework}},\n\tshorttitle = {Creative {Canada}},\n\turl = {https://crtc.gc.ca/eng/acrtc/prx/2019laporte.htm},\n\tabstract = {In Sept 2017, Dept of Canadian Heritage launched Creative Canada, a new policy framework that positions the creative industries at the core of Canada’s cultural identity and economy. Produced as an outcome from the \\#DigiCanCon consultations which lead to the Creative Canada Policy Framework (CCPF). The article's main argument is that while the CCPF justifies state subsidies and regulation of cultural industries in Canada, it also presents itself as a "new" turn for the creative and cultural industries. This "newness" crystallizes a neoliberal turn in Canadian cultural policy whereby cultural value is attributed and equivalent to economic value. This attribution of economic value is dangerous for "market failure" cultural artists who might have been previously protected under a different set of principles guiding cultural policies. The paper adds to the growing scholarship re: neoliberalization of Canadian cultural policy by considering the discursive shift between "creativity" and "digital culture.” For example, the CFPC Creative Canada as an "industry" centerpiece for growing the creative economy in Canada, but pays little regard to their "art" as centrepiece objects. This framework, the author argues, normalizes artistic and artisanal precarity (5). "From the onset, Creative Canada rejected the protectionist mind frame that characterized developments in cultural governance post Massey Commission" (20). However, to note: author argues protectionist-like rhetoric still lurks in the background of CC, which go hand-in-hand with Trudeau's 2016 announcement of a \\$1.9 B investment in the creative sector, situating the valorization of national culture as an agent of economic growth (21-22).},\n\tlanguage = {eng},\n\turldate = {2021-05-24},\n\tinstitution = {CRTC},\n\tauthor = {Bourcheix-Laporte, Marianee},\n\tmonth = jun,\n\tyear = {2019},\n\tkeywords = {Canada, artistic and creative measures (indicator), cultural and creative industries, development, economic (indicator), governance, policy instruments (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n A Toolkit of Policies to Promote Innovation.\n \n \n \n \n\n\n \n Bloom, N.; Van Reenen, J.; and Williams, H.\n\n\n \n\n\n\n The Journal of Economic Perspectives, 33(3): 163–184. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{bloom_toolkit_2019,\n\ttitle = {A {Toolkit} of {Policies} to {Promote} {Innovation}},\n\tvolume = {33},\n\tissn = {0895-3309},\n\turl = {https://www.jstor.org/stable/26732326},\n\tabstract = {Economic theory suggests that market economies are likely to underprovide innovation because of the public good nature of knowledge. Empirical evidence from the United States and other advanced economies supports this idea. We summarize the pros and cons of different policy instruments for promoting innovation and provide a basic "toolkit" describing which policies are most effective according to our reading of the evidence. In the short run, R\\&D tax credits and direct public funding seem the most productive, but in the longer run, increasing the supply of human capital (for example, relaxing immigration rules or expanding university STEM admissions) is likely more effective.},\n\tnumber = {3},\n\turldate = {2021-05-24},\n\tjournal = {The Journal of Economic Perspectives},\n\tauthor = {Bloom, Nicholas and Van Reenen, John and Williams, Heidi},\n\tyear = {2019},\n\tkeywords = {USA, development, economic (indicator), innovation, policy, policy instruments (indicator), production},\n\tpages = {163--184},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Assessing the local embeddedness dynamics of the Baumwollspinnerei cultural quarter in Leipzig: introducing the POSES Star Framework.\n \n \n \n \n\n\n \n Bain, A. L.; and Landau, F.\n\n\n \n\n\n\n European Planning Studies, 27(8): 1564–1586. August 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Assessing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{bain_assessing_2019,\n\ttitle = {Assessing the local embeddedness dynamics of the {Baumwollspinnerei} cultural quarter in {Leipzig}: introducing the {POSES} {Star} {Framework}},\n\tvolume = {27},\n\tissn = {0965-4313, 1469-5944},\n\tshorttitle = {Assessing the local embeddedness dynamics of the {Baumwollspinnerei} cultural quarter in {Leipzig}},\n\turl = {https://www.tandfonline.com/doi/full/10.1080/09654313.2019.1592120},\n\tdoi = {10.1080/09654313.2019.1592120},\n\tabstract = {This paper argues that it is important for urban scholars and practitioners to comparatively appraise the differential forms of local embeddedness of cultural quarters. Such appraisals can help to realize more sustainable practices of cultural quarter anchoring within neighbourhoods. The case study of Leipzig, Germany – a city that deploys both ‘creative city’ and ‘cultural industries’ models of urban development within a context of post-industrial, post-socialist transformation – is used to examine the adaptive re- use of a former cotton-spinning mill, the Baumwollspinnerei, into an internationally renowned cultural quarter. The POSES Star Framework is developed as an analytical tool to systematically outline multiple local embeddedness dynamics (political, organizational, social, ephemeral, and spatial) of a cultural quarter within a neighbourhood and within a specific urban planning and policy context. The application of the POSES Star Framework to the Baumwollspinnerei reveals that internal organizational concerns for site development and marketing are prioritized over external engagements with Leipzig’s urban planning and cultural policy discourses.},\n\tlanguage = {en},\n\tnumber = {8},\n\turldate = {2021-05-17},\n\tjournal = {European Planning Studies},\n\tauthor = {Bain, Alison L. and Landau, Friederike},\n\tmonth = aug,\n\tyear = {2019},\n\tkeywords = {community impact (indicator), cultural district, culture (indicator), hubs, international, planning, social structures (indicator)},\n\tpages = {1564--1586},\n}\n\n\n\n

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\n \n 2018\n \n \n (28)\n \n \n

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\n \n\n \n \n \n \n \n \n Sustainability Policy, Planning and Gentrification in Cities.\n \n \n \n \n\n\n \n Bunce, S.\n\n\n \n\n\n\n Routeledge, Abingdon, 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Sustainability$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{bunce_sustainability_2018,\n\taddress = {Abingdon},\n\ttitle = {Sustainability {Policy}, {Planning} and {Gentrification} in {Cities}},\n\turl = {https://www.routledge.com/Sustainability-Policy-Planning-and-Gentrification-in-Cities/Bunce/p/book/9780367358365},\n\tabstract = {Patrial Abstract: Sustainability Policy, Planning and Gentrification in Cities explores the growing convergences between urban sustainability policy, planning practices and gentrification in cities. Via a study of governmental policy and planning initiatives and informal, community-based forms of sustainability planning, the book examines the assemblages of actors and interests that are involved in the production of sustainability policy and planning and their connection with neighbourhood-level and wider processes of environmental gentrification.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {Routeledge},\n\tauthor = {Bunce, Susannah},\n\tyear = {2018},\n\tkeywords = {cities, community (indicator), development (indicator), mixed methods (method), networks, planning, policy, policy instruments (indicator), sustainability (indicator), sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Arts-driven sustainability and sustainably driven arts.\n \n \n \n \n\n\n \n Garrett, I.\n\n\n \n\n\n\n Scene, 6(1): 63–79. July 2018.\n Publisher: Intellect\n\n\n\n
\n\n\n\n \n \n $\"Arts-driven$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{garrett_arts-driven_2018,\n\ttitle = {Arts-driven sustainability and sustainably driven arts},\n\tvolume = {6},\n\tissn = {2044-3714, 2044-3722},\n\turl = {https://intellectdiscover.com/content/journals/10.1386/scene.6.1.63_1},\n\tdoi = {10.1386/scene.6.1.63_1},\n\tabstract = {With the founding of the National Endowment for the Arts, Lyndon Johnson stated that ‘[...] we reveal to ourselves and to others the inner vision which guides us as a nation. And where there is no vision, the people perish’. Today, we are facing the largest existential threat to human civilization as a result of human-made climate change. Research into the three dimensions of sustainable development articulated by the UN’s Brundtland Commission reveals that the arts have positive impacts in each area. The arts are drivers of social cohesion, and build our individual and shared identities. The arts contribute to the economy significantly above the rates of public and private funding allocated to them, especially at a local level. And, by congregating people together and sharing ideas have real and significant potential positive environmental impacts. These impacts offer evidence that society can become more sustainable with arts at the centre.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Scene},\n\tauthor = {Garrett, Ian},\n\tmonth = jul,\n\tyear = {2018},\n\tnote = {Publisher: Intellect},\n\tkeywords = {Toronto, USA, artistic and creative values (indicator), artists, arts sector, community (indicator), creative work, economic (indicator), literature review (method), qualitative (method), social relations (indicator), sustainability (indicator), sustainable},\n\tpages = {63--79},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Toward a Theory of Minority Entrepreneurship in the Non-Profit Arts Sector.\n \n \n \n\n\n \n White, J. C.\n\n\n \n\n\n\n The Journal of Arts Management, Law & Society, 48(4): 287–300. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{white_toward_2018,\n\ttitle = {Toward a {Theory} of {Minority} {Entrepreneurship} in the {Non}-{Profit} {Arts} {Sector}},\n\tvolume = {48},\n\tabstract = {Throughout most of the entrepreneurship research literature, the entrepreneur is generally identified as a native-born White male who undertakes either self-employment or firm creation in Western developed countries. In addition, most of the literature frames these entrerpreneurial actions as for-profit activities. Perhaps due in part to such prevailing frames, we know little about minority entrepreneurship, let alone as it occurs within the non-profit arts sector. To aid the field in new understandings, I review the minority entrepreneurship literature, identify minority entrepreneurship strategies, make connections to the non-profit arts sector, and propose new directions for theory development in the field.},\n\tnumber = {4},\n\tjournal = {The Journal of Arts Management, Law \\& Society},\n\tauthor = {White, Jason C.},\n\tyear = {2018},\n\tkeywords = {accessible (indicator), economic (indicator), entrepreneurship, non-profit, social capital (indicator)},\n\tpages = {287--300},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Creative Hubs Inventory Report to the Department of Canadian Heritage.\n \n \n \n\n\n \n Wallace, J.; and Luka, M. E.\n\n\n \n\n\n\n Technical Report Montreal, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@techreport{wallace_creative_2018,\n\taddress = {Montreal},\n\ttitle = {Creative {Hubs} {Inventory} {Report} to the {Department} of {Canadian} {Heritage}},\n\tauthor = {Wallace, Jacqueline and Luka, Mary Elizabeth},\n\tyear = {2018},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Setting up and running a successful creative hub.\n \n \n \n \n\n\n \n Vreeswijk, M. P.\n\n\n \n\n\n\n 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Setting$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{vreeswijk_setting_2018,\n\ttitle = {Setting up and running a successful creative hub},\n\turl = {https://www.nesta.org.uk/blog/setting-up-and-running-a-successful-creative-hub/},\n\tabstract = {ANNOTATION: Megan Powell Vreeswijk, a Creative Enterprise Programme workshop associate, explains the highs and lows, the wins and the challenges in establishing and managing a creative hub.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tjournal = {Nesta Foundation},\n\tauthor = {Vreeswijk, Megan Powell},\n\tyear = {2018},\n\tkeywords = {UK, community, economic (indicator), hubs},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n New Public Governance, Social Services, and the Potential of Co-Located Nonprofit Centers for Improved Collaborations.\n \n \n \n \n\n\n \n Vinokur-Kaplan, D.\n\n\n \n\n\n\n Nonprofit Policy Forum, 8(4): 445–464. March 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"New$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{vinokur-kaplan_new_2018,\n\ttitle = {New {Public} {Governance}, {Social} {Services}, and the {Potential} of {Co}-{Located} {Nonprofit} {Centers} for {Improved} {Collaborations}},\n\tvolume = {8},\n\tissn = {2154-3348},\n\turl = {https://www.degruyter.com/document/doi/10.1515/npf-2017-0040/html},\n\tdoi = {10.1515/npf-2017-0040},\n\tabstract = {ABSTRACT: New Public Governance’s approach to public management seeks to both decrease costs and to increase the overall efficiency and effectiveness of publicly-funded services. It further emphasizes effective, efficient collaborations among service providers, and well-functioning networks of service-providers connected with government funders. One conceivable vehicle to promote collaborations among nonprofits providing contracted services is to establish co-located nonprofit centers. In such a multi-tenant building, its owner or master lease-holder, which is usually a nonprofit, would recruit other nonprofits to rent space and use shared resources and/or services in its shared-space workplace. Typically, these workplaces are more affordable, stable, efficient, and of higher quality than their current offices. Also, nonprofit centers often enthusiastically promote cooperation and collaboration among their tenants. Several hundred such centers already exist in the United States and Canada. Two profiles of two nonprofit centers where co-located organizations collaboratively provide social services, as well as some survey results, are presented to illustrate that nonprofit center sites are indeed operational and could be a vehicle to help support collaborative goals of New Public Governance. \n\nANNOTATION: These organizations are examined through the lens of New Public Governance, a management model which “encouraged the delivery of public services to become more business-like, and allowed for publicly-funded services to be delivered by commercial and nonprofit organizations.” (446) Vinokur-Kaplan suggests that the rise of shared resources between multiple non-profits collaborating on a common goal can be seen as a response to this new form of governance. The author also postulates that this movement is a side-effect of the American government increasingly privatizing various social services to disparate arms-length non-profits, and that these separate organizations have found benefits in co-location. Vinokur-Kaplan begins with introduction and analysis of the concept of coworking spaces, with specific sections dedicated to models and tenant typologies. The methodology of the case study is then presented, which includes the results of a survey of tenants located at three large-scale multi-tenant non-profit centres located in U.S., as well as 2011 survey conducted by the Nonprofit Centers Network (NCN) “on the benefits and impacts of nonprofit co-locations in the United States and Canada.” (454) Vinokur-Kaplan then examines two different co-located multi-tenant non-profit centres through the lens of New Public Governance: The Kukui Center in Hawaii, and The Saskatoon Community Service Village in Saskatchewan. The organizational models employed by the organizations are presented and analysed, as is the influence of their physical spaces on their operations, the challenge of affordable real estate, the variety of tenants located within the building and the collaboration methods employed. The paper concludes with an argument promoting the benefits of multitenant coworking hubs, which include increased affordability, camaraderie, and efficiency. The results of the surveys are also presented, with the aim to ““spur policy-makers, communities, foundations, and nonprofit leaders to consider the benefits of establishing and supporting co-locations for social service.” (450).},\n\tnumber = {4},\n\turldate = {2021-05-29},\n\tjournal = {Nonprofit Policy Forum},\n\tauthor = {Vinokur-Kaplan, Diane},\n\tmonth = mar,\n\tyear = {2018},\n\tkeywords = {Canada, USA, business model (indicator), business model non-profit (indicator), co-working, collaboration, discourse analysis (method), document analysis (method), literature review (method), non-profit, operations, surveys (method)},\n\tpages = {445--464},\n}\n\n\n\n

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\n ABSTRACT: New Public Governance’s approach to public management seeks to both decrease costs and to increase the overall efficiency and effectiveness of publicly-funded services. It further emphasizes effective, efficient collaborations among service providers, and well-functioning networks of service-providers connected with government funders. One conceivable vehicle to promote collaborations among nonprofits providing contracted services is to establish co-located nonprofit centers. In such a multi-tenant building, its owner or master lease-holder, which is usually a nonprofit, would recruit other nonprofits to rent space and use shared resources and/or services in its shared-space workplace. Typically, these workplaces are more affordable, stable, efficient, and of higher quality than their current offices. Also, nonprofit centers often enthusiastically promote cooperation and collaboration among their tenants. Several hundred such centers already exist in the United States and Canada. Two profiles of two nonprofit centers where co-located organizations collaboratively provide social services, as well as some survey results, are presented to illustrate that nonprofit center sites are indeed operational and could be a vehicle to help support collaborative goals of New Public Governance. ANNOTATION: These organizations are examined through the lens of New Public Governance, a management model which “encouraged the delivery of public services to become more business-like, and allowed for publicly-funded services to be delivered by commercial and nonprofit organizations.” (446) Vinokur-Kaplan suggests that the rise of shared resources between multiple non-profits collaborating on a common goal can be seen as a response to this new form of governance. The author also postulates that this movement is a side-effect of the American government increasingly privatizing various social services to disparate arms-length non-profits, and that these separate organizations have found benefits in co-location. Vinokur-Kaplan begins with introduction and analysis of the concept of coworking spaces, with specific sections dedicated to models and tenant typologies. The methodology of the case study is then presented, which includes the results of a survey of tenants located at three large-scale multi-tenant non-profit centres located in U.S., as well as 2011 survey conducted by the Nonprofit Centers Network (NCN) “on the benefits and impacts of nonprofit co-locations in the United States and Canada.” (454) Vinokur-Kaplan then examines two different co-located multi-tenant non-profit centres through the lens of New Public Governance: The Kukui Center in Hawaii, and The Saskatoon Community Service Village in Saskatchewan. The organizational models employed by the organizations are presented and analysed, as is the influence of their physical spaces on their operations, the challenge of affordable real estate, the variety of tenants located within the building and the collaboration methods employed. The paper concludes with an argument promoting the benefits of multitenant coworking hubs, which include increased affordability, camaraderie, and efficiency. The results of the surveys are also presented, with the aim to ““spur policy-makers, communities, foundations, and nonprofit leaders to consider the benefits of establishing and supporting co-locations for social service.” (450).\n

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\n \n\n \n \n \n \n \n \n Ethno-nationally divided cities and the use of art for purposes of conflict resolution and urban regeneration.\n \n \n \n \n\n\n \n Tselika, E.\n\n\n \n\n\n\n Visual Studies, 33(3): 280–294. July 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Ethno-nationally$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{tselika_ethno-nationally_2018,\n\ttitle = {Ethno-nationally divided cities and the use of art for purposes of conflict resolution and urban regeneration},\n\tvolume = {33},\n\tissn = {1472-586X},\n\turl = {https://doi.org/10.1080/1472586X.2018.1537724},\n\tdoi = {10.1080/1472586X.2018.1537724},\n\tabstract = {ABSTRACT: This paper examines ethno-nationally divided cities and how the arts are used in such contexts for conflict resolution and urban regeneration. Three ethno-nationally divided cities at different stages of conflict resolution – Jerusalem, Nicosia, Belfast – are juxtaposed and explored. Ethno-nationally divided cities, which have become defined by their separation, are increasingly being studied to understand a common urban experience, to consider how partition politics develop and to learn how to best avoid them. Parallel art practices are also noted in these three urban milieus, in so far as they aim to assist conflict resolution and create zones that facilitate social transformation. This article addresses the use of art as a tool of social cohesion, through examination of art projects targeted at ethno-national division and conflict. Looking at three different, but similar, cities demonstrates how art has been used at different stages of the desegregation process, and how these processes can potentially lead to new patterns of divisions. The use of the arts in divided city contexts is related to art used in broader urban contexts to address segregation and facilitate social engagement and shared spaces.\n \nANNOTATION: This article looks at different urban contexts where art has been used with local communities to bridge ethno-national divides. The study articulates how art projects can be used to open expression about social divisions and traumatic experiences. The case studies provide useful examples of how urban social transformations through art can occur. There is not a specific discussion of the support systems that funded or housed the organizations or individuals who managed the community art projects. This article could be useful as an example of the kinds of social transformations that could occur with a stable creative sector.},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {Visual Studies},\n\tauthor = {Tselika, Evanthia},\n\tmonth = jul,\n\tyear = {2018},\n\tkeywords = {artists and creative workers, community, diversity (indicator), ecosystem, equity (indicator), international},\n\tpages = {280--294},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Three Dimensions of Inclusive Design: Part One **.\n \n \n \n \n\n\n \n Treviranus, J.\n\n\n \n\n\n\n July 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{treviranus_three_2018,\n\ttitle = {The {Three} {Dimensions} of {Inclusive} {Design}: {Part} {One} **},\n\tshorttitle = {The {Three} {Dimensions} of {Inclusive} {Design}},\n\turl = {https://medium.com/fwd50/the-three-dimensions-of-inclusive-design-part-one-103cad1ffdc2},\n\tabstract = {From time to time, we’re featuring thoughtful posts from FWD50 alumni and fascinating thinkers in the fields of identity, ethics, open…},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tjournal = {Medium},\n\tauthor = {Treviranus, Jutta},\n\tmonth = jul,\n\tyear = {2018},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n The Most Intolerant Wins: The Dominance of the Stubborn Minority.\n \n \n \n\n\n \n Taleb, N. N.\n\n\n \n\n\n\n In Skin in the Game: Hidden Asymmetries in Daily Life. Penguin Random House, New York, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{taleb_most_2018,\n\taddress = {New York},\n\ttitle = {The {Most} {Intolerant} {Wins}: {The} {Dominance} of the {Stubborn} {Minority}.},\n\tbooktitle = {Skin in the {Game}: {Hidden} {Asymmetries} in {Daily} {Life}},\n\tpublisher = {Penguin Random House},\n\tauthor = {Taleb, Nassim Nicholas},\n\tyear = {2018},\n\tkeywords = {diversity (indicator), equity (indicator), social relations (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n “Filleing” the Cinema Gap: The Precarity of Toronto’s Necessary Emerging Network of Feminist Film Critics.\n \n \n \n \n\n\n \n Sicondolfo, C.\n\n\n \n\n\n\n In Driver, S.; and Coulter, N., editor(s), Youth Mediations and Affective Relations, pages 175–195. Springer International Publishing, Cham, 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"“Filleing”$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{driver_filleing_2018,\n\taddress = {Cham},\n\ttitle = {“{Filleing}” the {Cinema} {Gap}: {The} {Precarity} of {Toronto}’s {Necessary} {Emerging} {Network} of {Feminist} {Film} {Critics}},\n\tisbn = {9783319989709 9783319989716},\n\tshorttitle = {“{Filleing}” the {Cinema} {Gap}},\n\turl = {http://link.springer.com/10.1007/978-3-319-98971-6_11},\n\tabstract = {ANNOTATION: Claudia Sicondolfo’s piece documents the labour practices of four feminist film critics who each started a feminist film collective. Based on interviews with the women, Sicondolfo argues that they fill, or rather “fille”—as she playfully suggests—the lack of spaces for female film criticism. To filling/filleing these gaps the four young women in response to the precarious nature of the neoliberal economy, are moved to create their own meaningful work through their feminist subjectivities and creative exchanges. These women are part of a new youth led, creative labour force who forge their own employment opportunities. For Sicondolfo, this research calls for a wider understanding of the affective labour practices of young people in the face of current policies and socio-economic realities. The piece also ends with calls for divergent methodological considerations for creative labour research and policy recommendations for addressing lived reality research within Canadian media industries.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tbooktitle = {Youth {Mediations} and {Affective} {Relations}},\n\tpublisher = {Springer International Publishing},\n\tauthor = {Sicondolfo, Claudia},\n\teditor = {Driver, Susan and Coulter, Natalie},\n\tyear = {2018},\n\tdoi = {10.1007/978-3-319-98971-6_11},\n\tkeywords = {Toronto, co-working, community, craft industries, entrepreneurship, gender, interviews (method), labour, neoliberalism, networks, policy},\n\tpages = {175--195},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Coworking Spaces, Accelerators and Incubators: Emerging Forms of Museum Practice in an Increasingly Digital World.\n \n \n \n \n\n\n \n Murphy, O.\n\n\n \n\n\n\n Museum International, 70(1-2): 62–75. January 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Coworking$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{murphy_coworking_2018,\n\ttitle = {Coworking {Spaces}, {Accelerators} and {Incubators}: {Emerging} {Forms} of {Museum} {Practice} in an {Increasingly} {Digital} {World}},\n\tvolume = {70},\n\tissn = {1350-0775, 1468-0033},\n\tshorttitle = {Coworking {Spaces}, {Accelerators} and {Incubators}},\n\turl = {https://www.tandfonline.com/doi/full/10.1111/muse.12193},\n\tdoi = {10.1111/muse.12193},\n\tabstract = {Digital technologies have begun to radically disrupt museum business models. The quantity of information available online today has never been so abundant, and easy access to information calls into question the role, purpose and ‘usefulness’ of museums. A century after John Cotton Dana called for a ‘useful’ museum, in-house start-up hubs where creative entrepreneurs can work, collaborate and create within the museum are being implemented. In doing so, these museums are reimaging Cotton Dana's vision for the ‘useful’ museum into one that is fit for purpose in this digital age. The present article focuses on how three museums are responding to the disruptions provoked by the proliferation of digital technologies and a broader interpretation of the museum's remit, by redefining their role, purpose and practices. By developing a space for creative entrepreneurs within their museums, Te Papa (New Zealand), New Museum (USA) and ACMI (Australia) are redefining what a museum of the 21st century could be. Through a series of semi-structured interviews with senior managers at these museums, this article examines the strategic, practical and theoretical implications that these spaces, commonly referred to as ‘start-up hubs’, have for museum practice. The analysis of an emerging mode of museum practice as a means to support museum professionals and academics who seek to engage critically with digital culture and emerging business models in museums will follow.},\n\tlanguage = {en},\n\tnumber = {1-2},\n\turldate = {2021-05-26},\n\tjournal = {Museum International},\n\tauthor = {Murphy, Oonagh},\n\tmonth = jan,\n\tyear = {2018},\n\tkeywords = {Australia, USA, artistic and creative values (indicator), business model (indicator), case study (method), co-working, digital, economic (indicator), entrepreneurship, incubators, innovation, international, interviews (method), museums, social values (indicator), start-ups, taxonomies},\n\tpages = {62--75},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Industries in Canada.\n \n \n \n \n\n\n \n , M. v. B. Z.\n\n\n \n\n\n\n August 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{noauthor_creative_2018,\n\ttype = {webpagina},\n\ttitle = {Creative {Industries} in {Canada}},\n\tcopyright = {CC0 1.0 Universal},\n\turl = {https://www.netherlandsworldwide.nl/countries/canada/doing-business/opportunities-entrepeneurs-canada/creative-industries},\n\tabstract = {Creativity and design are important factors in doing business and engineering smart solutions. Apart from the intrinsic value of art and artistic objects, there is an increasing focus in Canada on the potential impact of creative innovation and excellent design on other sectors and disciplines. In Canada, the term ‘creative industries’ mainly covers architecture, interior design, fashion, digital culture and entertainment.},\n\tlanguage = {en},\n\turldate = {2021-05-26},\n\tauthor = {, Ministerie van Buitenlandse Zaken},\n\tmonth = aug,\n\tyear = {2018},\n\tkeywords = {Canada, artistic and creative values (indicator), cultural and creative industries, economic (indicator), entrepreneur (indicator), international},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Creative Hubs in Canada: Knowledge Networks and Opportunities (commissioned report).\n \n \n \n\n\n \n Luka, M. E.\n\n\n \n\n\n\n Technical Report Department of Canadian Heritage, Ottawa, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{luka_creative_2018,\n\taddress = {Ottawa},\n\ttitle = {Creative {Hubs} in {Canada}: {Knowledge} {Networks} and {Opportunities} (commissioned report)},\n\tinstitution = {Department of Canadian Heritage},\n\tauthor = {Luka, Mary Elizabeth},\n\tyear = {2018},\n\tkeywords = {artistic and creative practise (indicator), culture (indicator), diversity (indicator), economic (indicator), equity (indicator), physical space (indicator), social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Fostering and planning urban regeneration: the governance of cultural districts in Copenhagen.\n \n \n \n \n\n\n \n Lidegaard, C.; Nuccio, M.; and Bille, T.\n\n\n \n\n\n\n European Planning Studies, 26(1): 1–19. January 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Fostering$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{lidegaard_fostering_2018,\n\ttitle = {Fostering and planning urban regeneration: the governance of cultural districts in {Copenhagen}},\n\tvolume = {26},\n\tissn = {0965-4313},\n\tshorttitle = {Fostering and planning urban regeneration},\n\turl = {https://doi.org/10.1080/09654313.2017.1364352},\n\tdoi = {10.1080/09654313.2017.1364352},\n\tabstract = {Policy-makers and urban planners struggle to find the right formula to implement urban regeneration processes based on cultural assets, often focusing on the desired outcomes, but rarely questioning how the policy process can shape them. This paper examines different governance models for the implementation and organization of cultural districts, and evaluates how they can affect their actual realization by investigating three cases in Copenhagen, Denmark. The deindustrialization of Copenhagen left many of the city’s harbour areas disused and in turn provided the opportunity to develop three new cultural districts in the city centre. The paper contributes to the literature on cultural districts by matching specificities and contingencies attached to a particular urban area with the governance model adopted for its development. The paper claims that temporal experimentation has to be included in cultural planning and a mix of bottom-up and top-down approaches is more desirable than both a totally unregulated initiative and a real estate-driven development and a totally unregulated initiative, as it ensures that initiatives remain financially viable and that the creative workers and companies retain a certain control of the area development, and in turn counteracts gentrification.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {European Planning Studies},\n\tauthor = {Lidegaard, Christina and Nuccio, Massimiliano and Bille, Trine},\n\tmonth = jan,\n\tyear = {2018},\n\tkeywords = {cultural district, economic (indicator), governance, international, policy},\n\tpages = {1--19},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \"More than just a library\" : Public libraries in the 'smart city'.\n \n \n \n\n\n \n Leorke, D.; Wyatt, D.; and McQuire, S.\n\n\n \n\n\n\n City, Culture & Society, 15: 37–44. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{leorke_more_2018,\n\ttitle = {"{More} than just a library" : {Public} libraries in the 'smart city'},\n\tvolume = {15},\n\tdoi = {https://doi.org/10.1016/j.ccs.2018.05.002},\n\tabstract = {This paper argues that the transformation of the contemporary public library can be usefully understood by situating it within the context of the technology-driven urban vision of the smart city’.We explore this through a focus on a recent public library development in Australia where a high-proﬁle new library features as a signature investment in the city's broader digital and ‘smart city’ strategies. In analysing the library's entanglement with the digital visions of this city, our case study reveals the uneven and often contradictory impacts that characterize the digital economy. We argue that the articulation of a technology-led agenda with neoliberal governance settings has produced institutional tensions that go to the core of the library's role in public life, challenging us to consider how libraries might best serve a range of rapidly changing and competing needs and publics. We ﬁnd that while libraries have been forced to make certain changes, they have also developed proactive responses to new technology. Eﬀorts to reinvent themselves as ‘hubs’, ‘makerspaces’ and co-located community centres oﬀering enriched spaces for social gathering, targeted learning, and new forms of creative production, including entrepreneurial activity and innovation, are strategies for maintaining and extending the traditional remit of the public library. However, these transformations are not adequately recognised within the structures through which libraries are evaluated and funded, thus making them vulnerable to future governmental agendas.},\n\tjournal = {City, Culture \\& Society},\n\tauthor = {Leorke, Dale and Wyatt, Danielle and McQuire, Scott},\n\tyear = {2018},\n\tkeywords = {Australia, co-working, community, cultural and creative industries, digital, ecosystem, education, entrepreneur (indicator), entrepreneurship, hubs, innovation, innovation (indicator), physical space (indicator), space},\n\tpages = {37--44},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Creative Futures for New Contemporary Artists: Opportunities and Barriers.\n \n \n \n\n\n \n Boram, L.; Fraser, I.; and Fillis, I.\n\n\n \n\n\n\n International Journal of Arts Management, 20(2): 9–19. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{boram_creative_2018,\n\ttitle = {Creative {Futures} for {New} {Contemporary} {Artists}: {Opportunities} and {Barriers}},\n\tvolume = {20},\n\tabstract = {Career prospects for recent art college graduates transitioning to self-employment remain challenging. The authors investigate the opportunities and barriers faced by emerging artists using a case study of a major contemporary art exhibition and its follow-up shows. Data from 20 interviews indicate that the exhibition is viewed as a useful steppingstone, offering such benefits as recognition and exposure, networking, marketing, and enhanced ambition and motivation. Only a few exhibiting artists receive monetary rewards from sales or prizes. The lack of financial assistance means that most artists are financially challenged. Artists also lack knowledge of market conditions and have a tendency to undervalue their art work. Nevertheless, many artists express no interest in developing commercial skills and have a pessimistic view of public funding. Some artists show signs of an anti-entrepreneurial mindset. The authors argue that permanent platforms are required in order to provide emerging artists with both tangible and emotional support.},\n\tnumber = {2},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Boram, Lee and Fraser, Ian and Fillis, Ian},\n\tyear = {2018},\n\tkeywords = {artists, community engagement (indicator), culture (indicator), entrepreneur (indicator), entrepreneurship, exhibitions (indicator), international},\n\tpages = {9--19},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Global Arts Leadership: An Exploration of Professional Standards and Demands in Arts Management.\n \n \n \n \n\n\n \n Keeney, K. P.; and Jung, Y.\n\n\n \n\n\n\n The Journal of Arts Management, Law & Society, 48(4): 227–242. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Global$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{keeney_global_2018,\n\ttitle = {Global {Arts} {Leadership}: {An} {Exploration} of {Professional} {Standards} and {Demands} in {Arts} {Management}},\n\tvolume = {48},\n\turl = {https://www.tandfonline.com/doi/abs/10.1080/10632921.2018.1494068?journalCode=vjam20},\n\tabstract = {The arts are an important medium to understand and communicate across differences. Yet the question of global leadership as an expectation of arts management largely remains unanswered. Framed by leadership theory, this research explores the expectation of and demand for global arts leadership in an increasingly global environment. The authors complete a content analysis of job description data for senior-level arts leaders to find evidence of three emerging global leadership competencies: emotional, cultural and systems intelligences. The study concludes with a typology for global arts leadership, and contributes to the traditional notion of leadership in the arts management context.},\n\tnumber = {4},\n\tjournal = {The Journal of Arts Management, Law \\& Society},\n\tauthor = {Keeney, Kate Preston and Jung, Yuha},\n\tyear = {2018},\n\tkeywords = {development, ecosystem, governance},\n\tpages = {227--242},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Foundations and innovation in the nonprofit sector.\n \n \n \n \n\n\n \n Jaskyte, K.; Amato, O.; and Sperber, R.\n\n\n \n\n\n\n Nonprofit Management and Leadership, 29(1): 47–64. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Foundations$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{jaskyte_foundations_2018,\n\ttitle = {Foundations and innovation in the nonprofit sector},\n\tvolume = {29},\n\tissn = {1542-7854},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1002/nml.21312},\n\tdoi = {https://doi.org/10.1002/nml.21312},\n\tabstract = {Using a sample of 17 foundations that are at the forefront of encouraging innovation this study explored foundations' motivations behind funding innovation, their perceived ability to impact the levels of innovation in nonprofit organizations, and strategies that foundations are using or can use to encourage innovation in nonprofit organizations. The results showed that among the major motives behind funding innovation were leveraging the capital, honoring the foundations' core identity (mission and values), and desiring to encourage innovation in nonprofit organizations. Five strategies/mechanisms that foundations are using/can use to encourage innovation in nonprofit organizations were identified: (a) offering innovation awards/grants as catalysts for innovation, (b) providing risk capital and supporting early stage idea development, (c) educating other foundations on the value of innovation and serving in a convener role, (d) serving as thought leaders, and (e) increasing nonprofit organizations' capacity for innovation. Implications for practice are discussed along with recommendations for future research.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Nonprofit Management and Leadership},\n\tauthor = {Jaskyte, Kristina and Amato, Olivia and Sperber, Rachel},\n\tyear = {2018},\n\tkeywords = {USA, design thinking, economic (indicator), education, innovation, knowledge-sharing (indicator), non-profit, social (indicator), strategic planning},\n\tpages = {47--64},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Building a Learning Programme for Creative Hubs. Insights Report (March 2018).\n \n \n \n \n\n\n \n Innes, G.; Smith, L.; Dahl, S.; and Nesta\n\n\n \n\n\n\n Technical Report Nesta Foundation, British Council, & Hivos, 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Building$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@techreport{innes_building_2018,\n\ttitle = {Building a {Learning} {Programme} for {Creative} {Hubs}. {Insights} {Report} ({March} 2018)},\n\turl = {https://media.nesta.org.uk/documents/Creative_Hubs_research_phase_insights.pdf},\n\tabstract = {Creative hubs are increasing in number and rapidly becoming an important player in supporting creative communities globally. DeskMag has estimated that 1.2 million people worldwide are based in coworking spaces, and that’s just one form a creative hub can take. The opportunity for impact is huge, and there are currently no learning offers that cater directly to the needs of a creative hub leader. With this as one of the central principles, our aim was to better understand the life cycle of creative hubs. We knew that by getting closer to the needs, challenges and skills gaps amongst the hub communities, we would learn more about the common and shared problems facing creative hub leaders at the start of their journey. This would then help inform the development of learning offers to support them.\n\nWe took a user-focused approach to the research and held a series of workshops and interviews in a number of locations in order to better understand hub leaders’ learning needs and expectations. In parallel we conducted desk research and a review of existing support materials.},\n\tinstitution = {Nesta Foundation, British Council, \\& Hivos},\n\tauthor = {Innes, Georgina and Smith, Lynsey and Dahl, Sonja and Nesta},\n\tyear = {2018},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Mismatch: How Inclusion Shapes Design.\n \n \n \n\n\n \n Holmes, K.\n\n\n \n\n\n\n MIT Press, Boston, MA., 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{holmes_mismatch_2018,\n\taddress = {Boston, MA.},\n\ttitle = {Mismatch: {How} {Inclusion} {Shapes} {Design}},\n\tpublisher = {MIT Press},\n\tauthor = {Holmes, Kat},\n\tyear = {2018},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Keeping Creativity Downtown: Policy Learning from San Francisco, Seattle, and Vancouver for Municipal Cultural Planning in Toronto.\n \n \n \n \n\n\n \n Goldberg-Miller, S. B. D.\n\n\n \n\n\n\n The Journal of Arts Management, Law, and Society, 48(3): 170–190. May 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Keeping$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{goldberg-miller_keeping_2018,\n\ttitle = {Keeping {Creativity} {Downtown}: {Policy} {Learning} from {San} {Francisco}, {Seattle}, and {Vancouver} for {Municipal} {Cultural} {Planning} in {Toronto}},\n\tvolume = {48},\n\tissn = {1063-2921},\n\tshorttitle = {Keeping {Creativity} {Downtown}},\n\turl = {https://doi.org/10.1080/10632921.2017.1422834},\n\tdoi = {10.1080/10632921.2017.1422834},\n\tabstract = {ABSTRACT: I examine Toronto's interest in the policy learning process regarding possible solutions to development pressure downtown though understanding policies from San Francisco, Seattle, and Vancouver. Grounded by the analysis of creative city interventions and incorporating a theoretical framework of policy adaptation, the investigation is informed by interviews with fifty-one multi-sector stakeholders, historical and archival materials, and policy documents. Return to urban living and the creative cities movement challenge city centers in preserving creative and cultural businesses and organizations. Emergent data themes include: (1) research and strategic planning; (2) stakeholder partnerships; and (3) economic development incorporating economic benefit and social good.\n\nANNOTATION: Author examines Toronto's interest in the policy learning process regarding possible solutions to development pressure downtown though understanding policies from San Francisco, Seattle, and Vancouver. Grounded by the analysis of creative city interventions and incorporating a theoretical framework of policy adaptation, the investigation is informed by interviews with fifty-one multi-sector stakeholders, historical and archival materials, and policy documents. Return to urban living and the creative cities movement challenge city centers in preserving creative and cultural businesses and organizations. Emergent data themes include: (1) research and strategic planning; (2) stakeholder partnerships; and (3) economic development incorporating economic benefit and social good.},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {The Journal of Arts Management, Law, and Society},\n\tauthor = {Goldberg-Miller, Shoshanah B. D.},\n\tmonth = may,\n\tyear = {2018},\n\tkeywords = {Toronto, cities, development, development (indicator), governance, planning, policy, space},\n\tpages = {170--190},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Value Creation and Evaluation in Arts Incubators.\n \n \n \n\n\n \n Essig, L.\n\n\n \n\n\n\n International Journal of Arts Management, 20(1): 32–45. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{essig_value_2018,\n\ttitle = {Value {Creation} and {Evaluation} in {Arts} {Incubators}},\n\tvolume = {20},\n\tnumber = {1},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Essig, Linda},\n\tyear = {2018},\n\tpages = {32--45},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Canadian Heritage Committee on Feb. 13th, 2018 42nd Parliament, 1st Session.\n \n \n \n \n\n\n \n of Canadian Heritage, D.\n\n\n \n\n\n\n Technical Report 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@techreport{department_of_canadian_heritage_canadian_2018,\n\ttitle = {Canadian {Heritage} {Committee} on {Feb}. 13th, 2018 42nd {Parliament}, 1st {Session}.},\n\turl = {https://openparliament.ca/committees/canadian-heritage/42-1/95/gordie-hogg-5/?page=2},\n\tabstract = {ANNOTATION: Evidence of meeting \\#95 for Canadian Heritage in the 42nd Parliament, 1st Session. Ramzi Saad, Director General, Arts Policy Branch, Department of Canadian Heritage and Lise Laneville, Director, Strategic Arts Support, Arts Policy Branch, Department of Canadian Heritage speak on definitions of Canadian cultural hubs, how government funding will work, and how communities can benefit from new programs to support cultural hubs.},\n\tauthor = {Department of Canadian Heritage},\n\tyear = {2018},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n PLUS hub: a cultural process for Pisticci regeneration.\n \n \n \n\n\n \n Daldanese, G.; and Cerreta, M.\n\n\n \n\n\n\n BDC: Universita degli Studi di Napoli Federico II, 18(1): 127–145. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{daldanese_plus_2018,\n\ttitle = {{PLUS} hub: a cultural process for {Pisticci} regeneration},\n\tvolume = {18},\n\tnumber = {1},\n\tjournal = {BDC: Universita degli Studi di Napoli Federico II},\n\tauthor = {Daldanese, Gaia and Cerreta, Maria},\n\tyear = {2018},\n\tkeywords = {artistic and creative practise (indicator), culture (indicator), innovation (indicator), physical space (indicator)},\n\tpages = {127--145},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n A Vision for Cultural Hubs and Districts in Canada: Report of the Standing Committee on Canadian Heritage.\n \n \n \n \n\n\n \n Dabrusin, J.\n\n\n \n\n\n\n Technical Report 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{dabrusin_vision_2018,\n\ttitle = {A {Vision} for {Cultural} {Hubs} and {Districts} in {Canada}: {Report} of the {Standing} {Committee} on {Canadian} {Heritage}},\n\turl = {https://www.ourcommons.ca/Content/Committee/421/CHPC/Reports/RP10045531/chpcrp13/chpcrp13-e.pdf},\n\tauthor = {Dabrusin, Julie},\n\tyear = {2018},\n\tkeywords = {cities, community, economic (indicator), innovation, policy},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Appearance before the Standing Committee on Canadian Heritage: study of cultural hubs and cultural districts.\n \n \n \n\n\n \n Cornell, K.; and Julien, F.\n\n\n \n\n\n\n Technical Report Ottawa, Ontario, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{cornell_appearance_2018,\n\taddress = {Ottawa, Ontario},\n\ttitle = {Appearance before the {Standing} {Committee} on {Canadian} {Heritage}: study of cultural hubs and cultural districts},\n\tabstract = {ANNOTATION: Co-chairs of Canadian Arts Coalition, Kate Cornell and Frederic Julien presented testimony before the Standing Committee on Canadian Heritage. They argued for affordable housing for artists in cultural districts. They recommended future provincial bilateral agreements are permanently required to include a broad consideration of new cultural projects. Highlight a funding gap for ongoing operating costs of hubs.},\n\tauthor = {Cornell, Kate and Julien, Frédéric},\n\tyear = {2018},\n\tkeywords = {artistic and creative practise (indicator), artists, economic (indicator), operations, social (indicator), space},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The role of space in the emergence and endurance of organizing: How independent workers and material assemblages constitute organizations.\n \n \n \n \n\n\n \n Cnossen, B.; and Bencherki, N.\n\n\n \n\n\n\n Human Relations, 72(6): 1057–1080. September 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{cnossen_role_2018,\n\ttitle = {The role of space in the emergence and endurance of organizing: {How} independent workers and material assemblages constitute organizations},\n\tvolume = {72},\n\tissn = {0018-7267},\n\tshorttitle = {The role of space in the emergence and endurance of organizing},\n\turl = {https://doi.org/10.1177/0018726718794265},\n\tdoi = {10.1177/0018726718794265},\n\tabstract = {Where do new organizations come from, and how do they persist? Based on an ethnographic study of two creative hubs in Amsterdam, in which creative independent workers rented studio space, we show how space plays a role in constituting new organizations and making them last. Focusing on challenging moments in the development of these two creative hubs, we propose that space, understood as a material assemblage, participates in providing endurance to organizing practices. It does so because space and practice reflexively account for each other. In other words, space may constrain or enable practices, and provide them with meaning, as the literature abundantly illustrates, but practices also define and shape space. Rather than emphasizing either of these two options, we argue that they should be understood as integral to each other. Furthermore, it is precisely their reflexive relation that contributes to the emergence of new organizations. Our study contributes to the literature on the communicative constitution of organizations, and more broadly to the knowledge of organizing in the creative industries.},\n\tlanguage = {en},\n\tnumber = {6},\n\turldate = {2021-05-24},\n\tjournal = {Human Relations},\n\tauthor = {Cnossen, Boukje and Bencherki, Nicolas},\n\tmonth = sep,\n\tyear = {2018},\n\tkeywords = {creative practise, entrepreneurship, hubs, international, organizations, physical space (indicator), space},\n\tpages = {1057--1080},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Equality, Diversity and the Creative Case: A Data Report, 2016-2017.\n \n \n \n\n\n \n of England, A. C.\n\n\n \n\n\n\n Technical Report Arts Council of England, UK, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{arts_council_of_england_equality_2018,\n\taddress = {UK},\n\ttitle = {Equality, {Diversity} and the {Creative} {Case}: {A} {Data} {Report}, 2016-2017},\n\tabstract = {Diversity is an integral part of our 10-year strategy, Great art and culture for everyone. As the national development and investment agency for art and culture we have a duty to ensure that public money reaches and benefits all of society.},\n\tinstitution = {Arts Council of England},\n\tauthor = {Arts Council of England},\n\tyear = {2018},\n\tkeywords = {UK, diversity (indicator), equity (indicator)},\n}\n\n\n\n

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\n \n 2017\n \n \n (25)\n \n \n

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\n \n\n \n \n \n \n \n \n The Roots of Culture, the Power of Art.\n \n \n \n \n\n\n \n Gattinger, M.\n\n\n \n\n\n\n McGill-Queen's University Press, Montreal, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{gattinger_roots_2017,\n\taddress = {Montreal},\n\ttitle = {The {Roots} of {Culture}, the {Power} of {Art}},\n\turl = {https://www.mqup.ca/roots-of-culture--the-power-of-art--the-products-9780773551633.php},\n\tabstract = {The Canada Council for the Arts is the country’s largest provider of grants for artists and arts organizations, benefiting not only writers, visual artists, performers, and musicians but Canadian culture as a whole. In The Roots of Culture, the Power of Art Monica Gattinger outlines the history of the Canada Council, the impetus for its foundation, and the ongoing debate about its goals and impact.Tracing the Council’s gradual shift from focusing on artistic supply and building the roots of Canadian arts and culture in its early years to its expanded focus on the power of the arts in society over time, Gattinger describes how leaders have navigated core tensions inherent in the Council’s activities. She examines the arguments for and against “art for art’s sake” and pursuing broader social and economic aims through the arts, as well as the inherent political conflicts between serving the needs of the artistic community and the needs of Canadian society, between leadership and followership, between autonomy and collaboration, and between emerging and established artistic practices.Combining lively storytelling with insightful analysis, and beautifully produced with dozens of photos of the art, people, and events that have shaped the organization through the years, The Roots of Culture, the Power of Art is essential reading for those with an interest in Canadian arts and culture and cultural policy.},\n\turldate = {2025-03-15},\n\tpublisher = {McGill-Queen's University Press},\n\tauthor = {Gattinger, Monica},\n\tyear = {2017},\n\tkeywords = {Canada, artists, arts sector, business model (indicator), case study (method), collaboration (indicator), community, community (indicator), culture (indicator), economic (indicator), funding agency, mixed methods (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Symbolic Power: Impact of Government Priorities for Arts Funding in Canada.\n \n \n \n \n\n\n \n D'Andrea, M. J.\n\n\n \n\n\n\n The Journal of Arts Management, Law, and Society, 47(4): 245–258. August 2017.\n Publisher: Routledge _eprint: https://doi.org/10.1080/10632921.2017.1340209\n\n\n\n
\n\n\n\n \n \n $\"Symbolic$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{dandrea_symbolic_2017,\n\ttitle = {Symbolic {Power}: {Impact} of {Government} {Priorities} for {Arts} {Funding} in {Canada}},\n\tvolume = {47},\n\tissn = {1063-2921},\n\tshorttitle = {Symbolic {Power}},\n\turl = {https://doi.org/10.1080/10632921.2017.1340209},\n\tdoi = {10.1080/10632921.2017.1340209},\n\tabstract = {Canadian arts councils make funding decisions using the peer-review model at arm's length of government agencies. In theory, the government decides what the mandate and budget of an arts council will be, but arts councils are free to decide who and what will be funded without political interference. Contrary to this belief, the peer review process does not always award funding based solely on artistic merit. This study shows that there is a tension between councils, jurors, and government agencies when making funding decisions. Even though arts councils are at arm's length, they often cave in to the government's priorities as filtered through symbolic power.},\n\tnumber = {4},\n\turldate = {2025-03-15},\n\tjournal = {The Journal of Arts Management, Law, and Society},\n\tauthor = {D'Andrea, Marisol J.},\n\tmonth = aug,\n\tyear = {2017},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/10632921.2017.1340209},\n\tkeywords = {Canada, arts sector, business model (indicator), economic (indicator), equity (indicator), funding agency, governance, interviews (method), qualitative (method)},\n\tpages = {245--258},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Inside the World of Arts Councils: Artistic Excellence in the Peer-Review Process for Arts Funding.\n \n \n \n \n\n\n \n D'Andrea, M.\n\n\n \n\n\n\n The International Journal of Social, Political and Community Agendas in the Arts, 12(4): 25–44. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Inside$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{dandrea_inside_2017,\n\ttitle = {Inside the {World} of {Arts} {Councils}: {Artistic} {Excellence} in the {Peer}-{Review} {Process} for {Arts} {Funding}},\n\tvolume = {12},\n\tissn = {2326-9960, 2327-2104},\n\tshorttitle = {Inside the {World} of {Arts} {Councils}},\n\turl = {https://cgscholar.com/bookstore/works/inside-the-world-of-arts-councils},\n\tdoi = {10.18848/2326-9960/CGP/v12i04/25-44},\n\tabstract = {The research objective of this paper is to explore the concept of artistic excellence and how it is applied during the peer-review process for arts funding among the Canadian art councils. The peer-review process has become the standard process to ensure equitable and effective distribution of funding. However, there are tensions between which applications get funded versus which applications ought to get funded since the discourses of excellence are neither clear not consistent. I studied three arts councils: The Canada Council for the Arts (CCA), the Ontario Arts Council (OAC), and the Toronto Arts Council (TAC). This study is based on 26 face-to-face interviews and observation notes. I apply discourse analysis to understand the tensions of the discourses of excellence, and evoke Michèle Lamont’s research on the peer-review process as a lens through which I examine the term excellence. I conclude by proposing a more clear definition of excellence in order to improve confidence in the peer-review system employed by arts councils.},\n\tnumber = {4},\n\turldate = {2025-03-15},\n\tjournal = {The International Journal of Social, Political and Community Agendas in the Arts},\n\tauthor = {D'Andrea, Marisol},\n\tyear = {2017},\n\tkeywords = {Canada, artistic and creative measures (indicator), arts sector, discourse analysis (method), economic (indicator), funding agency, interviews (method)},\n\tpages = {25--44},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Inside the whale (and how to get out of there): Moving on from two decades of creative industries research.\n \n \n \n \n\n\n \n Banks, M.; and O’Connor, J.\n\n\n \n\n\n\n European Journal of Cultural Studies, 20(6): 637–654. December 2017.\n Publisher: SAGE Publications Ltd\n\n\n\n
\n\n\n\n \n \n $\"Inside$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{banks_inside_2017,\n\ttitle = {Inside the whale (and how to get out of there): {Moving} on from two decades of creative industries research},\n\tvolume = {20},\n\tissn = {1367-5494},\n\tshorttitle = {Inside the whale (and how to get out of there)},\n\turl = {https://doi.org/10.1177/1367549417733002},\n\tdoi = {10.1177/1367549417733002},\n\tabstract = {In keeping with the spirit of this Special Issue, this article takes a retrospective view – analysing two decades of research on local, city-based cultural economies in the dominant context of the ‘creative industries’ policy paradigm. We begin by exploring our own position in the field – as early arbiters for the cultural industries – and the political and economic context which informed our own (shared) efforts to further progressive claims for culture, amidst the transforming post-industrial city of the 1990s. The subsequent rise of a creative industries discourse – in the United Kingdom and beyond – had a transformative effect on those progressive claims, not least in bringing to the fore a more economistic, capital-driven model of urban renewal which served to undermine many of the promises that had been invested in popular urban culture under social democracy. How this shift was played out in the academic literature – and its political consequences – is the theme of the remainder of the article. This article forms part of the Special Issue ‘On the Move’, which marks the 20th anniversary of the European Journal of Cultural Studies. It also heads up a special online dossier on ‘Creative Industries in the European Journal of Cultural Studies’.},\n\tlanguage = {EN},\n\tnumber = {6},\n\turldate = {2025-03-15},\n\tjournal = {European Journal of Cultural Studies},\n\tauthor = {Banks, Mark and O’Connor, Justin},\n\tmonth = dec,\n\tyear = {2017},\n\tnote = {Publisher: SAGE Publications Ltd},\n\tkeywords = {UK, artistic and creative measures (indicator), cities, community impact (indicator), cultural and creative industries, culture (indicator), economic (indicator), literature review (method), policy},\n\tpages = {637--654},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Generator and the RISER Project: Sector Developers for Independent Theatre in Toronto.\n \n \n \n \n\n\n \n Yung, H.\n\n\n \n\n\n\n Technical Report Toronto Arts Foundation with the support of The Metcalf Foundation and Toronto Arts Council, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Generator$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{yung_generator_2017,\n\ttitle = {Generator and the {RISER} {Project}: {Sector} {Developers} for {Independent} {Theatre} in {Toronto}},\n\turl = {https://metcalffoundation.com/site/uploads/2018/06/Generator-and-The-RISER-Project-Sector-developers-for-independent-theatre-in-Toronto.pdf},\n\tabstract = {This paper looks at two bold new change\ninitiatives that have emerged from the independent\ntheatre sector in Toronto. While this research is\nintended first for the communities involved, efforts\nhave been made to render the discussion legible for\noutsiders. There is content and even methods here for\nanyone interested in an arts-minded perspective on\nsystems change, approaches to sector development\nor field building, innovation, and/or evaluation, as\nwell as the conscious coupling of artistic and nonartistic sense-making processes.\nThe purpose of this research is to identify\nlearning and insights through the case studies\nof Generator and Why Not Theatre’s The RISER\nProject. Generator and The RISER Project are\nnext-wave sector developers for the independent\nperforming arts. Both are building up people and\nresources, and building out communities, networks\nand infrastructure. Both ventures share work space\nand access to other people’s work spaces, creating\nnetworks of physical infrastructure as an essential\ncomponent of sector building. They have each\nidentified a different dimension of the independent\ntheatremaker’s experience to support and champion:\nGenerator’s motivation could be described as\nwanting to help independent theatremakers make\nart with less (administrative) pain or tedium, and\nmore resources and efficiency. The RISER Project’s\nmotivation could be described as wanting to see\nmore independent theatremakers have opportunities\nto present their work on professional stages in a\nsustainable way.},\n\tinstitution = {Toronto Arts Foundation with the support of The Metcalf Foundation and Toronto Arts Council},\n\tauthor = {Yung, Helen},\n\tyear = {2017},\n\tkeywords = {Toronto, community (indicator), development, interviews (method), performance, physical space (indicator), policy},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Cultural entrepreneurship: from making culture to cultural making.\n \n \n \n \n\n\n \n Gehman, J.; and Soublière, J.\n\n\n \n\n\n\n Innovation: Organization & Management, 19(1): 61–73. January 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Cultural$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{gehman_cultural_2017,\n\ttitle = {Cultural entrepreneurship: from making culture to cultural making},\n\tvolume = {19},\n\tissn = {1447-9338},\n\tshorttitle = {Cultural entrepreneurship},\n\turl = {https://doi.org/10.1080/14479338.2016.1268521},\n\tdoi = {10.1080/14479338.2016.1268521},\n\tabstract = {We summarize three perspectives on cultural entrepreneurship (CE). Originating in sociology, CE 1.0 focuses on making culture, or the processes by which high culture organizations and popular culture products are created. With roots in strategic management and organization theory, CE 2.0 focuses on deploying culture, or the processes by which culture constitutes a toolkit for legitimating new ventures. We interpret recent scholarship as suggesting the emergence of a third wave, CE 3.0, which emphasizes cultural making, the distributed and intertemporal processes whereby value is created across multiple and fluid repertoires and registers of meaning. We close by speculating on two issues: the performativity of cultural entrepreneurship, and the cult of entrepreneurship.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Innovation: Organization \\& Management},\n\tauthor = {Gehman, Joel and Soublière, Jean-François},\n\tmonth = jan,\n\tyear = {2017},\n\tkeywords = {USA, creative practise, creative work, entrepreneurship, innovation, organizations, performance, strategic planning, taxonomies},\n\tpages = {61--73},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Younger and Older Executives Need Different Things from Coaching.\n \n \n \n \n\n\n \n Tamir, L.; and Finfer, L.\n\n\n \n\n\n\n Harvard Business Review. July 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Younger$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{tamir_younger_2017,\n\ttitle = {Younger and {Older} {Executives} {Need} {Different} {Things} from {Coaching}},\n\turl = {https://hbr.org/2017/07/younger-and-older-executives-need-different-things-from-coaching},\n\tabstract = {In our work coaching hundreds of executives, we have suspected a diﬀerence in how 30-something executives and those in their forties and ﬁfties approach coaching. The 30-somethings have tended to be more diﬃcult engagements, often requiring more directness, cajoling, and nurturing. Because organizations are increasingly focusing on early talent development to attract and retain young talent, it’s important to understand the best way to accelerate their growth as leaders. We examined data from 72 executive coaching engagements we conducted from 2008 to 2014. Our data included executives’ scores on personality and emotional intelligence assessments, interviews with their managers and HR, and our case notes. The average coaching engagement lasted six to 12 months. The executives came from a wide array of industries, including ﬁnancial services, pharmaceuticals, and media. We divided the sample into age decades: 18\\% were age 30–39; 61\\% were 40–49; and 21\\% were 50–59. The gender breakdown was 54\\% male and 46\\% female. In each case, one of us served as the executive coach and worked with the executive to set their individual goals. These ranged from commanding greater inﬂuence to building a strategic vision, aligning their team, and reﬁning their interpersonal and communication skills. Next, one-on-one coaching meetings focused on expanding their insight; learning and practicing skills; applying learnings to their work in real life; and reﬂecting on those actions and outcomes. Meetings averaged one to two sessions per month. The goal of our research was to identify how executives in their thirties might diﬀer from older executives when they receive the specialized attention of executive coaching. We also wanted to ascertain whether diﬀerences were due to age or generation. Our study was published in Consulting Psychology Journal in December 2016.},\n\tjournal = {Harvard Business Review},\n\tauthor = {Tamir, Lois and Finfer, Laura},\n\tmonth = jul,\n\tyear = {2017},\n\tkeywords = {organizations},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Look I’m Priceless! Handbook on how to assess your arts organisation (IETM Toolkit).\n \n \n \n \n\n\n \n Shishkova, V.; and IETM\n\n\n \n\n\n\n 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Look$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{shishkova_look_2017,\n\ttitle = {Look {I}’m {Priceless}! {Handbook} on how to assess your arts organisation ({IETM} {Toolkit})},\n\turl = {https://www.ietm.org/en/publications/look-im-priceless-handbook-on-how-to-assess-your-artistic-organisation},\n\tpublisher = {IETM - International network for contemporary performing arts.},\n\tauthor = {Shishkova, Vassilka and IETM},\n\tyear = {2017},\n\tkeywords = {business model (indicator), economic (indicator), sustainability (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Hubs and Urban Development Goals (UK/Brazil).\n \n \n \n \n\n\n \n Shiach, M.; Nakano, D.; Virani, T.; and Poli, K.\n\n\n \n\n\n\n 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{shiach_creative_2017,\n\ttitle = {Creative {Hubs} and {Urban} {Development} {Goals} ({UK}/{Brazil})},\n\turl = {https://gtr.ukri.org/projects?ref=AH%2FP006051%2F1},\n\tjournal = {UK Research and Innovation},\n\tauthor = {Shiach, Morag and Nakano, Davi and Virani, Tarek and Poli, Karina},\n\tyear = {2017},\n\tkeywords = {case study (method), co-working, collaboration, economic (indicator), entrepreneurship},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Methods for Literature Reviews.\n \n \n \n \n\n\n \n Paré, G.; Kitsiou, S.; Lau, F.; and Kuziemsky, C.\n\n\n \n\n\n\n In Handbook of health Evaluation: An Evidence-based Approach. University of Victoria, Victoria, B.C., February 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Methods$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@incollection{pare_methods_2017,\n\taddress = {Victoria, B.C.},\n\ttitle = {Methods for {Literature} {Reviews}},\n\turl = {https://www.ncbi.nlm.nih.gov/books/NBK481583/},\n\tabstract = {Literature reviews play a critical role in scholarship because science remains, first and foremost, a cumulative endeavour (vom Brocke et al., 2009). As in any academic discipline, rigorous knowledge syntheses are becoming indispensable in keeping up with an exponentially growing eHealth literature, assisting practitioners, academics, and graduate students in finding, evaluating, and synthesizing the contents of many empirical and conceptual papers. Among other methods, literature reviews are essential for: (a) identifying what has been written on a subject or topic; (b) determining the extent to which a specific research area reveals any interpretable trends or patterns; (c) aggregating empirical findings related to a narrow research question to support evidence-based practice; (d) generating new frameworks and theories; and (e) identifying topics or questions requiring more investigation (Paré, Trudel, Jaana, \\& Kitsiou, 2015).},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tbooktitle = {Handbook of health {Evaluation}: {An} {Evidence}-based {Approach}},\n\tpublisher = {University of Victoria},\n\tauthor = {Paré, Guy and Kitsiou, Spyros and Lau, F. and Kuziemsky, C.},\n\tmonth = feb,\n\tyear = {2017},\n\tkeywords = {literature review (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Public Perceptions of Artists in Communities: A Sign of Changing Times.\n \n \n \n \n\n\n \n Novack-Leonard, J.; and Skaggs, R.\n\n\n \n\n\n\n Artivate: A Journal of Entrepreneurship in the Arts, 6(2): 5–22. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Public$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{novack-leonard_public_2017,\n\ttitle = {Public {Perceptions} of {Artists} in {Communities}: {A} {Sign} of {Changing} {Times}},\n\tvolume = {6},\n\turl = {https://www.researchgate.net/publication/332157902_PUBLIC_PERCEPTIONS_OF_ARTISTS_IN_COMMUNITIES_A_SIGN_OF_CHANGING_TIMES},\n\tabstract = {There is a growing recognition within the arts and cultural field that the public roles and work of artists are changing. Within the field, artists are increasingly lauded for their work as entrepreneurs, civically-minded problem-solvers, and agents for social change. Amid a shift away from the arts policy paradigm that has largely focused on nonprofit organizations over the last half-century within the United States, there is a hypothesis stemming from within the arts and cultural field that a policy paradigm focused on artists' roles in community change, development, and placemaking will take hold. Public opinion and perceptions have an important influence on the formation of public policies, yet whether and how artists' roles in public life are perceived beyond the arts and cultural field is unknown. This lack of understanding impedes the arts and cultural field's ability to monitor if such a policy paradigm shift is occurring and to develop policies to support artists' work within and with communities. Therefore, we developed and pilot tested survey indicators to gauge public perceptions of artists within communities. In this article, we describe the indicators, report on the national pilot test topline results, and discuss the indicators' merits to be used over time drawing from the pilot test results. Understanding public perceptions of artists within communities can inform and influence policies supporting artists' work and offer a means to monitor shifts to the larger arts and cultural policy paradigm in the U.S.},\n\tnumber = {2},\n\tjournal = {Artivate: A Journal of Entrepreneurship in the Arts},\n\tauthor = {Novack-Leonard, Jennifer and Skaggs, Rachel},\n\tyear = {2017},\n\tkeywords = {artistic and creative practise (indicator), communities of practise (indicator), community (indicator), culture (indicator), economic (indicator), entrepreneur (indicator), social (indicator)},\n\tpages = {5--22},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Hubs and Business Skills Training for the Culture and Creative Sector - What’s Working?.\n \n \n \n\n\n \n Nordicity\n\n\n \n\n\n\n Technical Report WorkInCulture, 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{nordicity_hubs_2017,\n\ttitle = {Hubs and {Business} {Skills} {Training} for the {Culture} and {Creative} {Sector} - {What}’s {Working}?},\n\tabstract = {ABSTRACT: Globally, and in Ontario, "hubs" in the broadest sense of the term have emerged as both popular and promising mechanisms to tackle a wide range of sector-based and community-focused challenges. In general, hubs aim to provide a focal point for resource access and knowledge exchange. for this engagement, the team was most interested in the capacity of hubs in Ontario to support and strengthen business skills development (i.e. professional development, skills training and networking) for the arts, culture and creative sector.\n \nANNOTATION: Report funded by Ontario Media Development Corporation and Ontario Arts Council. Specifically looking at how hubs can support the development of business skills for arts and creative sector. Contains a hub inventory as an appendix.},\n\tinstitution = {WorkInCulture},\n\tauthor = {Nordicity},\n\tyear = {2017},\n\tkeywords = {Canada, culture (indicator), economic (indicator), education, hubs, innovation, networks, physical space (indicator), skill-building (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n An incubation perspective on social innovation: the London Hub - a social incubator.\n \n \n \n \n\n\n \n Nicolopoulou, K.; Karataş-Özkan, M.; Vas, C.; and Nouman, M.\n\n\n \n\n\n\n R&D Management, 47(3): 368–384. June 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"An$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{nicolopoulou_incubation_2017,\n\ttitle = {An incubation perspective on social innovation: the {London} {Hub} - a social incubator},\n\tvolume = {47},\n\tissn = {00336807},\n\tshorttitle = {An incubation perspective on social innovation},\n\turl = {http://doi.wiley.com/10.1111/radm.12179},\n\tdoi = {10.1111/radm.12179},\n\tabstract = {ABSTRACT: In the context of incubators, particularly those that are driven to achieving social objectives, this paper investigates core processes that support the development of social innovation. Social innovation, as this paper argues, is underpinned by a new form of social collaboration and engagement built upon strong forms of sharing knowledge and learning. Coupled with this is the element of social capital reinforced by entrepreneurship and leadership that promotes sustainability in the community. These factors drive innovative thinking and ways of engaging among stakeholders in order to create new forms of socio-economic impact. Such value-creating activity occurs in firms that operate within incubators involving a wide range of stakeholders who work through networks to co-create and meet social challenges. Through a case study of a social incubator and an incubatee, we demonstrate the core processes that irradiate the argument on social innovation. The contribution of this paper is threefold: First, social innovation is an emerging area of research, of which there is a dearth in terms of examining the processes empirically. We address the gap in this field by demonstrating the value of social collaboration and engagement using different innovation models. Second, we establish links between social innovation and incubation using the concept of social capital. This allows us to achieve our third contribution: exemplification of a dyadic value-based partnership and collaboration processes between an incubator and an incubatee, through activities driven by social innovation that aim to have social impact. The paper concludes with practice implications and suggests directions for future research. \n\nANNOTATION: This article is one of many showcased in a special 2017 issue of R\\&D Management which focuses entirely on “Incubation, Decision Making and Knowledge Interaction in Business Modelling.” Written by Katerina Nicolopoulou (University of Strathclyde), Mine Karatas-Özkan (University of Southampton), Christopher Vas (Murdoch University) and Muhammad Nouman (Institute of Management Sciences), this article is an exploration and analysis of processes that support innovation within incubators that have socially-driven mandates, with the aim of answering the central question: “what processes of social innovation characterise social incubation?” (369) At the heart of the paper is a case study of the Hub, an incubator located in London, England. Primary research for the paper was compiled through a series of in-depth interviews with two managers from the Hub, as well as interviews with members of an organization (Oguntê) participating in a program offered by the incubator.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {R\\&D Management},\n\tauthor = {Nicolopoulou, Katerina and Karataş-Özkan, Mine and Vas, Christopher and Nouman, Muhammad},\n\tmonth = jun,\n\tyear = {2017},\n\tkeywords = {UK, case study (method), collaboration, creative work, economic (indicator), entrepreneurship, governance, incubators, innovation, innovation (indicator), non-profit, social capital (indicator), social values (indicator), sustainable, taxonomies},\n\tpages = {368--384},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: In the context of incubators, particularly those that are driven to achieving social objectives, this paper investigates core processes that support the development of social innovation. Social innovation, as this paper argues, is underpinned by a new form of social collaboration and engagement built upon strong forms of sharing knowledge and learning. Coupled with this is the element of social capital reinforced by entrepreneurship and leadership that promotes sustainability in the community. These factors drive innovative thinking and ways of engaging among stakeholders in order to create new forms of socio-economic impact. Such value-creating activity occurs in firms that operate within incubators involving a wide range of stakeholders who work through networks to co-create and meet social challenges. Through a case study of a social incubator and an incubatee, we demonstrate the core processes that irradiate the argument on social innovation. The contribution of this paper is threefold: First, social innovation is an emerging area of research, of which there is a dearth in terms of examining the processes empirically. We address the gap in this field by demonstrating the value of social collaboration and engagement using different innovation models. Second, we establish links between social innovation and incubation using the concept of social capital. This allows us to achieve our third contribution: exemplification of a dyadic value-based partnership and collaboration processes between an incubator and an incubatee, through activities driven by social innovation that aim to have social impact. The paper concludes with practice implications and suggests directions for future research. ANNOTATION: This article is one of many showcased in a special 2017 issue of R&D Management which focuses entirely on “Incubation, Decision Making and Knowledge Interaction in Business Modelling.” Written by Katerina Nicolopoulou (University of Strathclyde), Mine Karatas-Özkan (University of Southampton), Christopher Vas (Murdoch University) and Muhammad Nouman (Institute of Management Sciences), this article is an exploration and analysis of processes that support innovation within incubators that have socially-driven mandates, with the aim of answering the central question: “what processes of social innovation characterise social incubation?” (369) At the heart of the paper is a case study of the Hub, an incubator located in London, England. Primary research for the paper was compiled through a series of in-depth interviews with two managers from the Hub, as well as interviews with members of an organization (Oguntê) participating in a program offered by the incubator.\n

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\n \n\n \n \n \n \n \n \n The Evaluation Journey: A Toolkit for Operators.\n \n \n \n \n\n\n \n Gmitrowicz, D.; and Le Sourd, M.\n\n\n \n\n\n\n Technical Report European Network of Cultural Centres, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@techreport{gmitrowicz_evaluation_2017,\n\ttitle = {The {Evaluation} {Journey}: {A} {Toolkit} for {Operators}},\n\turl = {https://encc.eu/sites/default/files/2019-04/encc_evaluation_journey-_a_toolkit_for_cultural_operators.pdf},\n\tinstitution = {European Network of Cultural Centres},\n\tauthor = {Gmitrowicz, Dagna and Le Sourd, Marie},\n\tyear = {2017},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Towards Consensus: Suggested Foundational Building Blocks for Arts Entrepreneurship Research and Pedagogy.\n \n \n \n\n\n \n Gangi, J. J.\n\n\n \n\n\n\n Artivate: A Journal of Entrepreneurship in the Arts, 6(1): 46–62. 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{gangi_towards_2017,\n\ttitle = {Towards {Consensus}: {Suggested} {Foundational} {Building} {Blocks} for {Arts} {Entrepreneurship} {Research} and {Pedagogy}},\n\tvolume = {6},\n\tabstract = {The continued creation of new  arts  entrepreneurship  programs  at  the  university  level highlights  the  need  for  consensus  among  arts  entrepreneurship  researchers  and  educators  about what  we  are  teaching  and  researching. This  article  explores  the  possibility  of  consensus  among business entrepreneurship scholars and arts entrepreneurship scholars, and suggests that a general conception of entrepreneurship is a unifying principle and foundational building block. A theory of entrepreneurship, effectuation, is presented as another building block for arts entrepreneurship research  and  education,  resulting  in  potentially  profound  implications.  Finally,  a  proposed unified  vision  for  the  field  of  arts  entrepreneurship  education  is  presented,  formulated  from existing arts entrepreneurship scholarship.},\n\tnumber = {1},\n\tjournal = {Artivate: A Journal of Entrepreneurship in the Arts},\n\tauthor = {Gangi, Jonathan James},\n\tyear = {2017},\n\tkeywords = {artistic and creative practise (indicator), economic (indicator), social (indicator)},\n\tpages = {46--62},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Hidden Depths and Everyday Secrets: How Audience Sense-making Can Inform Arts Policy and Practice.\n \n \n \n\n\n \n Foreman-Wernet, L.; and Dervin, B.\n\n\n \n\n\n\n The Journal of Arts Management, Law & Society, 47(1): 47–63. 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{foreman-wernet_hidden_2017,\n\ttitle = {Hidden {Depths} and {Everyday} {Secrets}: {How} {Audience} {Sense}-making {Can} {Inform} {Arts} {Policy} and {Practice}},\n\tvolume = {47},\n\tabstract = {This article responds to the arts policy and research call for better understandings of arts audiences--actual and potential. The authors report on the application of Dervin's Sense-Making Methodology (SMM) to audience research. SMM is an approach developed specifically for providing data useful to informing policies and practices of institutions mandated to serve publics. We review the narrative themes that have emerged from our analyses of accounts of cultural experiences by several hundred informants, and we offer five sample applications that illustrate potentials and their implications for arts policy and practice.},\n\tnumber = {1},\n\tjournal = {The Journal of Arts Management, Law \\& Society},\n\tauthor = {Foreman-Wernet, Lois and Dervin, Brenda},\n\tyear = {2017},\n\tkeywords = {cultural and creative industries, management, sense-making (indicator), sense-making (method)},\n\tpages = {47--63},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n What Can Europe Learn From Silicon Valley Accelerators?.\n \n \n \n \n\n\n \n Ester, P.\n\n\n \n\n\n\n In Accelerators in Silicon Valley, pages 137–152. Amsterdam University Press, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"What$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{ester_what_2017,\n\ttitle = {What {Can} {Europe} {Learn} {From} {Silicon} {Valley} {Accelerators}?},\n\tisbn = {9789462987166},\n\turl = {https://www.jstor.org/stable/j.ctt1zrvhk7.12},\n\tabstract = {Accelerators can greatly contribute to advancing a dynamic European startup economy. This study has examined 23 accelerators in Silicon Valley with the aim of inferring some lessons on how to create a stronger and more vibrant startup community in Europe. In addition to presenting the main conclusions of my study, I outline ten practical decision rules for aspiring European accelerators that I believe will ensure their effectiveness. These ten rules are based on my chief findings from this study. I conclude the book by sharing some thoughts on the substantial role that accelerators can play in boosting Europe’s startup economy.},\n\turldate = {2021-05-24},\n\tbooktitle = {Accelerators in {Silicon} {Valley}},\n\tpublisher = {Amsterdam University Press},\n\tauthor = {Ester, Peter},\n\tyear = {2017},\n\tdoi = {10.2307/j.ctt1zrvhk7.12},\n\tkeywords = {USA, accessible (indicator), case study (method), development, digital, economic (indicator), entrepreneurship, for-profit, incubators, international, non-profit, silicon valley, stakeholder, start-ups},\n\tpages = {137--152},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Unique Selling Points: Accelerator Philosophy, Business Model, and Cooperation.\n \n \n \n \n\n\n \n Ester, P.\n\n\n \n\n\n\n In Accelerators in Silicon Valley, pages 63–88. Amsterdam University Press, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Unique$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{ester_unique_2017,\n\ttitle = {Unique {Selling} {Points}: {Accelerator} {Philosophy}, {Business} {Model}, and {Cooperation}},\n\tisbn = {9789462987166},\n\tshorttitle = {Unique {Selling} {Points}},\n\turl = {https://www.jstor.org/stable/j.ctt1zrvhk7.8},\n\tabstract = {I start my analysis of the 23 accelerators that I interviewed by examining their founders’ core philosophy on coaching startups and helping them scale and grow, the variety in the scope and focus of accelerators’ programs, their business model, and the way they collaborate with external partners in Silicon Valley. Some accelerators, as we will see, have a general scope, whereas others focus on specific technologies or niche markets. Some accelerators accept large numbers of startups, whereas others prefer to be small. This difference in focus and size corresponds with differences in accelerator coaching programs. It also relates to two},\n\turldate = {2021-05-24},\n\tbooktitle = {Accelerators in {Silicon} {Valley}},\n\tpublisher = {Amsterdam University Press},\n\tauthor = {Ester, Peter},\n\tyear = {2017},\n\tdoi = {10.2307/j.ctt1zrvhk7.8},\n\tkeywords = {USA, accessible (indicator), business model (indicator), case study (method), co-working, economic (indicator), entrepreneurship, for-profit, incubators, labour, networks, start-ups, taxonomies},\n\tpages = {63--88},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Working on a Dream: Accelerator Startup Programs.\n \n \n \n \n\n\n \n Ester, P.\n\n\n \n\n\n\n In Accelerators in Silicon Valley, pages 105–118. Amsterdam University Press, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Working$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{ester_working_2017,\n\ttitle = {Working on a {Dream}: {Accelerator} {Startup} {Programs}},\n\tisbn = {9789462987166},\n\tshorttitle = {Working on a {Dream}},\n\turl = {https://www.jstor.org/stable/j.ctt1zrvhk7.10},\n\tabstract = {In this chapter, I describe and analyze the main features of the Silicon Valley accelerator programs, particularly with respect to their nature, content, and structure. I take a closer look at the frequency, intensity, and duration of the different accelerator programs and the way they are organized. The descriptions and analysis provide a broad insight into the operational fundamentals of a wide variety of accelerator approaches and programs. As in the previous chapters, I first look at general/low-touch accelerators before moving on to the more domain-specific and niche/high-touch accelerators, and finally accelerating platforms.  In spite of obvious differences in approach,},\n\turldate = {2021-05-24},\n\tbooktitle = {Accelerators in {Silicon} {Valley}},\n\tpublisher = {Amsterdam University Press},\n\tauthor = {Ester, Peter},\n\tyear = {2017},\n\tdoi = {10.2307/j.ctt1zrvhk7.10},\n\tkeywords = {USA, accessible (indicator), business model (indicator), case study (method), economic (indicator), entrepreneurship, for-profit, incubators, non-profit, silicon valley, start-ups, taxonomies},\n\tpages = {105--118},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Innovation and Startups in Silicon Valley: An Ecosystem Approach.\n \n \n \n \n\n\n \n Ester, P.\n\n\n \n\n\n\n In Accelerators in Silicon Valley, pages 37–62. Amsterdam University Press, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Innovation$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{ester_innovation_2017,\n\ttitle = {Innovation and {Startups} in {Silicon} {Valley}: {An} {Ecosystem} {Approach}},\n\tisbn = {9789462987166},\n\tshorttitle = {Innovation and {Startups} in {Silicon} {Valley}},\n\turl = {https://www.jstor.org/stable/j.ctt1zrvhk7.7},\n\tabstract = {In order to understand and explain Silicon Valley’s long-standing performance as a global engine of innovation, entrepreneurship, and startups, I developed a model that stresses the interrelatedness of cultural and institutional factors at the micro, meso, and macro level of this high-tech region (Ester \\& Maas 2016: 29-41). I define Silicon Valley as a well-integrated and balanced ecosystem in which all constituting elements are lined up to promote and sustain leading-edge innovation and pioneering entrepreneurship. It is an almost organic and prototypical system that generates an enduring and resilient habitat for innovation and startups to thrive (Munroe 2009). The Valley is},\n\turldate = {2021-05-24},\n\tbooktitle = {Accelerators in {Silicon} {Valley}},\n\tpublisher = {Amsterdam University Press},\n\tauthor = {Ester, Peter},\n\tyear = {2017},\n\tdoi = {10.2307/j.ctt1zrvhk7.7},\n\tkeywords = {USA, accessible (indicator), business model (indicator), creative work, culture (indicator), development, diversity (indicator), economic (indicator), ecosystem, entrepreneurship, for-profit, innovation, silicon valley, social (indicator), start-ups, taxonomies},\n\tpages = {37--62},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Accelerator Darlings, Challenges, and Future Plans.\n \n \n \n \n\n\n \n Ester, P.\n\n\n \n\n\n\n In Accelerators in Silicon Valley, pages 119–136. Amsterdam University Press, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Accelerator$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{ester_accelerator_2017,\n\ttitle = {Accelerator {Darlings}, {Challenges}, and {Future} {Plans}},\n\tisbn = {9789462987166},\n\turl = {https://www.jstor.org/stable/j.ctt1zrvhk7.11},\n\tabstract = {ABSTRACT: All accelerators have their showcases of startups they see as their greatest successes. In this chapter, I analyze these accelerator darlings and the reasons they were nominated by my respondents. What is their underlying definition of success? Is it mainly related to the funds raised by accelerator startups or their social impact as well? The other side of success is, of course, failure. Do my respondents see a pattern in why startups fail? Does it come down to team, product, or market? It will become clear from my analyses that there is a multitude of factors related to startup success.                                                                                                                                               \n\nANNOTATION: This chapter in Peter Ester’s book Accelerators in Silicon Valley (published 2017) reads more as a list of case studies than an academic report. Ester (Rotterdam University of Applied Sciences) presents the results of a series of interviews conducted with leaders of accelerators located in Silicon Valley. Leaders are asked about start-ups that had been successfully established through programs offered by their accelerators, with specific questions surrounding what is considered “success,” and what are common “factors of success.” While most of the interviews focus on for-profit organizations, many of the start-ups established had mandates addressing social issues. Commonly identified success factors include traction and strong company narrative, while other examples (such as those provided by Powerhouse CEO Emily Kirsch) include “innovation, mission, funding, traction, and diversity.” (124) The chapter also touches upon the evaluation frameworks employed by established start-ups, with interviews revealing that after their establishment the start-ups tend to favour “financial performance” over any other performance metric, followed by business acquisition and market disruption. The 126 interviews also provide insights into organizational models employed by the accelerators, as well as the challenges that they face (the most common of which appear to be talent acquisition and finding affordable real estate.) While this source is albeit a step removed from discussing evaluation frameworks for the accelerators themselves, it still provides valuable insight into the success factors affiliated with accelerators, as well as the challenges they face. Notable cases include Women’s Startup Lab (which has the central mandate of “empowering female startup founders”) as well as HackerDojo, an accelerator employing a non-profit business model. (124) The accessible language style makes this article a highly readable source for anyone interested in the subject matter.},\n\turldate = {2021-05-24},\n\tbooktitle = {Accelerators in {Silicon} {Valley}},\n\tpublisher = {Amsterdam University Press},\n\tauthor = {Ester, Peter},\n\tyear = {2017},\n\tdoi = {10.2307/j.ctt1zrvhk7.11},\n\tkeywords = {USA, business model (indicator), business model incubator (indicator), business model non-profit (indicator), discourse analysis (method), economic (indicator), entrepreneurship, for-profit, incubators, innovation, interviews (method), non-profit, silicon valley, social (indicator), start-ups},\n\tpages = {119--136},\n}\n\n\n\n

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\n\n\n

\n ABSTRACT: All accelerators have their showcases of startups they see as their greatest successes. In this chapter, I analyze these accelerator darlings and the reasons they were nominated by my respondents. What is their underlying definition of success? Is it mainly related to the funds raised by accelerator startups or their social impact as well? The other side of success is, of course, failure. Do my respondents see a pattern in why startups fail? Does it come down to team, product, or market? It will become clear from my analyses that there is a multitude of factors related to startup success. ANNOTATION: This chapter in Peter Ester’s book Accelerators in Silicon Valley (published 2017) reads more as a list of case studies than an academic report. Ester (Rotterdam University of Applied Sciences) presents the results of a series of interviews conducted with leaders of accelerators located in Silicon Valley. Leaders are asked about start-ups that had been successfully established through programs offered by their accelerators, with specific questions surrounding what is considered “success,” and what are common “factors of success.” While most of the interviews focus on for-profit organizations, many of the start-ups established had mandates addressing social issues. Commonly identified success factors include traction and strong company narrative, while other examples (such as those provided by Powerhouse CEO Emily Kirsch) include “innovation, mission, funding, traction, and diversity.” (124) The chapter also touches upon the evaluation frameworks employed by established start-ups, with interviews revealing that after their establishment the start-ups tend to favour “financial performance” over any other performance metric, followed by business acquisition and market disruption. The 126 interviews also provide insights into organizational models employed by the accelerators, as well as the challenges that they face (the most common of which appear to be talent acquisition and finding affordable real estate.) While this source is albeit a step removed from discussing evaluation frameworks for the accelerators themselves, it still provides valuable insight into the success factors affiliated with accelerators, as well as the challenges they face. Notable cases include Women’s Startup Lab (which has the central mandate of “empowering female startup founders”) as well as HackerDojo, an accelerator employing a non-profit business model. (124) The accessible language style makes this article a highly readable source for anyone interested in the subject matter.\n

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\n \n\n \n \n \n \n \n \n Emerging Workplaces in Post-Functionalist Cities.\n \n \n \n \n\n\n \n Di Marino, M.; and Lapintie, K.\n\n\n \n\n\n\n Journal of Urban Technology, 24(3): 5–25. July 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Emerging$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{di_marino_emerging_2017,\n\ttitle = {Emerging {Workplaces} in {Post}-{Functionalist} {Cities}},\n\tvolume = {24},\n\tissn = {1063-0732, 1466-1853},\n\turl = {https://www.tandfonline.com/doi/full/10.1080/10630732.2017.1297520},\n\tdoi = {10.1080/10630732.2017.1297520},\n\tabstract = {This paper explores new types of workplaces that are emerging due to the growing flexibility in work arrangements and the use of information and communication technologies. In addition to home and office, third places, such as libraries and coffee shops, are increasingly used as temporary workplaces. Moreover, there is a proliferation of co-working spaces that are designed as temporary working locations. Thus, the boundaries between traditional urban functions have become blurred; different functions co-exist in the same spaces, and new functionalities emerge as people take spaces into new uses. We may call our cities “post-functionalist,” ones that are no longer based only on predetermined and designed functions. However, there has been little research on the spatial characteristics of these new workplaces as well as on the social features within these places. These phenomena have been empirically studied through observational studies, interviews, and spatial analyses of three such sites: Café Köket, Meetingpoint, and Helsinki Think Company in the city center of Helsinki. The results reveal new forms of appropriation of public and semi-public spaces for working purposes that have not yet been analyzed in the context of existing urban policies and practices. The findings provide input for future visions and the planning of new workplaces. Annotation: Examines spatial characteristics of co-working and non-traditional work spaces (specific case studies are a coffee shop, an office space located in a urban library, and a municipal/university sponsored work space) to understand spatial characteristics and why people are choosing to work in these spaces. Key elements identified from the study could be used to inform the creation of new creative hubs.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-24},\n\tjournal = {Journal of Urban Technology},\n\tauthor = {Di Marino, Mina and Lapintie, Kimmo},\n\tmonth = jul,\n\tyear = {2017},\n\tkeywords = {artists and creative workers, co-working, community engagement (indicator), culture (indicator), digital, interviews (method), observation (method), space},\n\tpages = {5--25},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Canada Policy Framework.\n \n \n \n \n\n\n \n Heritage, C.\n\n\n \n\n\n\n 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{canadian_heritage_creative_2017,\n\ttitle = {Creative {Canada} {Policy} {Framework}},\n\turl = {https://www.canada.ca/en/canadian-heritage/campaigns/creative-canada/framework.html},\n\tjournal = {Government of Canada},\n\tauthor = {Canadian Heritage},\n\tyear = {2017},\n\tkeywords = {cultural and creative industries, development, economic (indicator), governance, policy instruments (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Art and soul in the Exchange District of Winnipeg, MB: Planning for arts, culture, and creativity - ProQuest.\n \n \n \n \n\n\n \n Bell, P. W.\n\n\n \n\n\n\n Ph.D. Thesis, Canada, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Art$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@phdthesis{bell_art_2017,\n\taddress = {Canada},\n\ttitle = {Art and soul in the {Exchange} {District} of {Winnipeg}, {MB}: {Planning} for arts, culture, and creativity - {ProQuest}},\n\tshorttitle = {Art and soul in the {Exchange} {District} of {Winnipeg}, {MB}},\n\turl = {https://www.proquest.com/docview/1987926794/abstract/DF7E174844EC49FCPQ/2},\n\tabstract = {This research thesis follows up on research conducted by Nathan Medeiros in 2005 that studied planning for creativity in Winnipeg’s Exchange District. The thesis is guided by two research questions “What policies and planning approaches have supported the development of creative industries in Winnipeg’s Exchange District?” and, “In particular, what policies and planning approaches support the creative entrepreneurs and workers that live and work there? These research questions are translated into two objectives: (1) compare changes in the Exchange District since 2005, and (2) make policy recommendations for the City of Winnipeg especially on how to attract and retain creative entrepreneurs and workers that live and work in the Exchange District. The case study includes a document analysis of planning and policy documents for Winnipeg, MB., interviews with thirteen (13) participants, and participant observations. Medeiros conducted a strengths, weaknesses, opportunities, and threats (SWOT) analysis of Charles Landry’s “Cycle of Urban Creativity” in relation to the Exchange District. A similar SWOT has been conducted in order to compare findings from 2005 to 2017. Three elements have been identified as contributing to the development of creative industries in the Exchange District: (1) a strong public realm; (2) internal/external networking for arts, culture, and creative industries; and, (3) support and advocacy organizations for arts, culture, and creativity. Three additional elements have been identified as equally as important, although are not present in the Exchange District: (1) connectivity to surrounding areas; (2) multilateral civic collaboration and leadership; and, (3) mixed-income and mixed-type housing and workspaces. Five recommendations for the City of Winnipeg: (1) develop and implement an affordable housing strategy for Winnipeg’s downtown; (2) incentivize heritage building redevelopment, and at the same time de-incentivize empty buildings and empty lots; (3) recognize the uniqueness of the Exchange District in official planning documents; (4) support opportunities for cross industry collaboration as well as outreach to other creative centres; and, (5) create a ‘creative spaces strategy’ for the Exchange District.},\n\tlanguage = {en},\n\turldate = {2021-05-24},\n\tauthor = {Bell, Paul W.},\n\tyear = {2017},\n\tkeywords = {Canada, business model (indicator), civic and social engagement (indicator), community impact (indicator), cultural district, entrepreneurship, physical space (indicator), space},\n}\n\n\n\n

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\n This research thesis follows up on research conducted by Nathan Medeiros in 2005 that studied planning for creativity in Winnipeg’s Exchange District. The thesis is guided by two research questions “What policies and planning approaches have supported the development of creative industries in Winnipeg’s Exchange District?” and, “In particular, what policies and planning approaches support the creative entrepreneurs and workers that live and work there? These research questions are translated into two objectives: (1) compare changes in the Exchange District since 2005, and (2) make policy recommendations for the City of Winnipeg especially on how to attract and retain creative entrepreneurs and workers that live and work in the Exchange District. The case study includes a document analysis of planning and policy documents for Winnipeg, MB., interviews with thirteen (13) participants, and participant observations. Medeiros conducted a strengths, weaknesses, opportunities, and threats (SWOT) analysis of Charles Landry’s “Cycle of Urban Creativity” in relation to the Exchange District. A similar SWOT has been conducted in order to compare findings from 2005 to 2017. Three elements have been identified as contributing to the development of creative industries in the Exchange District: (1) a strong public realm; (2) internal/external networking for arts, culture, and creative industries; and, (3) support and advocacy organizations for arts, culture, and creativity. Three additional elements have been identified as equally as important, although are not present in the Exchange District: (1) connectivity to surrounding areas; (2) multilateral civic collaboration and leadership; and, (3) mixed-income and mixed-type housing and workspaces. Five recommendations for the City of Winnipeg: (1) develop and implement an affordable housing strategy for Winnipeg’s downtown; (2) incentivize heritage building redevelopment, and at the same time de-incentivize empty buildings and empty lots; (3) recognize the uniqueness of the Exchange District in official planning documents; (4) support opportunities for cross industry collaboration as well as outreach to other creative centres; and, (5) create a ‘creative spaces strategy’ for the Exchange District.\n

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\n \n\n \n \n \n \n \n \n Creative Exchanges: The AHRC Knowledge Exchange Hubs for the Creative Economy Report.\n \n \n \n \n\n\n \n AHRC; and Holden, J.\n\n\n \n\n\n\n Technical Report AHRC, London, UK, 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@techreport{ahrc_creative_2017,\n\taddress = {London, UK},\n\ttitle = {Creative {Exchanges}: {The} {AHRC} {Knowledge} {Exchange} {Hubs} for the {Creative} {Economy} {Report}},\n\turl = {https://ahrc.ukri.org/documents/project-reports-and-reviews/creative-exchanges-ke-hubs/},\n\tinstitution = {AHRC},\n\tauthor = {AHRC and Holden, J.},\n\tyear = {2017},\n\tkeywords = {UK},\n}\n\n\n\n

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\n \n 2016\n \n \n (15)\n \n \n

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\n \n\n \n \n \n \n \n \n Innovation Hub How-To: Lessons From Silicon Valley.\n \n \n \n \n\n\n \n Berger, A.; and Brem, A.\n\n\n \n\n\n\n Global Business and Organizational Excellence, 35(5): 58–70. July 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Innovation$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{berger_innovation_2016,\n\ttitle = {Innovation {Hub} {How}-{To}: {Lessons} {From} {Silicon} {Valley}},\n\tvolume = {35},\n\tissn = {19322054},\n\tshorttitle = {Innovation {Hub} {How}-{To}},\n\turl = {http://doi.wiley.com/10.1002/joe.21698},\n\tdoi = {10.1002/joe.21698},\n\tabstract = {Firms around the world are eager to replicate the successes of enterprises that have established innovation labs in California's Silicon Valley. An analysis of four leading US companies that have set up idea incubators in the Valley—Xerox, Apple, Google, and Cisco—point to eight factors for success in establishing an innovative environment: carefully considering the decision to set up such a center, hiring the right people, designing a framework for effective output, creating a buffer from bureaucratic distractions, securing a leader to champion the effort, focusing on business outcomes, fostering disruptive over incremental innovation, and being patient. Regardless of where an innovation hub is established, the key to success lies in hiring creative, intrinsically motivated staff and then giving them the freedom to do what they do best.},\n\tlanguage = {en},\n\tnumber = {5},\n\turldate = {2021-05-17},\n\tjournal = {Global Business and Organizational Excellence},\n\tauthor = {Berger, Andreas and Brem, Alexander},\n\tmonth = jul,\n\tyear = {2016},\n\tkeywords = {USA, business model (indicator), case study (method), for-profit, incubators, innovation, physical space (indicator), silicon valley, start-ups},\n\tpages = {58--70},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Creative Hubs Report: 2016.\n \n \n \n \n\n\n \n Dovey, J.; Pratt, A. C.; Moreton, S.; Virani, T. E.; Merkel, J.; and Lansdowne, J.\n\n\n \n\n\n\n Technical Report British Council, UK, 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{dovey_creative_2016,\n\taddress = {UK},\n\ttitle = {The {Creative} {Hubs} {Report}: 2016},\n\turl = {https://creativeconomy.britishcouncil.org/media/uploads/files/HubsReport.pdf},\n\tabstract = {A dynamic ecosystem of creative spaces and communities has developed over the last 10 years. They are guiding and supporting thousands of creative ventures, but are still largely misunderstood and often undervalued. The word ‘hub’ has become a universal but slippery term to label centres of creative enterprise, representing many different shapes, sizes and agendas.\nThis report has been commissioned to better understand their diverse value, processes and motivations and in doing so, analyse how best to support and stimulate the wider creative economy they are rooted in, particularly in times of political and financial uncertainty.},\n\tinstitution = {British Council},\n\tauthor = {Dovey, Jon and Pratt, Andy C. and Moreton, Simon and Virani, Tarek E. and Merkel, Janet and Lansdowne, Jo},\n\tyear = {2016},\n\tkeywords = {business model community interest company (indicator), business model non-profit (indicator), community, community (indicator), diversity (indicator), equity (indicator), exhibitions (indicator), performance},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n There’s an Art to It: Exploring Creative Evaluation.\n \n \n \n \n\n\n \n Yung, H.\n\n\n \n\n\n\n March 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"There’s$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@misc{yung_theres_2016,\n\ttitle = {There’s an {Art} to {It}: {Exploring} {Creative} {Evaluation}},\n\tshorttitle = {There’s an {Art} to {It}},\n\turl = {https://theonn.ca/theres-an-art-to-it-exploring-creative-evaluation/},\n\tabstract = {Using art in your evaluation process can help better engage your stakeholders, remove barriers and is a fun, useful process. Guest blogger Helen Yung explores creative approaches to evaluation. When it comes to evaluation, one size never fits all. And, if conventional approaches to evaluation strike you as uninspired, formulaic, or ill-suited for your program or community, there are more creative options to explore.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tjournal = {Ontario Non-profit Network},\n\tauthor = {Yung, Helen},\n\tmonth = mar,\n\tyear = {2016},\n\tkeywords = {Canada, non-profit},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Exploring the Issues: An Evaluation Literature Review (Sector-Driven Evaluation Strategy).\n \n \n \n \n\n\n \n Taylor, A.; and Liadsky, B.\n\n\n \n\n\n\n Technical Report Ontario Non-profit Network, 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Exploring$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@techreport{taylor_exploring_2016,\n\ttitle = {Exploring the {Issues}: {An} {Evaluation} {Literature} {Review} ({Sector}-{Driven} {Evaluation} {Strategy})},\n\turl = {https://theonn.ca/our-work/our-people/evaluation/#1522959849717-34d25c01-cd8e},\n\tinstitution = {Ontario Non-profit Network},\n\tauthor = {Taylor, Andrew and Liadsky, Ben},\n\tyear = {2016},\n\tkeywords = {Canada, literature review (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n City Labs as Vehicles for Innovation in Urban Planning Processes.\n \n \n \n \n\n\n \n Scholl, C.; and Kemp, R.\n\n\n \n\n\n\n Urban Planning, 1(4): 89–102. December 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"City$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{scholl_city_2016,\n\ttitle = {City {Labs} as {Vehicles} for {Innovation} in {Urban} {Planning} {Processes}},\n\tvolume = {1},\n\tcopyright = {Copyright (c) 2016 Christian Scholl, René Kemp},\n\tissn = {2183-7635},\n\turl = {https://www.cogitatiopress.com/urbanplanning/article/view/749},\n\tdoi = {10.17645/up.v1i4.749},\n\tabstract = {This paper assesses the role of urban experiments for local planning processes through a case-based analysis of the city lab of Maastricht. In conjunction with this, the article offers three contributions, as additional elements. Firstly, the paper develops a set of defining characteristics of city labs as an analytical concept which is relevant for discussions about (collaborative) planning. Secondly, it refines the literature on collaborative planning by drawing attention to experimentation and innovation. Thirdly, the paper assesses the potential of city labs to contribute to the innovation of urban governance. The work draws from the literature on experimentation and learning as well as the literature on collaborative urban planning. In the conclusions, we discuss the potential of city labs as vehicles for learning about new urban planning approaches and their limitations as spaces for small-scale experimentation.},\n\tlanguage = {en},\n\tnumber = {4},\n\turldate = {2021-05-29},\n\tjournal = {Urban Planning},\n\tauthor = {Scholl, Christian and Kemp, René},\n\tmonth = dec,\n\tyear = {2016},\n\tkeywords = {collaboration, collaboration (indicator), governance, hubs, labour, physical space (indicator), planning, social factors (indicator)},\n\tpages = {89--102},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Role of Social Capital in the Start-Up of Non-profit Organisations: The Case of Fondazione Welfare Ambrosiano.\n \n \n \n \n\n\n \n Pedrini, M.; Bramanti, V.; Ferri, L. M.; and Minciullo, M.\n\n\n \n\n\n\n VOLUNTAS: International Journal of Voluntary and Nonprofit Organizations, 27(3): 1195–1217. June 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{pedrini_role_2016,\n\ttitle = {The {Role} of {Social} {Capital} in the {Start}-{Up} of {Non}-profit {Organisations}: {The} {Case} of {Fondazione} {Welfare} {Ambrosiano}},\n\tvolume = {27},\n\tissn = {1573-7888},\n\tshorttitle = {The {Role} of {Social} {Capital} in the {Start}-{Up} of {Non}-profit {Organisations}},\n\turl = {https://doi.org/10.1007/s11266-015-9614-y},\n\tdoi = {10.1007/s11266-015-9614-y},\n\tabstract = {This article investigates how a start-up foundation can build its organisational social capital, meaning a network of strategic partnerships with other organisations based on trust relationships, in order to fulfil its mission. Based on a case study analysis of Fondazione Welfare Ambrosiano—an Italian foundation created in partnership with private organisations and local public institutions—we explored whether and how some characteristics of the social capital of the foundation’s members contributed to the organisational social capital. By applying Nahapiet and Ghoshal’s (Acad Manag Rev 23(2):242–266, 1998) social capital framework, we discovered that the social capital configuration of the founders and staff, linked to some characteristics of the foundation, had driven the development of the organisational social capital. Our paper contributes to an understanding of what constitutes the best configuration of social capital to allow a start-up foundation to take off.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {VOLUNTAS: International Journal of Voluntary and Nonprofit Organizations},\n\tauthor = {Pedrini, Matteo and Bramanti, Valentina and Ferri, Laura Maria and Minciullo, Marco},\n\tmonth = jun,\n\tyear = {2016},\n\tkeywords = {social capital (indicator)},\n\tpages = {1195--1217},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Questioning Big Data: Crowdsourcing crisis data towards an inclusive humanitarian response.\n \n \n \n \n\n\n \n Mulder, F.; Ferguson, J.; Groenewegen, P.; Boersma, K.; and Wolbers, J.\n\n\n \n\n\n\n Big Data & Society, 3(2): 2053951716662054. December 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Questioning$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{mulder_questioning_2016,\n\ttitle = {Questioning {Big} {Data}: {Crowdsourcing} crisis data towards an inclusive humanitarian response},\n\tvolume = {3},\n\tissn = {2053-9517},\n\tshorttitle = {Questioning {Big} {Data}},\n\turl = {https://doi.org/10.1177/2053951716662054},\n\tdoi = {10.1177/2053951716662054},\n\tabstract = {The aim of this paper is to critically explore whether crowdsourced Big Data enables an inclusive humanitarian response at times of crisis. We argue that all data, including Big Data, are socially constructed artefacts that reflect the contexts and processes of their creation. To support our argument, we qualitatively analysed the process of ‘Big Data making’ that occurred by way of crowdsourcing through open data platforms, in the context of two specific humanitarian crises, namely the 2010 earthquake in Haiti and the 2015 earthquake in Nepal. We show that the process of creating Big Data from local and global sources of knowledge entails the transformation of information as it moves from one distinct group of contributors to the next. The implication of this transformation is that locally based, affected people and often the original ‘crowd’ are excluded from the information flow, and from the interpretation process of crowdsourced crisis knowledge, as used by formal responding organizations, and are marginalized in their ability to benefit from Big Data in support of their own means. Our paper contributes a critical perspective to the debate on participatory Big Data, by explaining the process of in and exclusion during data making, towards more responsive humanitarian relief.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2021-05-26},\n\tjournal = {Big Data \\& Society},\n\tauthor = {Mulder, Femke and Ferguson, Julie and Groenewegen, Peter and Boersma, Kees and Wolbers, Jeroen},\n\tmonth = dec,\n\tyear = {2016},\n\tkeywords = {digital, international},\n\tpages = {2053951716662054},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Scratching the surface: Rethinking the roots of Canadian communication policy.\n \n \n \n \n\n\n \n Luka, M. E.\n\n\n \n\n\n\n November 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Scratching$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{luka_scratching_2016,\n\ttitle = {Scratching the surface: {Rethinking} the roots of {Canadian} communication policy},\n\tshorttitle = {Scratching the surface},\n\turl = {https://crtc.gc.ca/eng/acrtc/prx/2016/luka2016.htm},\n\tabstract = {CRTC Prize for Excellence in Policy Research - Post-doctorate category: Mary Elizabeth Luka, York University - Scratching the surface: Rethinking the roots of Canadian communication policy},\n\tlanguage = {eng},\n\turldate = {2021-05-26},\n\tauthor = {Luka, Mary Elizabeth},\n\tmonth = nov,\n\tyear = {2016},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Artists and Multiple Job Holding—Breadwinning Work as Mediating Between Bohemian and Entrepreneurial Identities and Behavior.\n \n \n \n \n\n\n \n Lindström, S.\n\n\n \n\n\n\n Nordic Journal of Working Life Studies, 6(3): 43–58. October 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Artists$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{lindstrom_artists_2016,\n\ttitle = {Artists and {Multiple} {Job} {Holding}—{Breadwinning} {Work} as {Mediating} {Between} {Bohemian} and {Entrepreneurial} {Identities} and {Behavior}},\n\tvolume = {6},\n\tcopyright = {Copyright (c) 2016 Nordic Journal of Working Life Studies},\n\tissn = {2245-0157},\n\turl = {https://tidsskrift.dk/njwls/article/view/26674},\n\tdoi = {10.19154/njwls.v6i3.5527},\n\tabstract = {ANNOTATIONL Narrative analysis of 20 visual artists in Sweden in relation to their work behavior and identity as either "bohemian" or "entrepreneurial." Precarious workplace conditions such as low wages, temporary contracts, unstable work and little control over work hours ultimately defined artists' experiences towards work - in particularly in their breadwinning roles, through holding multiple jobs. These precarious factors ultimately influenced artists' identity and sensemaking most profoundly. The article seeks to understand artistic labour behavarious and identities beyond mythologies which justify precarities of "bohemian" and "entrepreneurial" categories. Sees the importance of understanding work identity as formed through social contexts. The term "combinators" is coined to describe the resources for mixed, short-term, and/or self- employment contracts (44. The paper grounds the analysis of artists within the context of Swedish state and cultural policy, which has largely tried to compensate for market failure regarding market failure in arts and culture: ie., the "bohemian ethic" supported by Swedish cultural policy (45-46). "Entrepreneurial" work ethic propagated in Sweden through former centre-right government 2009 plan of action to encourage collaboration between culture and business; emphasis on promotion of understanding artists as "entrepreneurs" - construction of "indv career paths" (47-48). Policy conclusions: artists would benefit from a higher ed in arts management to prepare for entrepreneurial skills (55). The paper acknowledges and incorporates professional identities and working conditions of holding multiple jobs related to work experience and initiates policy focused specifically on artistic precartities and labor rights (55).},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {Nordic Journal of Working Life Studies},\n\tauthor = {Lindström, Sofia},\n\tmonth = oct,\n\tyear = {2016},\n\tkeywords = {accessible (indicator), entrepreneur (indicator), entrepreneurship, labour},\n\tpages = {43--58},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Youth-led community arts hubs: Self-determined learning in an out-of-school time (OST) program.\n \n \n \n \n\n\n \n Hauseman, D. C.\n\n\n \n\n\n\n Cogent Education, 3(1): 1210492. December 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Youth-led$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{hauseman_youth-led_2016,\n\ttitle = {Youth-led community arts hubs: {Self}-determined learning in an out-of-school time ({OST}) program},\n\tvolume = {3},\n\tissn = {2331-186X},\n\tshorttitle = {Youth-led community arts hubs},\n\turl = {https://www.tandfonline.com/doi/full/10.1080/2331186X.2016.1210492},\n\tdoi = {10.1080/2331186X.2016.1210492},\n\tabstract = {This article reports findings from qualitative case studies of three youth-led community arts hubs, a program that is rooted in, and utilizes a self-determined learning approach. Qualitative case studies of three program sites sought to generate meaningful data that could lead to rapid ongoing program development and inform the development and delivery of new program sites. Multiple lines of inquiry were utilized, including observations, and focus groups at all three program sites were designed to gather outcomes and demographic data from participating youth, as well as interviews with program staff. Findings indicate that the program is more successful engaging youth when using primarily self-directed and youth-led approaches to learning and program delivery when compared to adult-driven and more structured activities. The findings of these qualitative case studies also hint at the program having a positive impact on participating youth, helping them build confidence, and strengthening their artistic abilities. Recommendations include promoting informal peer learning and mentoring to further self-directed learning opportunities, as well as operating the hubs during the summer months.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Cogent Education},\n\tauthor = {Hauseman, David Cameron},\n\teditor = {English, Rebecca Maree},\n\tmonth = dec,\n\tyear = {2016},\n\tkeywords = {arts sector, community, development, entrepreneurship, skill-building (indicator), youth},\n\tpages = {1210492},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Accountability Reporting in Austrian Non-Profit Organizations - More Than A Compliance Instrument?.\n \n \n \n \n\n\n \n Greiling, D.; Stötzer, S.; and Stoetzer, S.\n\n\n \n\n\n\n Public Administration Quarterly, 40(2): 256–287. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Accountability$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{greiling_accountability_2016,\n\ttitle = {Accountability {Reporting} in {Austrian} {Non}-{Profit} {Organizations} - {More} {Than} {A} {Compliance} {Instrument}?},\n\tvolume = {40},\n\tissn = {0734-9149},\n\turl = {https://www.jstor.org/stable/24772932},\n\tabstract = {ANNOTATION: This robust 2016 article published in Public Administration Quarterly is written by Dorothea Greiling and Sandra Stötzer (both hailing from Johannes Kepler University.) The paper presents the results from a series of 20 interviews with executives from social sector non-profits in Austria, with research questions focusing on what performance measurement systems are currently in place in regard to their organizational efficiency and effectiveness. The authors attest to the benefits of performance measurement tools, which (according to Greiling and Stötzer) not only promote accountability but can also be used as decision making, influencing and internal management tools. Definitions and descriptions are provided for each of these system tools, as well as a general overview of theories and key concepts related to performance measurement systems (PMS) and accountability. A significant portion of the paper is also dedicated to an examination of how non-profit organizations balance accountability obligations and external stakeholder pressures with their own internal management needs. After the presentation of the authors’ case-study methodology, the results of the responses to the guiding questions are then presented. Findings of the semi-structured interviews demonstrate that most organizations employ more than one performance measurement system, and feel they are held accountable to multiple stakeholders (examples include government agencies, charitable status certifiers, as well as other financial resource providers.) From the data collected, Greiling and Stötzer ascertain that self-developed and externally-specified PMS are nearly equally represented amongst the interviewees, while the vast majority of organizations stated that the three main purposes of the PMS are: external accountability, financial reporting, ad performance reporting. The type and purpose of the PMS appears to fluctuate with the size of the organization. The section concludes with an analysis of the cost-benefit ratio of the development of PMS. The report continues with a discussion as to whether non-profits can independently develop self-assessment frameworks, or if major funders must be included in the evaluation development process. The paper concludes with the recommendation that other countries replicate this research methodology with their own non-profit organizations. This paper may prove useful to non-profit leaders seeking a general overview of published research on the subject of performance measurement systems. While the literature review section of the report is quite robust and includes many references to previously published works in the PMS field, the text remains an accessible read due to the authors’ concise and comprehensible explanations. Another potentially relevant tool is the included list of “guiding questions” developed by to Greiling and Stötzer in order to collect information from non-profits regarding their organizational structures. Although all organizations interviewed for the report had social-issue focused mandates, the questions appear to be general enough to be applicable to the creative and cultural sectors as well.},\n\tnumber = {2},\n\turldate = {2021-05-26},\n\tjournal = {Public Administration Quarterly},\n\tauthor = {Greiling, Dorothea and Stötzer, Sandra and Stoetzer, Sandra},\n\tyear = {2016},\n\tkeywords = {business model non-profit (indicator), case study (method), discourse analysis (method), document analysis (method), economic (indicator), international, interviews (method), literature review (method), management, non-profit},\n\tpages = {256--287},\n}\n\n\n\n

\n

\n\n\n

\n ANNOTATION: This robust 2016 article published in Public Administration Quarterly is written by Dorothea Greiling and Sandra Stötzer (both hailing from Johannes Kepler University.) The paper presents the results from a series of 20 interviews with executives from social sector non-profits in Austria, with research questions focusing on what performance measurement systems are currently in place in regard to their organizational efficiency and effectiveness. The authors attest to the benefits of performance measurement tools, which (according to Greiling and Stötzer) not only promote accountability but can also be used as decision making, influencing and internal management tools. Definitions and descriptions are provided for each of these system tools, as well as a general overview of theories and key concepts related to performance measurement systems (PMS) and accountability. A significant portion of the paper is also dedicated to an examination of how non-profit organizations balance accountability obligations and external stakeholder pressures with their own internal management needs. After the presentation of the authors’ case-study methodology, the results of the responses to the guiding questions are then presented. Findings of the semi-structured interviews demonstrate that most organizations employ more than one performance measurement system, and feel they are held accountable to multiple stakeholders (examples include government agencies, charitable status certifiers, as well as other financial resource providers.) From the data collected, Greiling and Stötzer ascertain that self-developed and externally-specified PMS are nearly equally represented amongst the interviewees, while the vast majority of organizations stated that the three main purposes of the PMS are: external accountability, financial reporting, ad performance reporting. The type and purpose of the PMS appears to fluctuate with the size of the organization. The section concludes with an analysis of the cost-benefit ratio of the development of PMS. The report continues with a discussion as to whether non-profits can independently develop self-assessment frameworks, or if major funders must be included in the evaluation development process. The paper concludes with the recommendation that other countries replicate this research methodology with their own non-profit organizations. This paper may prove useful to non-profit leaders seeking a general overview of published research on the subject of performance measurement systems. While the literature review section of the report is quite robust and includes many references to previously published works in the PMS field, the text remains an accessible read due to the authors’ concise and comprehensible explanations. Another potentially relevant tool is the included list of “guiding questions” developed by to Greiling and Stötzer in order to collect information from non-profits regarding their organizational structures. Although all organizations interviewed for the report had social-issue focused mandates, the questions appear to be general enough to be applicable to the creative and cultural sectors as well.\n

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\n \n\n \n \n \n \n \n \n Towards an urban quality framework: determining critical measures for different geographical scales to attract and retain talent in cities.\n \n \n \n \n\n\n \n Esmaeilpoorarabi, N.; Yigitcanlar, T.; and Guaralda, M.\n\n\n \n\n\n\n International Journal of Knowledge-Based Development, 7(3): 290. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Towards$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{esmaeilpoorarabi_towards_2016,\n\ttitle = {Towards an urban quality framework: determining critical measures for different geographical scales to attract and retain talent in cities},\n\tvolume = {7},\n\tissn = {2040-4468, 2040-4476},\n\tshorttitle = {Towards an urban quality framework},\n\turl = {http://www.inderscience.com/link.php?id=78556},\n\tdoi = {10.1504/IJKBD.2016.078556},\n\tabstract = {In the era of knowledge economy, offerings of urban spaces are critical for success in the tough rivalry to attract and retain knowledge workers and industries. Many cities foster knowledge-based urban developments through strategies to make urban spaces more appealing to talent and investment. These strategies focus on enhancing urban quality - that is a multidimensional phenomenon with numerous economic, social, environmental, and personal aspects. Urban quality is impacted by diverse factors at different geographic scales - i.e., regional, urban, and local levels. At present there is no clear understanding on how synergies across these different geographic scales work. This study aims to investigate the connotations and characteristics of urban quality measures at various geographic scales through the review of literature and best practice studies. Based on the review findings, the paper proposes directions to build a multidimensional and multi-scalar urban quality framework that assigns relevant quality measures to each geographic scale. This paper sheds light on the urban quality policy and performance assessment issues in the context of knowledge and innovation spaces, and generate insights for urban planners and policymakers in planning and developing appealing local conditions in their cities.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-24},\n\tjournal = {International Journal of Knowledge-Based Development},\n\tauthor = {Esmaeilpoorarabi, Niusha and Yigitcanlar, Tan and Guaralda, Mirko},\n\tyear = {2016},\n\tkeywords = {development, ecosystem, innovation, labour, social relations (indicator)},\n\tpages = {290},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Artificial Intelligence’s White Guy Problem.\n \n \n \n \n\n\n \n Crawford, K.\n\n\n \n\n\n\n New York Times. June 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Artificial$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{crawford_artificial_2016,\n\taddress = {New York},\n\ttitle = {Artificial {Intelligence}’s {White} {Guy} {Problem}.},\n\turl = {http://www.nytimes.com/2016/06/26/opinion/sunday/artificial-intelligences-white-guy-problem.html},\n\tjournal = {New York Times},\n\tauthor = {Crawford, Kate},\n\tmonth = jun,\n\tyear = {2016},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Strategizing Cultural Clusters; Long-Range Socio-Political Plans or Emergent Strategy Development.\n \n \n \n\n\n \n Abfalter, D.; and Piber, M.\n\n\n \n\n\n\n The Journal of Arts Management, Law & Society, 46(4): 177–186. 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{abfalter_strategizing_2016,\n\ttitle = {Strategizing {Cultural} {Clusters}; {Long}-{Range} {Socio}-{Political} {Plans} or {Emergent} {Strategy} {Development}},\n\tvolume = {46},\n\tabstract = {In many cities, cultural and creative clusters are elements of an ongoing urban development. As networks of arts institutions of different genres, structures, hierarchies, temporal and spatial forms, and size, they are rich examples for strategic analysis. We use the MuseumsQuartier (MQ) Wien as an example of a cultural cluster within a historic city center and focus on (1) the organizational, institutional, and sociopolitical impact of more or less detailed strategic frames of the overarching organizational con- struction; and (2) understanding strategy-making processes in cultural clusters with reference to the overall political frame and the strategy-as- practice approach.},\n\tnumber = {4},\n\tjournal = {The Journal of Arts Management, Law \\& Society},\n\tauthor = {Abfalter, Dagmar and Piber, Martin},\n\tyear = {2016},\n\tkeywords = {cultural district},\n\tpages = {177--186},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Building tribal communities in the collaborative economy: an innovation framework.\n \n \n \n \n\n\n \n Barnes, S. J.; and Mattsson, J.\n\n\n \n\n\n\n Prometheus, 34(2): 95–113. April 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Building$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{barnes_building_2016,\n\ttitle = {Building tribal communities in the collaborative economy: an innovation framework},\n\tvolume = {34},\n\tissn = {0810-9028, 1470-1030},\n\tshorttitle = {Building tribal communities in the collaborative economy},\n\turl = {https://www.tandfonline.com/doi/full/10.1080/08109028.2017.1279875},\n\tdoi = {10.1080/08109028.2017.1279875},\n\tabstract = {In recent years, there has been a groundswell of initiatives aimed at providing platforms to share resources among people. Collaborative consumption provides a model for a ‘sharing economy’ where the dominant logic of consumers is resource access rather than ownership. This study examines the nature and development of a variety of collaborative consumption businesses; in particular, we explore how start-up entrepreneurs see the problems of creating a tribal community among customers and users. Interviews were carried out with founders and co-founders of collaborative consumption ventures during 2014–15. The results suggest that these organisations face many common issues. We develop and apply a framework to understand some of these. We find that collaborative consumption entrepreneurs strive to build a tribal community by matching, in an innovative way, supply and demand. This is typically done by co-creating shared commonality, developing scalable electronic platforms, and building trust into platforms using social media to develop proxy social capital. Consequently, by using existing ecosystems of social media, tribal communities can be formed and scaled much more quickly than via traditional marketing approaches.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2021-05-17},\n\tjournal = {Prometheus},\n\tauthor = {Barnes, Stuart J. and Mattsson, Jan},\n\tmonth = apr,\n\tyear = {2016},\n\tkeywords = {Australia, UK, artistic and creative practise (indicator), co-working, collaboration, collaboration (indicator), community building (indicator), entrepreneurship, for-profit, innovation, international, interviews (method), social capital (indicator), social media (indicator), start-ups, sustainable},\n\tpages = {95--113},\n}\n\n\n\n

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\n \n 2015\n \n \n (17)\n \n \n

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\n \n\n \n \n \n \n \n \n Arts, the Environment, and Sustainability. Americans for the Arts.\n \n \n \n \n\n\n \n Garrett, I.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Arts,$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{garrett_arts_2015,\n\ttitle = {Arts, the {Environment}, and {Sustainability}. {Americans} for the {Arts}.},\n\turl = {https://www.americansforthearts.org/sites/default/files/Arts%26America_Environment.pdf},\n\tabstract = {Excerpt from Exec Summary: This essay looks at changes related to the environment and issues of sustainability and the role that the arts may play in positively impacting those changes over the next 10–15 years.},\n\turldate = {2025-03-15},\n\tauthor = {Garrett, Ian},\n\tyear = {2015},\n\tkeywords = {artistic and creative values (indicator), artists, arts sector, community (indicator), ethnography (method), mixed methods (method), sustainability (indicator), sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Rewilding the arts ecosystem: A discussion paper on multidisciplinarity in the arts in Canada.\n \n \n \n \n\n\n \n Yung, H.; Minaker, C.; Peerbaye, S.; and Verstappen, M.\n\n\n \n\n\n\n Technical Report Canadian Public Arts Funders, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Rewilding$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{yung_rewilding_2015,\n\ttitle = {Rewilding the arts ecosystem: {A} discussion paper on multidisciplinarity in the arts in {Canada}},\n\turl = {https://hillstrategies.com/2017/11/22/rewilding-the-arts-ecosystem/},\n\tabstract = {Based on 11 case studies of Canadian artists, collectives, and organizations engaged in multidisciplinary practices, this report identifies “key characteristics of multidisciplinary approaches … to develop and sustain their practices, activities and structures” as well as their key challenges and opportunities.\n\nThe report notes that multidisciplinary artists’ “activities include the mixing of artistic disciplines, community- and socially-engaged arts, Aboriginal and culturally diverse arts practices, technology, science, and the blending of for-profit and not-for-profit mandates, among others. These artists, collectives and organizations pose new and continued challenges to funding models that were created in response to different times and based on the Western system of disciplinary specialization. They engage in practices, projects and activities that respond to contemporary society differently, are informed by different cultures and traditions, diverge from disciplinary norms, and/or stand apart somehow from recognized forms of artistic creation, production and dissemination.”},\n\tinstitution = {Canadian Public Arts Funders},\n\tauthor = {Yung, Helen and Minaker, Clea and Peerbaye, Soraya and Verstappen, Marjan},\n\tyear = {2015},\n\tkeywords = {artists, community engagement (indicator), cultural and creative industries, diversity (indicator), for-profit, non-profit},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Start-up research universities, high aspirations in a complex reality: a Russian start-up university case analysis using stakeholder value analysis and system dynamics modeling.\n \n \n \n \n\n\n \n Zaini, R. M.; Lyan, D. E.; and Rebentisch, E.\n\n\n \n\n\n\n Triple Helix, 2(1): 4. February 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Start-up$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{zaini_start-up_2015,\n\ttitle = {Start-up research universities, high aspirations in a complex reality: a {Russian} start-up university case analysis using stakeholder value analysis and system dynamics modeling},\n\tvolume = {2},\n\tissn = {2197-1927},\n\tshorttitle = {Start-up research universities, high aspirations in a complex reality},\n\turl = {https://doi.org/10.1186/s40604-014-0016-8},\n\tdoi = {10.1186/s40604-014-0016-8},\n\tabstract = {There have been several initiatives by the governments in different parts of the world to establish world-class universities (WCUs). Such initiatives have been attempted only several times and yielded varied results. This article contributes to the existing body of research in architecting WCUs by presenting an operational strategic modeling framework that is grounded in the existing body of literature for developing WCUs (Salmi 2009) which can be used to test assumptions, reveal strategic levers, and analyze dynamic complexity inherent in a task of scaling a start-up university. We present a research study that leveraged stakeholder analysis and system dynamics modeling to architect and test a long-term strategic plan of scaling a newly created Skolkovo Institute of Science and Technology (SkolTech) in Moscow, Russia. We find that the existence of patient capital and favorable governance is conditional on university leadership's ability to effectively manage stakeholder expectations, maintain high-quality standards of its faculty and student population, and protect its brand of a world-class institution. We argue that the operational framework and findings derived from the case of SkolTech can be generalized and applied to other efforts in that area.},\n\tnumber = {1},\n\turldate = {2021-05-29},\n\tjournal = {Triple Helix},\n\tauthor = {Zaini, Raafat M. and Lyan, Dmitriy E. and Rebentisch, Eric},\n\tmonth = feb,\n\tyear = {2015},\n\tkeywords = {business model (indicator), case study (method), development, economic (indicator), education, entrepreneurship, innovation, international, literature review (method), non-profit, stakeholder, start-ups, strategic planning},\n\tpages = {4},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Canadian Arts, Culture & Creative Sector: Compendium of Key Statistics, Vol. II Economic Impact.\n \n \n \n \n\n\n \n Artscape, T.\n\n\n \n\n\n\n Technical Report Toronto Artscape, Toronto, Ontario, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{toronto_artscape_canadian_2015,\n\taddress = {Toronto, Ontario},\n\ttitle = {Canadian {Arts}, {Culture} \\& {Creative} {Sector}: {Compendium} of {Key} {Statistics}, {Vol}. {II} {Economic} {Impact}},\n\turl = {https://www.artscape.ca/wp-content/uploads/2017/06/Arts-and-Culture-Statistics_Vol_2.pdf},\n\tabstract = {ANNOTATION: Summary of impact of creative economy associated with cultural sector. Compiled key statistics on national level, with particular focus on Ontario and Toronto. Not specifically looking at cultural hubs, but resources for the creative economy at large.},\n\tinstitution = {Toronto Artscape},\n\tauthor = {Toronto Artscape},\n\tyear = {2015},\n\tkeywords = {Toronto, cultural and creative industries, economic (indicator), labour},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Canadian Arts, Culture & Creative Sector: Compendium of Key Statistics, Vol. III Location and Place.\n \n \n \n \n\n\n \n Artscape, T.\n\n\n \n\n\n\n Technical Report Toronto Artscape, Toronto, Ontario, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{toronto_artscape_canadian_2015,\n\taddress = {Toronto, Ontario},\n\ttitle = {Canadian {Arts}, {Culture} \\& {Creative} {Sector}: {Compendium} of {Key} {Statistics}, {Vol}. {III} {Location} and {Place}},\n\turl = {https://www.artscape.ca/wp-content/uploads/2017/06/Arts-and-Culture-Statistics_Vol-3.pdf},\n\tabstract = {ANNOTATION: Summary of the distribution of artists and cultural workers across Canada. Not specifically looking at cultural hubs but identifies existing population density of workers who might use hubs. There is specific data for Toronto and Vancouver at the end.},\n\tinstitution = {Toronto Artscape},\n\tauthor = {Toronto Artscape},\n\tyear = {2015},\n\tkeywords = {Toronto, artists, economic (indicator), labour},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Canadian Arts, Culture & Creative Sector: Compendium of Key Statistics, Vol. I Sector Characteristics.\n \n \n \n \n\n\n \n Artscape, T.\n\n\n \n\n\n\n Technical Report Toronto Artscape, Toronto, Ontario, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{toronto_artscape_canadian_2015,\n\taddress = {Toronto, Ontario},\n\ttitle = {Canadian {Arts}, {Culture} \\& {Creative} {Sector}: {Compendium} of {Key} {Statistics}, {Vol}. {I} {Sector} {Characteristics}},\n\turl = {https://www.artscape.ca/wp-content/uploads/2017/06/Arts-and-Culture-Statistics_Vol_I.pdf},\n\tabstract = {ANNOTATION: Summary of the distribution of artists and cultural workers across Canada. Not specifically looking at cultural hubs, but identifies areas of growth in cultural sectors. Also provides average incomes.},\n\tinstitution = {Toronto Artscape},\n\tauthor = {Toronto Artscape},\n\tyear = {2015},\n\tkeywords = {Toronto, artists, economic (indicator), education, gender, labour},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Entrepreneurial Value of Arts Incubators: Why Fine Artists Should Make Use of Professional Arts Incubators.\n \n \n \n \n\n\n \n Thom, M.\n\n\n \n\n\n\n Artivate: A Journal of Entrepreneurship in the Arts, 4(2): 33–56. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{thom_entrepreneurial_2015,\n\ttitle = {The {Entrepreneurial} {Value} of {Arts} {Incubators}: {Why} {Fine} {Artists} {Should} {Make} {Use} of {Professional} {Arts} {Incubators}},\n\tvolume = {4},\n\turl = {https://doi.org/10.34053/artivate.4.2.44},\n\tdoi = {10.34053/artivate.4.2.44},\n\tabstract = {The study's aim is to show whether and to what extent services of entrepreneurial value could be provided by arts incubators to nurture fine artists to meet market requirements to make a living in the arts. In order to achieve this aim, the study is first focused on the clarification of the question to what extent fine artists are currently educated at higher educational institutions on how to become successfully self-employed. The answer to this question is needed to outline the current mismatch between vocational education of fine artists and actual market requirements. A comprehensive and comparative analysis of Fine Art degree programs and extracurricular training offerings at higher educational institutions and arts incubation programs in the UK and Germany was carried out. By using various key performance indicators, this study shows evidence that fine artists are not educated to successfully meet market requirements and that professional arts incubators could be a promising alternative or useful addition for fine artists' vocational preparation. Introduction Research Aim The study's aim is to show whether and to what extent services of entrepreneurial value could be provided by arts incubators to nurture fine artists (particularly painters, photographers, and sculptors) to meet market requirements and make a living in the arts. In order to achieve this aim, the study is first focused on the clarification of the question to what extent fine artists are currently educated at higher educational institutions on how to become successfully self-employed. The answer to this question is needed to outline the current mismatch between vocational education of fine artists and actual market requirements.},\n\tnumber = {2},\n\tjournal = {Artivate: A Journal of Entrepreneurship in the Arts},\n\tauthor = {Thom, Marco},\n\tyear = {2015},\n\tkeywords = {business model entrepreneur (indicator)},\n\tpages = {33--56},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Coworking: A Community of Work.\n \n \n \n \n\n\n \n Rus, A.; and Orel, M.\n\n\n \n\n\n\n Teorija in Praksa; Ljubljana, 52(6): 1017–1038,1244. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Coworking:$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{rus_coworking_2015,\n\ttitle = {Coworking: {A} {Community} of {Work}},\n\tvolume = {52},\n\tshorttitle = {{COWORKING}},\n\turl = {https://www.proquest.com/docview/1785500947/abstract/D96CF982C7E34C74PQ/1},\n\tabstract = {The number of coworking spaces and the number of people who choose to work in them has exploded over the past few years, with numbers expected to double every year. What is fuelling this growth and where is the demand for coworking coming from? We tried to address this question by looking at the specific needs of the rising creative class, identifying their urgent need for uninhibited sharing of information, knowledge, ideas and also material resources. We argue that coworking spaces are favoured by the creative class, because they offer a community of work which facilitates the culture of sharing. To illustrate what it takes to establish such a community of work, we present a case study of the Creative Centre Poligon which suggests that community building is a multi-step process that needs careful management and plenty of time. We conclude that policy makers should not focus on building coworking spaces in order to combat youth unemployment but should rather support existing initiatives that have been built or are in the process of building up vibrant communities of work},\n\tlanguage = {en},\n\tnumber = {6},\n\turldate = {2021-05-29},\n\tjournal = {Teorija in Praksa; Ljubljana},\n\tauthor = {Rus, Andrej and Orel, Marko},\n\tyear = {2015},\n\tkeywords = {case study (method), co-working, collaboration, community, community engagement (indicator), creative work, cultural and creative industries, for-profit, innovation, international, labour, management, non-profit, space, start-ups},\n\tpages = {1017--1038,1244},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Acquiring Start-Up Funding for New Arts Organizations.\n \n \n \n \n\n\n \n Preece, S. B.\n\n\n \n\n\n\n Nonprofit Management and Leadership, 25(4): 463–474. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Acquiring$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{preece_acquiring_2015,\n\ttitle = {Acquiring {Start}-{Up} {Funding} for {New} {Arts} {Organizations}},\n\tvolume = {25},\n\tissn = {1542-7854},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1002/nml.21131},\n\tdoi = {https://doi.org/10.1002/nml.21131},\n\tabstract = {This article addresses the challenge of assembling financial support for emergent arts organizations. In addition to organizational logistics and the demands of making art, such groups must garner financing from various sources, including governments/foundations, private sector companies, individual donations, and earned revenues. Drawing on the relevant literature, as well as insights from a case study of a recently formed arts organization—the Grand River Jazz Society (GRJS)—a framework is created proposing the key success factors and corresponding core competencies associated with each funding source. Governments and foundations require addressing mission as a key success factor, and navigating bureaucracy is an essential core competency in which early stage arts organizations need to be successful. Businesses, in contrast, look for action as a key success factor, and it is managerial core competencies that lead to sponsorship. Individuals respond to vision and require relational core competencies for successful involvement. Finally, the key success factor for earned revenue is a connection with audience members, necessitating core competencies with a services mindset. The article interweaves the conceptual frame with examples from the GRJS case study and also addresses the challenge of operating with a portfolio of income sources. Finally, results from a survey of fifty-two arts start-ups in Ontario, Canada, provides context from a wider group of such organizations with respect to their early stage funding.},\n\tlanguage = {en},\n\tnumber = {4},\n\turldate = {2021-05-29},\n\tjournal = {Nonprofit Management and Leadership},\n\tauthor = {Preece, Stephen B.},\n\tyear = {2015},\n\tkeywords = {artists, community engagement (indicator), development, economic (indicator), organizations, social (indicator), start-ups},\n\tpages = {463--474},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n In Search of Design Research Criteria: Considerations for Supportive Policies.\n \n \n \n\n\n \n Poot, H. J. G. d.; and McKim, M. E.\n\n\n \n\n\n\n EAIR 37th Annual Forum. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{poot_search_2015,\n\ttitle = {In {Search} of {Design} {Research} {Criteria}: {Considerations} for {Supportive} {Policies}},\n\tabstract = {ANNOTATION: The origin of this paper was an inventory of Creative Hubs surrounding Universities of Applied Science in the Netherlands (Kriens \\& de Poot). The inventory was commissioned by the National Taskforce Practice Oriented Research. The goal was to understand how Creative Hubs could be stimulated in their research collaboration activities towards 21st Century Skills development. In this paper, we have extended the evidence base with other visits and examples to focus specifically on Design Research practices.},\n\tjournal = {EAIR 37th Annual Forum},\n\tauthor = {Poot, Henk J. G. de and McKim, Melina E.},\n\tyear = {2015},\n\tkeywords = {design thinking, education, hubs},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Coworking in the City.\n \n \n \n \n\n\n \n Merkel, J.\n\n\n \n\n\n\n Ephemera: Theory & Politics in Organization, 15(1): 121–139. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Coworking$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{merkel_coworking_2015,\n\ttitle = {Coworking in the {City}},\n\tvolume = {15},\n\turl = {https://openaccess.city.ac.uk/id/eprint/14478/1/15-1merkel.pdf},\n\tabstract = {In the aftermath of the financial and economic crisis of 2007 and 2008, a new type of collaboratively oriented workplace has emerged in cities. These coworking spaces and the associated practice of coworking exemplify new ways of organising labour in project-based and largely freelance occupations as found in the cultural and creative industries. But coworking spaces are not just flexible shared office spaces for creative professionals 'working alone together' (Spinuzzi, 2012). Coworking promotes a collective, community-based approach to the organisation of cultural and creative work where a particularly important role is accorded to the coworking host, whose activities are described as a curatorial practice aimed at creating a collaborative atmosphere and social relationships. Coworking spaces can therefore be regarded as a new form of urban social infrastructure enabling contacts and collaborations between people, ideas and connecting places.},\n\tnumber = {1},\n\tjournal = {Ephemera: Theory \\& Politics in Organization},\n\tauthor = {Merkel, Janet},\n\tyear = {2015},\n\tkeywords = {USA, co-working, collaboration, community, community (indicator), creative work, cultural and creative industries, ecosystem, international, labour, social practices (indicator)},\n\tpages = {121--139},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Notes on the Perfect.\n \n \n \n \n\n\n \n McRobbie, A.\n\n\n \n\n\n\n Australian Feminist Studies, 30(83): 3–20. January 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Notes$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{mcrobbie_notes_2015,\n\ttitle = {Notes on the {Perfect}},\n\tvolume = {30},\n\tissn = {0816-4649},\n\turl = {https://doi.org/10.1080/08164649.2015.1011485},\n\tdoi = {10.1080/08164649.2015.1011485},\n\tabstract = {This article argues that at a point in time when feminism (in a variety of its forms) has re-entered political culture and civil society, there is, as though to hold this threat of new feminism at bay, an amplification of control of women, mostly by corporeal means, so as to ensure the maintenance of existing power relations. However the importance of ensuring male dominance is carefully disguised through the dispositif which takes the form of feminine self-regulation. The ‘perfect’ emerges as a horizon of expectation, through which young women are persuaded to seek self-definition. Feminism, at the same time, is made compatible with an individualising project and is also made to fit with the idea of competition. With competition as a key component of contemporary neoliberalism, (pace Foucault) the article construes the violent underpinnings of the perfect, arguing that it acts to stifle the possibility of an expansive feminist movement. It recaptures dissenting voices by legitimating and giving space in popular culture to a relatively manicured and celebrity-driven idea of imperfection or ‘failure’.},\n\tnumber = {83},\n\turldate = {2021-05-26},\n\tjournal = {Australian Feminist Studies},\n\tauthor = {McRobbie, Angela},\n\tmonth = jan,\n\tyear = {2015},\n\tkeywords = {Australia, gender, neoliberalism, self-assessment (method)},\n\tpages = {3--20},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n What Is Arts Entrepreneurship? Tracking the Development of Its Definition in Scholarly Journals.\n \n \n \n\n\n \n Woong, J. C.; and Wyszomirski, M.\n\n\n \n\n\n\n Artivate: A Journal of Entrepreneurship in the Arts, 4(2): 11–31. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{woong_what_2015,\n\ttitle = {What {Is} {Arts} {Entrepreneurship}? {Tracking} the {Development} of {Its} {Definition} in {Scholarly} {Journals}},\n\tvolume = {4},\n\tabstract = {In this study, we investigate the ways in which arts entrepreneurship has been operationalized and defined in the literature. We identify eight scholarly journals in arts administration and policy, in business administration, and in nonprofit marketing published during 2003-2013 and review articles published in these journals. Our review found that the scholarly literature on arts entrepreneurship has in fact been quite scarce. We also examine all articles in Artivate, a journal that specializes in arts entrepreneurship. Taking the literature as a whole, we found a plethora of meanings used in the literature, indicating an, as yet, unsettled definition. We suggest that some analytical clarity can be obtained by grouping the many meanings of arts entrepreneurship into five analytical “levels”: Personal Character traits, Goals, Strategies, Tactics, and Context. We also suggest a possible general definition: “arts entrepreneurship” is a management process through which cultural workers seek to support their creativity and autonomy, advance their capacity for adaptability, and create artistic as well as economic and social value. This management process involves an ongoing set of innovative choices and risks intended to recombine resources and pursue new opportunities to produce artistic, economic, and social value. Identifying the emerging clusters from the meanings found in the literature, we conclude that to understand arts entrepreneurs, one must focus on the innovative combinations of strategy, individual skills, and mindset operating in each case of arts entrepreneurship and its context. As arts entrepreneurship is a constant exercise in recombination of skillsets, the possibility of flexible recipes begins to reveal what might be regarded as the recombinant DNA of arts entrepreneurship.},\n\tnumber = {2},\n\tjournal = {Artivate: A Journal of Entrepreneurship in the Arts},\n\tauthor = {Woong, Jo Chang and Wyszomirski, Margaret},\n\tyear = {2015},\n\tkeywords = {artistic and creative values (indicator), economic (indicator), entrepreneurship, innovation, neoliberalism, self-assessment (method)},\n\tpages = {11--31},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Mastering of a Music City.\n \n \n \n \n\n\n \n IFPI; and Canada, M.\n\n\n \n\n\n\n Technical Report IFPI and Music Canada, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{ifpi_mastering_2015,\n\ttitle = {The {Mastering} of a {Music} {City}},\n\turl = {http://musiccanada.com/wp-content/uploads/2015/06/The-Mastering-of-a-Music-City.pdf.},\n\tabstract = {A Music City, by its simplest definition, is a place with a vibrant music economy. There is growing recognition among governments and other stakeholders that Music Cities can deliver significant economic, employment, cultural and social benefits. While music takes centre stage in this study, the findings and recommendations are relevant to almost anyone in the broader community. Are you looking to draw tourists to your city? Attract tech firms  and the bright, young people they employ? Build your city’s brand? Think music! This report is intended as  a “roadmap” to help you tap into the  power of music. It applies to communities of all sizes, no matter how far along the path they are to realizing their full potential as a Music City. The findings draw upon an exhaustive review of existing information and research, more than 40 interviews with a wide array of experts in music and government on all continents, and two international focus groups. We are grateful to the many people who gave willingly of their time and ideas in the research for this report. It is our hope that this report inspires you to build a Music City in your community or to make your Music City stronger than ever. We are confident that the information and recommendations in this report will help you get there.},\n\tinstitution = {IFPI and Music Canada},\n\tauthor = {IFPI and Music Canada},\n\tyear = {2015},\n\tkeywords = {Canada, artistic and creative measures (indicator), community, community engagement (indicator), economic (indicator), hubs, music, policy},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Toronto: Harnessing the Economic Development Power of Arts and Culture.\n \n \n \n \n\n\n \n Goldberg-Miller, S.\n\n\n \n\n\n\n Artivate: A Journal of Entrepreneurship in the Arts, 4(1): 25–48. January 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{goldberg-miller_creative_2015,\n\ttitle = {Creative {Toronto}: {Harnessing} the {Economic} {Development} {Power} of {Arts} and {Culture}},\n\tvolume = {4},\n\tcopyright = {Copyright (c) 2015 Shoshanah Goldberg-Miller},\n\tissn = {2164-7747},\n\tshorttitle = {Creative {Toronto}},\n\turl = {https://artivate.org/artivate/article/view/38},\n\tabstract = {Over the 2000s, Toronto initiated and instituted a process of cultivating itself as a creative city. Entrepreneurial city visionaries found that in order to enter the global market, their planning had to be strategic. This paper explores how Toronto's policy entrepreneurs used planning, partnerships, and an expanded definition of economic development to create a “Cultural Camelot.” In addition to competing on the financial and revenue-generating fronts, a coalition of cross-sector leaders took on the challenge of fostering a livable city with a deep social ethos imbued within a variety of dimensions of urban life. This new focus gave Toronto the chance establish itself as a center for innovation, which strengthened urban cultural capital and helped promote the strategic agenda of becoming a competitor in the creative economy sector. Investment in research and creative city strategic planning, coupled with the allocation of financial and human capital resources across a variety of industries, served to encourage creativity, promote culture and competitiveness, and drive economic development.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Artivate: A Journal of Entrepreneurship in the Arts},\n\tauthor = {Goldberg-Miller, Shoshanah},\n\tmonth = jan,\n\tyear = {2015},\n\tkeywords = {Canada, Toronto, artistic and creative practise (indicator), creative work, economic (indicator), hubs, innovation, networks, planning, policy, strategic planning},\n\tpages = {25--48},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Value Creation and Evaluation in Arts Incubators.\n \n \n \n \n\n\n \n Essig, L.\n\n\n \n\n\n\n Technical Report ID 2717740, Social Science Research Network, Rochester, NY, December 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Value$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{essig_value_2015,\n\taddress = {Rochester, NY},\n\ttype = {{SSRN} {Scholarly} {Paper}},\n\ttitle = {Value {Creation} and {Evaluation} in {Arts} {Incubators}},\n\turl = {https://papers.ssrn.com/abstract=2717740},\n\tabstract = {This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton.},\n\tlanguage = {en},\n\tnumber = {ID 2717740},\n\turldate = {2021-05-24},\n\tinstitution = {Social Science Research Network},\n\tauthor = {Essig, Linda},\n\tmonth = dec,\n\tyear = {2015},\n\tkeywords = {USA, business model incubator (indicator), case study (method), community, community impact (indicator), cultural and creative industries, discourse analysis (method), document analysis (method), economic (indicator), entrepreneurship, governance, incubators, interviews (method), literature review (method), non-profit, observation (method), policy},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Globalization, Culture, and Development: The UNESCO Convention on Cultural Diversity.\n \n \n \n \n\n\n \n De Beukelaer, C.; Pyykkönen, M.; and Singh, J. P.\n\n\n \n\n\n\n Palgrave Macmillan, UK, 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Globalization,$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{de_beukelaer_globalization_2015,\n\taddress = {UK},\n\ttitle = {Globalization, {Culture}, and {Development}: {The} {UNESCO} {Convention} on {Cultural} {Diversity}},\n\turl = {https://www.palgrave.com/gp/book/9781137397621},\n\tpublisher = {Palgrave Macmillan},\n\tauthor = {De Beukelaer, Christiaan and Pyykkönen, Miikka and Singh, J. P.},\n\tyear = {2015},\n\tkeywords = {accessible (indicator), culture (indicator), diversity (indicator), equity (indicator), social (indicator)},\n}\n\n\n\n

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\n \n 2014\n \n \n (9)\n \n \n

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\n \n\n \n \n \n \n \n \n Innovation Accelerators: Defining Characteristics Among Startup Assistance Organizations.\n \n \n \n \n\n\n \n Dempwolf, C. S.; Auer, J.; D 'Ippolito, M.; and Park, C.\n\n\n \n\n\n\n Technical Report 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Innovation$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{dempwolf_innovation_2014,\n\ttitle = {Innovation {Accelerators}: {Defining} {Characteristics} {Among} {Startup} {Assistance} {Organizations}},\n\tshorttitle = {Innovation {Accelerators}},\n\turl = {http://rgdoi.net/10.13140/RG.2.2.36244.09602},\n\tabstract = {ANNOTATION: This October 2014 report was contracted by the Office of Advocacy in College Park, Maryland, and was written by C. Scott Dempwolf, Jennifer Auer, and Michelle D’Ippolito from the Optimal Solutions Group. The central objective of the paper is to establish “a taxonomy of startup assistance organizations” and to determine “a working definition of an innovation accelerator that departs from those found in the existing literature.” (6) Through the aggregated online data of over 80 accelerators from across the U.S., authors Dempwolf, Auer and D’Ippolito determine that these organizations can be sorted into three major categories: “(1) incubators and venture development organizations, (2) proof-of-concept centers, and (3) accelerators.” The third category is then “further subdivided into social accelerators, university accelerators, corporate accelerators, and innovation accelerators.” (6) The report presents detailed explanations and descriptions of each of these categories, as well as various business models for both for-profit and non-profit organizations. Dempwolf, Auer and D’Ippolito also suggest a series of performance measurement tools and evaluation frameworks, as well as recommendations for future policy proposals. Useful tables in the body of the work include a Venn diagram comparing key characteristics of accelerators versus incubators, as well as suggested short- and long-term performance metrics for successful accelerators. Although very American-centric, the information within the report is highly useful and presented in an engaging and very accessible manner. A highly recommended resource for those seeking to determine the model for their innovation accelerator. Of key interest is the section on Data and Metrics, in which the performance metrics referenced for relevant evaluation frameworks are taken from literature specifically designed for Canadian accelerators.},\n\tlanguage = {en},\n\turldate = {2021-05-24},\n\tauthor = {Dempwolf, C. Scott and Auer, Jennifer and D 'Ippolito, Michelle and Park, College},\n\tyear = {2014},\n\tkeywords = {USA, business model (indicator), business model incubator (indicator), for-profit, governance, incubators, literature review (method), non-profit, policy, start-ups, taxonomies},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Innovating in Urban Economies.\n \n \n \n \n\n\n \n Wolfe, D. E.\n\n\n \n\n\n\n University of Toronto Press, Toronto, 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Innovating$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{wolfe_innovating_2014,\n\taddress = {Toronto},\n\ttitle = {Innovating in {Urban} {Economies}},\n\tisbn = {9781442614765 9781442646988 9781442666962 9781442666979},\n\turl = {https://utorontopress.com/us/innovating-in-urban-economies-4},\n\tabstract = {In a globalizing, knowledge-based economy, innovation and creative capacity lead to economic prosperity. Starting in 2006, the Innovation Systems Research Network began a six-year-long study on how city-regions in Canada were surviving and thriving in a globalized world. That study resulted in the “Innovation, Creativity, and Governance in Canadian City-Regions” series, which examines innovation, talent, and institutions on sixteen city-regions across Canada. This volume explores how the social dynamics that influence innovation and knowledge flows in Canadian city-regions contribute to transformation and long-term growth. With case studies examining cities of all sizes, from Toronto to Moncton, Innovating in Urban Economies  analyses the impact of size, location, and the regional economy on innovation and knowledge in Canada’s cities.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tpublisher = {University of Toronto Press},\n\tauthor = {Wolfe, David E.},\n\tyear = {2014},\n\tkeywords = {Canada, Toronto, communities of practise (indicator), cultural and creative industries, development, digital, economic (indicator), innovation, labour, literature review (method), policy},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft.\n \n \n \n \n\n\n \n Wallace, J.\n\n\n \n\n\n\n Ph.D. Thesis, Concordia University, June 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Handmade$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@phdthesis{wallace_handmade_2014,\n\ttype = {{PhD}},\n\ttitle = {Handmade 2.0: {Women}, {DIY} {Networks} and the {Cultural} {Economy} of {Craft}},\n\tcopyright = {cc\\_by},\n\tshorttitle = {Handmade 2.0},\n\turl = {https://spectrum.library.concordia.ca/978912/},\n\tabstract = {This dissertation is a feminist ethnography of the contemporary craft scene in North America. It examines do-it-yourself (DIY) networks of indie crafts as a significant cultural economy and site of women’s creative labour, moving beyond existing research, which has historically focused on craft as primarily associated with women’s domestic activity, or as a salon refusé subordinated to the fine arts, or affiliations with turn of the 20th century industrialization. Rather, my research focuses on contemporary craft work as a field of women’s cultural production, informal networks and entrepreneurship—a highly contemporary cultural and economic phenomenon buoyed by the rise of the so-called creative class, a DIY ethic and a broader conception of craftwork as “Handmade 2.0,” underscoring the role of digital media and networked communications in the modern craft economy. By contrasting the global ecommerce marketplace, Etsy, and the work of independent crafters, it offers a significant contribution to emergent debates at the intersections of the gendered workplace, flexible labour and (corporatized) cultural production. Specifically, this research makes three key interventions: a reconceptu-alization and cultural analysis of DIY craft as a Bourdieuian-influenced field of gendered cultural production; a case study and critique of Etsy as a corporatized model and significant marker of social class and distinction; and a feminist cultural analysis of crafty women’s making, connecting, and the precarity of their feminized labours.  The research findings underscore the contemporary importance of gendered, informally networked cultural production that must constantly interface with other more entrenched institutions, while also exposing the vast personal and professional networks that female makers as individual entrepreneurs must incessantly nurture to earn esteemed social and cultural capital—both on- and offline.  These dynamics require crafty women to play multiple roles in the circuit of culture, and most often for paltry wages and at significant emotional cost. By way of a critical feminist analysis, it concludes that today’s indie craft represents a complex and dynamic web of tensions, discourses and contradictions as women negotiate the material and emotional labours of their multiple identities and investments in the ‘always on’ work/lifestyle environment of the digital age. Finally, by calling for the continued vigilance of feminist inquiry and policy and advocacy work, I suggest pathways for future research as new technologies, social media and economic models continue to evolve and affect this growing sector of flexible forms of women’s creative work existing outside conventional employment structures and social protections.},\n\tlanguage = {en},\n\turldate = {2021-05-29},\n\tschool = {Concordia University},\n\tauthor = {Wallace, Jacqueline},\n\tmonth = jun,\n\tyear = {2014},\n\tkeywords = {craft industries, entrepreneurship, gender, innovation, labour, methods, networks},\n}\n\n\n\n

\n

\n\n\n

\n This dissertation is a feminist ethnography of the contemporary craft scene in North America. It examines do-it-yourself (DIY) networks of indie crafts as a significant cultural economy and site of women’s creative labour, moving beyond existing research, which has historically focused on craft as primarily associated with women’s domestic activity, or as a salon refusé subordinated to the fine arts, or affiliations with turn of the 20th century industrialization. Rather, my research focuses on contemporary craft work as a field of women’s cultural production, informal networks and entrepreneurship—a highly contemporary cultural and economic phenomenon buoyed by the rise of the so-called creative class, a DIY ethic and a broader conception of craftwork as “Handmade 2.0,” underscoring the role of digital media and networked communications in the modern craft economy. By contrasting the global ecommerce marketplace, Etsy, and the work of independent crafters, it offers a significant contribution to emergent debates at the intersections of the gendered workplace, flexible labour and (corporatized) cultural production. Specifically, this research makes three key interventions: a reconceptu-alization and cultural analysis of DIY craft as a Bourdieuian-influenced field of gendered cultural production; a case study and critique of Etsy as a corporatized model and significant marker of social class and distinction; and a feminist cultural analysis of crafty women’s making, connecting, and the precarity of their feminized labours. The research findings underscore the contemporary importance of gendered, informally networked cultural production that must constantly interface with other more entrenched institutions, while also exposing the vast personal and professional networks that female makers as individual entrepreneurs must incessantly nurture to earn esteemed social and cultural capital—both on- and offline. These dynamics require crafty women to play multiple roles in the circuit of culture, and most often for paltry wages and at significant emotional cost. By way of a critical feminist analysis, it concludes that today’s indie craft represents a complex and dynamic web of tensions, discourses and contradictions as women negotiate the material and emotional labours of their multiple identities and investments in the ‘always on’ work/lifestyle environment of the digital age. Finally, by calling for the continued vigilance of feminist inquiry and policy and advocacy work, I suggest pathways for future research as new technologies, social media and economic models continue to evolve and affect this growing sector of flexible forms of women’s creative work existing outside conventional employment structures and social protections.\n

\n\n\n

\n \n\n \n \n \n \n \n \n (Not) Starting a Model Urban Arts Collaborative: Turning a Good Idea into a Bureaucratic Debacle.\n \n \n \n \n\n\n \n Rhoades, M.\n\n\n \n\n\n\n Visual Arts Research, 40(1): 100–103. 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"(Not)$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{rhoades_not_2014,\n\ttitle = {({Not}) {Starting} a {Model} {Urban} {Arts} {Collaborative}: {Turning} a {Good} {Idea} into a {Bureaucratic} {Debacle}},\n\tvolume = {40},\n\tissn = {0736-0770},\n\tshorttitle = {({Not}) {Starting} a {Model} {Urban} {Arts} {Collaborative}},\n\turl = {https://www.jstor.org/stable/10.5406/visuartsrese.40.1.0100},\n\tdoi = {10.5406/visuartsrese.40.1.0100},\n\tabstract = {ANNOTATION: Overview of how the author works with friends and community to develop Mix(Ed) Media—a digital multimedia educational organization through borrowed technology and tapping into a network of local friends, employers, artists, educators, and supporters.},\n\tnumber = {1},\n\turldate = {2021-05-29},\n\tjournal = {Visual Arts Research},\n\tauthor = {Rhoades, Mindi},\n\tyear = {2014},\n\tkeywords = {USA, artists, collaboration, cultural and creative industries, entrepreneurship, networking (indicator), space},\n\tpages = {100--103},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Digging into the Creative City: A Feminist Critique: Digging Into the Creative City.\n \n \n \n \n\n\n \n McLean, H.\n\n\n \n\n\n\n Antipode, 46(3): 669–690. June 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Digging$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{mclean_digging_2014,\n\ttitle = {Digging into the {Creative} {City}: {A} {Feminist} {Critique}: {Digging} {Into} the {Creative} {City}},\n\tvolume = {46},\n\tissn = {00664812},\n\tshorttitle = {Digging into the {Creative} {City}},\n\turl = {http://doi.wiley.com/10.1111/anti.12078},\n\tdoi = {10.1111/anti.12078},\n\tabstract = {ABSTRACT: This paper contributes a critical and intersectional feminist analysis and methodological approach to debates about creative city policies and practices. Through a narrative description of community-engaged arts interventions based on action research with the Toronto Free Gallery, an artist-run centre and activist space, I demonstrate how feminist arts activism uncovers the multiple exclusions that creative city policies and practices entrench. In some ways, community-engaged arts interventions can be complicit in exclusionary gentrification dynamics, particularly the production of spaces of white privilege and heteronormativity. But neoliberal imperatives are not always over determining. Feminist artists and activists are also finding ways to performatively and playfully push back at this highly regulated, gendered, and raced regime.\n \nANNOTATION: Looks at feminist artists working with Toronto's art-run centre, Toronto Free. The artists' work critiqued an arts-led gentrification that was occurring in the Bloordale neighbourhood. Traces how neoliberal gentrification and creative city planning policies displace low-income, non-normative residents. For example, The House of Lancaster strip club in Bloordale was converted into a community arts hub during the Bloor Night Light festival. This resulted in the community's residents vacating the space in favour of a white middle class families.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {Antipode},\n\tauthor = {McLean, Heather},\n\tmonth = jun,\n\tyear = {2014},\n\tkeywords = {action-research (method), community, development, gender, hubs, performance},\n\tpages = {669--690},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Towards Creative Citizenship: Collaborative Cultural Production at CBC ArtSpots.\n \n \n \n \n\n\n \n Luka, M. E.\n\n\n \n\n\n\n Ph.D. Thesis, Concordia University, September 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Towards$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@phdthesis{luka_towards_2014,\n\ttype = {{PhD}},\n\ttitle = {Towards {Creative} {Citizenship}: {Collaborative} {Cultural} {Production} at {CBC} {ArtSpots}},\n\tcopyright = {term\\_access},\n\tshorttitle = {Towards {Creative} {Citizenship}},\n\turl = {https://spectrum.library.concordia.ca/979003/},\n\tabstract = {This dissertation develops the concept of creative citizenship, which suggests that artists and creative workers who engage in collaborative media production and dissemination practices –particularly in public broadcasting and digital media – are also preoccupied with the dynamics of civic engagement. Their responsibility is to their artwork and to audiences through networked flows of social relations and production approaches. Revisiting literature on cultural citizenship (Hermes 2005, Murray 2005, Uricchio 2004) and the precarity of creative work in the broadcast business (Cunningham 2013, Mayer 2011, Spigel 2008), creative citizenship concerns itself with production practices linking narrowcast audiences, media workers and cultural facilitators to a range of participatory creative activities in mediated sites of engagement. A nuanced understanding of collaborative practices in the long-running television and Internet Canadian public broadcasting project, CBC ArtSpots (1997-2008), helps rethink recent cultural studies of production. The research involved attends to convergence culture concerns, grapples with gender issues, investigates the activation of policy, and animates artistic interventions. ArtSpots was an innovative, collaborative public broadcasting initiative that produced over 1,200 short videos, several long-form documentaries and a substantial array of virtual and media-based materials for exhibitions, online and mobile devices. It involved more than 1000 cultural leaders and creators in its production and dissemination and featured over 300 artists. \n\nThe investigation of ArtSpots in this dissertation generates insights into the transition to a digital media production and multi-modal diffusion environment in the realm of the Canadian media industry at the turn of the 21st century. Contextualizing this work in relation to the cultural economy of creative labour and media production helps show how media and art is produced and shared in public broadcasting. The author’s own professional and reflexive work and networks as the founder of ArtSpots act as catalysts to crystallize the research, grounding analysis in a distinctive expertise about the relationship of Canadian art to the broadcasting industry, and pointing to exciting implications of creativity and collaboration as core commitments and practices in media production and distribution today. \n\nKeywords: creative citizenship, cultural production, media studies, public broadcasting, creative labour, innovation, collaboration},\n\tlanguage = {en},\n\turldate = {2021-05-26},\n\tschool = {Concordia University},\n\tauthor = {Luka, Mary Elizabeth},\n\tmonth = sep,\n\tyear = {2014},\n}\n\n\n\n

\n

\n\n\n

\n This dissertation develops the concept of creative citizenship, which suggests that artists and creative workers who engage in collaborative media production and dissemination practices –particularly in public broadcasting and digital media – are also preoccupied with the dynamics of civic engagement. Their responsibility is to their artwork and to audiences through networked flows of social relations and production approaches. Revisiting literature on cultural citizenship (Hermes 2005, Murray 2005, Uricchio 2004) and the precarity of creative work in the broadcast business (Cunningham 2013, Mayer 2011, Spigel 2008), creative citizenship concerns itself with production practices linking narrowcast audiences, media workers and cultural facilitators to a range of participatory creative activities in mediated sites of engagement. A nuanced understanding of collaborative practices in the long-running television and Internet Canadian public broadcasting project, CBC ArtSpots (1997-2008), helps rethink recent cultural studies of production. The research involved attends to convergence culture concerns, grapples with gender issues, investigates the activation of policy, and animates artistic interventions. ArtSpots was an innovative, collaborative public broadcasting initiative that produced over 1,200 short videos, several long-form documentaries and a substantial array of virtual and media-based materials for exhibitions, online and mobile devices. It involved more than 1000 cultural leaders and creators in its production and dissemination and featured over 300 artists. The investigation of ArtSpots in this dissertation generates insights into the transition to a digital media production and multi-modal diffusion environment in the realm of the Canadian media industry at the turn of the 21st century. Contextualizing this work in relation to the cultural economy of creative labour and media production helps show how media and art is produced and shared in public broadcasting. The author’s own professional and reflexive work and networks as the founder of ArtSpots act as catalysts to crystallize the research, grounding analysis in a distinctive expertise about the relationship of Canadian art to the broadcasting industry, and pointing to exciting implications of creativity and collaboration as core commitments and practices in media production and distribution today. Keywords: creative citizenship, cultural production, media studies, public broadcasting, creative labour, innovation, collaboration\n

\n\n\n

\n \n\n \n \n \n \n \n \n Seeking Talent for Creative Cities: The Social Dynamics of Innovation.\n \n \n \n \n\n\n \n Grant, J.,\n editor.\n \n\n\n \n\n\n\n University of Toronto Press, 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Seeking$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{grant_seeking_2014,\n\ttitle = {Seeking {Talent} for {Creative} {Cities}: {The} {Social} {Dynamics} of {Innovation}},\n\tisbn = {9781442615441},\n\tshorttitle = {Seeking {Talent} for {Creative} {Cities}},\n\turl = {https://www.jstor.org/stable/10.3138/j.ctt5vkjkj},\n\tabstract = {With the growth of knowledge-based economies, cities across the globe must compete to attract and retain the most talented workers. Seeking Talent for Creative Cities offers a comprehensive and insightful analysis of the diverse, dynamic factors that affect cities’ ability to achieve this goal. Based on a comparative national study of 16 Canadian cities, this volume systematically evaluates the concerns facing workers operating in a range of creative endeavours. It draws on interviews, surveys, and census data collected over a six-year research program conducted by experts in business, public policy, urban studies, and communications studies to identify the characteristics and features of particular city-regions that influence these workers’ mobility and satisfaction. Seeking Talent for Creative Cities represents a rigorously empirical test of popular wisdom on the true relationship between urban development and economic competitiveness.},\n\turldate = {2021-05-26},\n\tpublisher = {University of Toronto Press},\n\teditor = {Grant, Jill},\n\tyear = {2014},\n\tkeywords = {Canada, accessible (indicator), artistic and creative practise (indicator), cultural and creative industries, culture (indicator), hubs, innovation (indicator), labour, policy, social (indicator), taxonomies},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Building Capacity, Sharing Values: Shared Spaces and Social Purpose Real Estate.\n \n \n \n \n\n\n \n Girvan, L.\n\n\n \n\n\n\n Technical Report Tides Canada, 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Building$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{girvan_building_2014,\n\ttitle = {Building {Capacity}, {Sharing} {Values}: {Shared} {Spaces} and {Social} {Purpose} {Real} {Estate}.},\n\turl = {http://tidescanada.org/wp-content/uploads/2015/04/Building-Capacity-Sharing-Values-Shared-Spaces-and-Social-Purpose-Real-Estate-Final.pdf},\n\tinstitution = {Tides Canada},\n\tauthor = {Girvan, L.},\n\tyear = {2014},\n\tkeywords = {culture (indicator), economic (indicator), physical space (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Social Enterprise: Accountability and Evaluation Around the World.\n \n \n \n\n\n \n Denny, S.; and Seddon, F.\n\n\n \n\n\n\n Routledge, London & New York, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{denny_social_2014,\n\taddress = {London \\& New York},\n\ttitle = {Social {Enterprise}: {Accountability} and {Evaluation} {Around} the {World}},\n\tpublisher = {Routledge},\n\tauthor = {Denny, Simon and Seddon, Fred},\n\tyear = {2014},\n}\n\n\n\n

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\n \n 2013\n \n \n (12)\n \n \n

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\n \n\n \n \n \n \n \n \n Diverse Spaces: Identity, Heritage and Community in Canadian Public Culture - Cambridge Scholars Publishing.\n \n \n \n \n\n\n \n Ashley, S. T.,\n editor.\n \n\n\n \n\n\n\n Cambridge Scholars, Newcastle Upon Tyne, 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Diverse$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{ashley_diverse_2013,\n\taddress = {Newcastle Upon Tyne},\n\ttitle = {Diverse {Spaces}: {Identity}, {Heritage} and {Community} in {Canadian} {Public} {Culture} - {Cambridge} {Scholars} {Publishing}},\n\tshorttitle = {Diverse {Spaces}},\n\turl = {https://www.cambridgescholars.com/product/978-1-4438-5147-3},\n\tabstract = {Partial Abstract: Diverse Spaces: Identity, Heritage and Community in Canadian Public Culture explores the presentation and experience of diversity and belonging in public cultural spaces in Canada. An interdisciplinary group of scholars interrogate how ‘Canadian-ness’ is represented, disputed, negotiated and legitimized within spaces, media and institutions. The volume begins with contributions that draw attention to contested and exclusionary places within official public culture, and then offers alternative narratives that assert voice and remap public spaces. Contributors take a close look at actually-occurring engagements with culture, heritage and community, and the erasures, conflicts, compromises, failures and successes that have emerged.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {Cambridge Scholars},\n\teditor = {Ashley, Susan T.},\n\tyear = {2013},\n\tkeywords = {Canada, cultural and creative industries, culture (indicator), diversity (indicator), mixed methods (method), social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Hidden Innovation: Policy, industry and the creative sector.\n \n \n \n \n\n\n \n Cunningham, S.\n\n\n \n\n\n\n The University of Queensland Press, Australia, 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Hidden$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{cunningham_hidden_2013,\n\taddress = {Australia},\n\ttitle = {Hidden {Innovation}: {Policy}, industry and the creative sector},\n\tcopyright = {Consult author(s) regarding copyright matters},\n\tisbn = {978-0-7022-4955-6},\n\tshorttitle = {Hidden innovation},\n\turl = {http://www.uqp.uq.edu.au/book.aspx/1237/Hidden%20Innovation-%20Policy,%20Industry%20and%20the%20Creative%20Sector},\n\tabstract = {Abstract: The term ‘two cultures’ was coined more than 50 years ago by scientist and novelist C.P. Snow to describe the divergence in the world views and methods of scientists and the creative sector. This divergence has meant that innovation systems and policies have focused for decades on science, engineering, technology and medicine and the industries that depend on them. The humanities, arts and social sciences have been bit players at best; their contributions hidden from research agendas, policy and program initiatives, and the public mind. But structural changes to advanced economies and societies have brought services industries and the creative sector to greater prominence as key contributors to innovation. Hidden Innovation peels back the veil, tracing the way innovation occurs through new forms of screen production enabled by social media platforms as well as in public broadcasting. It shows that creative workers are contributing fresh ideas across the economy and how creative cities debates need reframing. It traces how policies globally are beginning to catch up with the changing social and economic realities. In his new book, Cunningham argues that the innovation framework offers the best opportunity in decades to reassess and refresh the case for the public role of the humanities, particularly the media, cultural and communication studies disciplines.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {The University of Queensland Press},\n\tauthor = {Cunningham, Stuart},\n\tyear = {2013},\n\tkeywords = {artistic and creative impacts (indicator), arts sector, cities, creative work, cultural and creative industries, economic (indicator), innovation, innovation (indicator), mixed methods (method), policy, policy instruments (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Creative Confidence: Unleashing the Creative Potential Within Us All.\n \n \n \n\n\n \n Kelley, T.; and Kelley, D.\n\n\n \n\n\n\n Crown Business, New York, 2013.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@book{kelley_creative_2013,\n\taddress = {New York},\n\ttitle = {Creative {Confidence}: {Unleashing} the {Creative} {Potential} {Within} {Us} {All}},\n\tabstract = {IDEO founder and Stanford d.school creator David Kelley and his brother Tom Kelley, IDEO partner and the author of the bestselling The Art of Innovation, have written a powerful and compelling book on unleashing the creativity that lies within each and every one of us. Too often, companies and individuals assume that creativity and innovation are the domain of the "creative types." But two of the leading experts in innovation, design, and creativity on the planet show us that each and every one of us is creative. In an incredibly entertaining and inspiring narrative that draws on countless stories from their work at IDEO and with many of the world's top companies, David and Tom Kelley identify the principles and strategies that will allow us to tap into our creative potential in our work lives, and in our personal lives, and allow us to innovate in terms of how we approach and solve problems. It is a book that will help each of us be more productive and successful in our lives and in our careers.},\n\tpublisher = {Crown Business},\n\tauthor = {Kelley, Tom and Kelley, David},\n\tyear = {2013},\n\tkeywords = {design thinking, development (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n IdeaBOOST Announces Six Digital Media and Entertainment Start-Ups in Second Business Accelerator Cohort: Strong Shortlist of Ventures Inspires Launch of Affiliate Program.\n \n \n \n \n\n\n \n Centre, T. C. F.\n\n\n \n\n\n\n 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"IdeaBOOST$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@misc{the_canadian_film_centre_ideaboost_2013,\n\ttitle = {{IdeaBOOST} {Announces} {Six} {Digital} {Media} and {Entertainment} {Start}-{Ups} in {Second} {Business} {Accelerator} {Cohort}: {Strong} {Shortlist} of {Ventures} {Inspires} {Launch} of {Affiliate} {Program}},\n\turl = {https://www.ideaboost.ca/press/20130516},\n\tabstract = {The deep involvement of ideaBOOST's founding partners-Shaw Media, Corus Entertainment and [Google]-all of whom recognize the importance of creating opportunities for the next generation of media and entertainment innovators is what sets our accelerator apart," said Ana Serrano, Chief Digital Officer of the CFC. "Their commitment, along with the breadth and depth of the companies vying to be part of the second ideaBOOST cohort, resulted in a decision to launch an Affiliate Program so that we could include all the companies that made our short list." ideaBOOST's first Affiliate Program will enable companies who made it to the shortlist to participate in a select number of ideaBOOST sessions, peerto-peer learning and strategic assessment modules. ideaBOOST's goal is to strengthen the Canadian ecosystem by exposing a wider network of earlystage companies to potential partners and customers. For the full list of ideaBOOST companies, visit the Shortlist. ideaBOOST identifies early stage companies in the media and technology industry that are ready to take advantage of the accelerator process and the relationship building that ideaBOOST believes is essential to become market- or investor-ready in today's competitive media market ecosystem. Through an intensive four-month, part-time prototype development and audience engagement boot camp, ideaBOOST enables participants to build successful products and sustainable companies that stay in Canada and build employment. In addition to breeding entrepreneurs, ideaBOOST aims to help convert high-potential Canadian digital content ventures into successful businesses and spurs innovation in the Canadian digital media sector.},\n\turldate = {2021-05-29},\n\tjournal = {The Canadian Film Centre},\n\tauthor = {The Canadian Film Centre},\n\tyear = {2013},\n\tkeywords = {Canada, business model incubator (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Business models for people, planet (& profits): exploring the phenomena of social business, a market-based approach to social value creation.\n \n \n \n \n\n\n \n Wilson, F.; and Post, J. E.\n\n\n \n\n\n\n Small Business Economics, 40(3): 715–737. 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Business$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{wilson_business_2013,\n\ttitle = {Business models for people, planet (\\& profits): exploring the phenomena of social business, a market-based approach to social value creation},\n\tvolume = {40},\n\tissn = {0921-898X},\n\tshorttitle = {Business models for people, planet (\\& profits)},\n\turl = {https://www.jstor.org/stable/23360620},\n\tabstract = {This article explores the hybrid phenomenon of social business, that is, both a form of organization and a practice that deliberately harnesses market dynamics to address deeply rooted social issues through the design and implementation of a core product or service. This new form of hybrid venture melds the social purpose traditionally associated with non-profit organizations with the economic purpose and market-based methods traditionally associated with for-profit firms. This exploratory research inductively explores the process by which social businesses are designed. The result suggests that clear intentionality around social purpose drives the design of these ventures and their associated missions and business models such that they can creatively synthesize competing paradigms (economic and social purpose) within one venture. The tight coupling of mission, method, and operationalization allows for the multistakeholder promise of the business model to be fulfilled.},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {Small Business Economics},\n\tauthor = {Wilson, Fiona and Post, James E.},\n\tyear = {2013},\n\tkeywords = {USA, business model (indicator), economic (indicator), entrepreneurship, for-profit, social capital (indicator)},\n\tpages = {715--737},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Undermining ‘data’: A critical examination of a core term in scientific inquiry.\n \n \n \n \n\n\n \n Markham, A. N.\n\n\n \n\n\n\n First Monday, 18(1). September 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Undermining$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{markham_undermining_2013,\n\ttitle = {Undermining ‘data’: {A} critical examination of a core term in scientific inquiry},\n\tvolume = {18},\n\tcopyright = {Copyright (c)},\n\tissn = {1396-0466},\n\tshorttitle = {Undermining ‘data’},\n\turl = {https://journals.uic.edu/ojs/index.php/fm/article/view/4868},\n\tdoi = {10.5210/fm.v18i10.4868},\n\tabstract = {The term ‘data’ functions as a powerful frame for discourse about how knowledge is derived and privileges certain ways of knowing over others. Through its ambiguity, the term can foster a self–perpetuating sensibility that ‘data’ is incontrovertible, something to question the meaning or the veracity of, but not the existence of. This article critically examines the concept of ‘data’ within larger questions of research method and frameworks for scientific inquiry. The current dominance of the term ‘data’ and ‘big data’ in discussions of scientific inquiry as well as everyday advertising focuses our attention on only certain aspects of the research process. The author suggests deliberately decentering the term, to explore nuanced frames for describing the materials, processes, and goals of inquiry.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {First Monday},\n\tauthor = {Markham, Annette N.},\n\tmonth = sep,\n\tyear = {2013},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Use of Visual Decision Support Tools in an Interactive Stakeholder Analysis—Old Ports as New Magnets for Creative Urban Development.\n \n \n \n \n\n\n \n Kourtit, K.; and Nijkamp, P.\n\n\n \n\n\n\n Sustainability, 5(10): 4379–4405. October 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{kourtit_use_2013,\n\ttitle = {The {Use} of {Visual} {Decision} {Support} {Tools} in an {Interactive} {Stakeholder} {Analysis}—{Old} {Ports} as {New} {Magnets} for {Creative} {Urban} {Development}},\n\tvolume = {5},\n\tissn = {2071-1050},\n\turl = {http://www.mdpi.com/2071-1050/5/10/4379},\n\tdoi = {10.3390/su5104379},\n\tabstract = {Port cities are historically important breeding places of civilization and  wealth, and act as attractive high-quality and sustainable places to live and work. They are core places for sustainable development for the entire spatial system as a result of their dynamism, which has in recent years reinforced their position as magnets in a  spatial-economic force field. To understand and exploit this potential, the present study presents an analytical framework that links the opportunities provided by traditional port areas/cities to creative, resilient and sustainable urban development. Using evidence-based research, findings are presented from a case study by employing a stakeholder-based model—with interactive visual support tools as novel analysis methods—in a backcasting and forecasting exercise for sustainable development. The empirical study is carried out in and around the NDSM-area, a former dockyard in Amsterdam, the Netherlands. Various future images were used—in an interactive assessment incorporating classes of important stakeholders—as strategic vehicles to identify important policy challenges, and to evaluate options for converting historical-cultural urban port landscapes into sustainable and creative hotspots, starting by reusing, recovering, and regenerating such areas. This approach helps to identify successful policy strategies, and to bring together different forms of expertise in order to resolve conflicts between the interests (or values) of a multiplicity of stakeholders, with a view to stimulating economic vitality in combination with meeting social needs and ensuring the conservation of eco-systems in redesigning old port areas. The results indicate that the interactive policy support tools developed for the case study are fit for purpose and are instrumental in designing sustainable urban port areas.},\n\tlanguage = {en},\n\tnumber = {10},\n\turldate = {2021-05-26},\n\tjournal = {Sustainability},\n\tauthor = {Kourtit, Karima and Nijkamp, Peter},\n\tmonth = oct,\n\tyear = {2013},\n\tkeywords = {cities, economic (indicator), ecosystem, physical space (indicator), social needs (indicator), stakeholder, sustainable},\n\tpages = {4379--4405},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Crafting your way out of the recession? New craft entrepreneurs and the global economic downturn.\n \n \n \n \n\n\n \n Jakob, D.\n\n\n \n\n\n\n Cambridge Journal of Regions, Economy and Society, 6(1): 127–140. March 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Crafting$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{jakob_crafting_2013,\n\ttitle = {Crafting your way out of the recession? {New} craft entrepreneurs and the global economic downturn},\n\tvolume = {6},\n\tissn = {1752-1378},\n\tshorttitle = {Crafting your way out of the recession?},\n\turl = {https://doi.org/10.1093/cjres/rss022},\n\tdoi = {10.1093/cjres/rss022},\n\tabstract = {Economic developers often celebrate making crafts for a living as a growing sector and positive career choice in these difficult economic times. Craft-making has not only been defined as a viable business choice but has also emerged as a thriving multibillion-dollar industry during the global economic recession. What seems like a lucrative business opportunity and successful career, however, is laden with difficulties and contradictions. The current economic drivers of the ‘third wave of crafting’ are not the crafters themselves, but craft support companies whose business strategies often contradict the political ideals on which today’s craft movement is built. This paper sheds light on the differing components of the craft-making sector and addresses some limitations of the creative class thesis.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Cambridge Journal of Regions, Economy and Society},\n\tauthor = {Jakob, Doreen},\n\tmonth = mar,\n\tyear = {2013},\n\tkeywords = {craft industries, economic (indicator), entrepreneurship},\n\tpages = {127--140},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Key Factors Affecting a Technology Entrepreneur’s Choice of Incubator or Accelerator.\n \n \n \n\n\n \n Isabelle, D. A.\n\n\n \n\n\n\n Technology Innovation Management Review. 2013.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{isabelle_key_2013,\n\ttitle = {Key {Factors} {Affecting} a {Technology} {Entrepreneur}’s {Choice} of {Incubator} or {Accelerator}},\n\tabstract = {Technology entrepreneurship rarely succeeds in isolation; increasingly, it occurs in interconnected networks of business partners and other organizations. For entrepreneurs lacking access to an established business ecosystem, incubators and accelerators provide a possible support mechanism for access to partners and resources. Yet, these relatively recent approaches to supporting entrepreneurship are still evolving. Therefore, it can be challenging for entrepreneurs to assess these mechanisms and to make insightful decisions on whether or not to join an incubator or accelerator, and which incubator or accelerator best meets their needs. In this article, five key factors that entrepreneurs should take into consideration about incubators and accelerators are offered. Insights are drawn from two surveys of managers and users of incubators and accelerators. An understanding of these five key success factors (stage of venture, fit with incubator’s mission, selection and graduation policies, services provided, and network of partners) and potential pitfalls will help entrepreneurs confidently enter into a relationship with an incubator or accelerator.},\n\tjournal = {Technology Innovation Management Review},\n\tauthor = {Isabelle, Diane A.},\n\tyear = {2013},\n\tkeywords = {digital, economic (indicator), entrepreneurship, incubators, methods},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Making a Name in Games: Immaterial labour, indie game design, and gendered social network markets.\n \n \n \n \n\n\n \n Harvey, A.; and Fisher, S.\n\n\n \n\n\n\n Information, Communication & Society, 16(3): 362–380. April 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Making$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{harvey_making_2013,\n\ttitle = {Making a {Name} in {Games}: {Immaterial} labour, indie game design, and gendered social network markets},\n\tvolume = {16},\n\tissn = {1369-118X, 1468-4462},\n\tshorttitle = {{MAKING} {A} {NAME} {IN} {GAMES}},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/1369118X.2012.756048},\n\tdoi = {10.1080/1369118X.2012.756048},\n\tabstract = {"This article explores the development and implementation of a Toronto-based incubator supporting local women in developing their own games. The incubator was created to help change the current (male-dominated) status quo of game production, promising participants skills sharing, support for the development of a new game, and entry into the local community of indie games developers. It was at the same time part of a large network of commercial and non-commercial interests with a shared agenda of promoting the local digital innovation scene. These different motivations and actors are considered to understand the nature of this complex social network market and the circulation of particularly feminized affective labour therein, detailing how value, reward, and benefit are conceptualized throughout this network. The article focuses on how and where these understandings are in alignment and where they fall apart, revealing problematic structures of power and control linked in particular to gender and entrepreneurialism in the area of digital innovation.\n \nThe article begins with an overview of the incubator program, introducing key players that established the incubator, as well as the goals and motivations of the participants. The methodology of the case study report is then presented, in which the authors were invited by the incubator organizers as outside evaluators to suggest improvements on their model. Through research conducted both as participants and observers of the experience (as well as through questionnaires and interviews with other participants), Harvey and Fisher identified several challenges present in the incubator, including “some tensions around the organizers’ reluctance to identify the project as feminist work.” (317) Further obstacles arise as the program progresses, including significant misalignments between the goals of the incubator’s leaders, funders, and participants, resulting in participants resentfully performing “additional immaterial labour to achieve their goals.” (371) Also highlighted is the common, more practical challenge of providing immediate, visible outcomes to justify the work of a “very large, provincially funded, commercially sponsored venture with powerful, well-established partners.” (367) These difficulties are then analysed through various lenses, including the “social network theory” developed by Potts et al. While the report focuses primarily on the context of gender disparity in the video games industry, the challenges presented in the paper can easily be translated to any incubation program in the creative sector. This report can serve as a warning to those who wish to avoid propagating the exploitation of creative workers, especially in regard to discouraging the extra unpaid emotional labour associated with being a female-identifying industry professional."},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {Information, Communication \\& Society},\n\tauthor = {Harvey, Alison and Fisher, Stephanie},\n\tmonth = apr,\n\tyear = {2013},\n\tkeywords = {Canada, Toronto, case study (method), creative work, development, entrepreneurship, equity (indicator), gender, incubators, innovation, labour, networks},\n\tpages = {362--380},\n}\n\n\n\n

\n

\n\n\n

\n \"This article explores the development and implementation of a Toronto-based incubator supporting local women in developing their own games. The incubator was created to help change the current (male-dominated) status quo of game production, promising participants skills sharing, support for the development of a new game, and entry into the local community of indie games developers. It was at the same time part of a large network of commercial and non-commercial interests with a shared agenda of promoting the local digital innovation scene. These different motivations and actors are considered to understand the nature of this complex social network market and the circulation of particularly feminized affective labour therein, detailing how value, reward, and benefit are conceptualized throughout this network. The article focuses on how and where these understandings are in alignment and where they fall apart, revealing problematic structures of power and control linked in particular to gender and entrepreneurialism in the area of digital innovation. The article begins with an overview of the incubator program, introducing key players that established the incubator, as well as the goals and motivations of the participants. The methodology of the case study report is then presented, in which the authors were invited by the incubator organizers as outside evaluators to suggest improvements on their model. Through research conducted both as participants and observers of the experience (as well as through questionnaires and interviews with other participants), Harvey and Fisher identified several challenges present in the incubator, including “some tensions around the organizers’ reluctance to identify the project as feminist work.” (317) Further obstacles arise as the program progresses, including significant misalignments between the goals of the incubator’s leaders, funders, and participants, resulting in participants resentfully performing “additional immaterial labour to achieve their goals.” (371) Also highlighted is the common, more practical challenge of providing immediate, visible outcomes to justify the work of a “very large, provincially funded, commercially sponsored venture with powerful, well-established partners.” (367) These difficulties are then analysed through various lenses, including the “social network theory” developed by Potts et al. While the report focuses primarily on the context of gender disparity in the video games industry, the challenges presented in the paper can easily be translated to any incubation program in the creative sector. This report can serve as a warning to those who wish to avoid propagating the exploitation of creative workers, especially in regard to discouraging the extra unpaid emotional labour associated with being a female-identifying industry professional.\"\n

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\n \n\n \n \n \n \n \n \n Cultural Economy Planning in Creative Cities: Discourse and Practice: Cultural economy planning in Austin and Toronto.\n \n \n \n \n\n\n \n Grodach, C.\n\n\n \n\n\n\n International Journal of Urban and Regional Research, 37(5): 1747–1765. September 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Cultural$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{grodach_cultural_2013,\n\ttitle = {Cultural {Economy} {Planning} in {Creative} {Cities}: {Discourse} and {Practice}: {Cultural} economy planning in {Austin} and {Toronto}},\n\tvolume = {37},\n\tissn = {03091317},\n\tshorttitle = {Cultural {Economy} {Planning} in {Creative} {Cities}},\n\turl = {http://doi.wiley.com/10.1111/j.1468-2427.2012.01165.x},\n\tdoi = {10.1111/j.1468-2427.2012.01165.x},\n\tabstract = {While a growing body of research analyses the functional mechanisms of the cultural or creative economy, there has been little attention devoted to understanding how local governments translate this work into policy. Moreover, research in this vein focuses predominately on Richard Florida's creative class thesis rather than considering the wider body of work that may influence policy. This article seeks to develop a deeper understanding of how municipalities conceptualize and plan for the cultural economy through the lens of two cities held up as model ‘creative cities’ — Austin, Texas and Toronto, Ontario. The work pays particular attention to how the cities adopt and adapt leading theories, strategies and discourses of the cultural economy. While policy documents indicate that the cities embrace the creative city model, in practice agencies tend to adapt conventional economic development strategies for cultural economy activity and appropriate the language of the creative city for multiple purposes.},\n\tlanguage = {en},\n\tnumber = {5},\n\turldate = {2021-05-26},\n\tjournal = {International Journal of Urban and Regional Research},\n\tauthor = {Grodach, Carl},\n\tmonth = sep,\n\tyear = {2013},\n\tkeywords = {Canada, Toronto, USA, case study (method), cultural and creative industries, development, diversity (indicator), economic (indicator), hubs, international, planning, policy},\n\tpages = {1747--1765},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \"Raw data\" is an Oxymoron.\n \n \n \n\n\n \n Gitelman, L.\n\n\n \n\n\n\n MIT Press, Cambridge, MA, 2013.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{gitelman_raw_2013,\n\taddress = {Cambridge, MA},\n\ttitle = {"{Raw} data" is an {Oxymoron}},\n\tpublisher = {MIT Press},\n\tauthor = {Gitelman, L.},\n\tyear = {2013},\n}\n\n\n\n

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\n \n 2012\n \n \n (10)\n \n \n

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\n \n\n \n \n \n \n \n \n A Stupidity-Based Theory of Organizations.\n \n \n \n \n\n\n \n Alvesson, M.; and Spicer, A.\n\n\n \n\n\n\n Journal of Management Studies, 49(7): 1194–1220. 2012.\n _eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.1467-6486.2012.01072.x\n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{alvesson_stupidity-based_2012,\n\ttitle = {A {Stupidity}-{Based} {Theory} of {Organizations}},\n\tvolume = {49},\n\tcopyright = {© 2012 The Authors. Journal of Management Studies © 2012 Blackwell Publishing Ltd and Society for the Advancement of Management Studies},\n\tissn = {1467-6486},\n\turl = {https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1467-6486.2012.01072.x},\n\tdoi = {10.1111/j.1467-6486.2012.01072.x},\n\tabstract = {In this paper we question the one-sided thesis that contemporary organizations rely on the mobilization of cognitive capacities. We suggest that severe restrictions on these capacities in the form of what we call functional stupidity are an equally important if under-recognized part of organizational life. Functional stupidity refers to an absence of reflexivity, a refusal to use intellectual capacities in other than myopic ways, and avoidance of justifications. We argue that functional stupidity is prevalent in contexts dominated by economy in persuasion which emphasizes image and symbolic manipulation. This gives rise to forms of stupidity management that repress or marginalize doubt and block communicative action. In turn, this structures individuals' internal conversations in ways that emphasize positive and coherent narratives and marginalize more negative or ambiguous ones. This can have productive outcomes such as providing a degree of certainty for individuals and organizations. But it can have corrosive consequences such as creating a sense of dissonance among individuals and the organization as a whole. The positive consequences can give rise to self-reinforcing stupidity. The negative consequences can spark dialogue, which may undermine functional stupidity.},\n\tlanguage = {en},\n\tnumber = {7},\n\turldate = {2025-03-15},\n\tjournal = {Journal of Management Studies},\n\tauthor = {Alvesson, Mats and Spicer, André},\n\tyear = {2012},\n\tnote = {\\_eprint: https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.1467-6486.2012.01072.x},\n\tkeywords = {business model (indicator), economic (indicator), literature review (method), operations, organizations, social structures (indicator), social values (indicator)},\n\tpages = {1194--1220},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n New types of work spaces for new types of work: Coworking Spaces.\n \n \n \n \n\n\n \n Pohler, N.\n\n\n \n\n\n\n Österreichische Zeitschrift für Soziologie, 37(1): 65–78. March 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"New$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{pohler_new_2012,\n\ttitle = {New types of work spaces for new types of work: {Coworking} {Spaces}},\n\tvolume = {37},\n\tissn = {1862-2585},\n\tshorttitle = {Neue {Arbeitsräume} für neue {Arbeitsformen}},\n\turl = {https://doi.org/10.1007/s11614-012-0021-y},\n\tdoi = {10.1007/s11614-012-0021-y},\n\tabstract = {In particular industries, primarily Information- and Communications Technology and the Creative Industries, there has been a development away from the standard working model towards atypical work and increased self-employed work. The new work arrangements are characterized by more freedom, flexibility and autonomy, but also by new problems, different from the ones of standard work. As a reaction to the new work order new forms of shared offices have been emerging in different countries all around the world during the past years. For my diploma thesis I conducted an empirical study about this phenomena. My essential hypothesis is that Coworking Spaces can be seen as a spatial manifestation of new work arrangements and the ways people approach them. This article is about requirements and demands that are fundamental for the emergence of Coworking Spaces, as well as the possibilities to support users in their individual work lives. Adapted from the source document.},\n\tlanguage = {de},\n\tnumber = {1},\n\turldate = {2021-05-29},\n\tjournal = {Österreichische Zeitschrift für Soziologie},\n\tauthor = {Pohler, Nina},\n\tmonth = mar,\n\tyear = {2012},\n\tkeywords = {co-working, creative work, digital, international, labour, physical space (indicator)},\n\tpages = {65--78},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Ethics in Qualitative Research.\n \n \n \n\n\n \n Miller, T.; Birch, M.; Mauthner, M.; and Jessop, J.\n\n\n \n\n\n\n SAGE Publications, Thousand Oaks, CA., 2nd edition, 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{miller_ethics_2012,\n\taddress = {Thousand Oaks, CA.},\n\tedition = {2nd},\n\ttitle = {Ethics in {Qualitative} {Research}},\n\tpublisher = {SAGE Publications},\n\tauthor = {Miller, T. and Birch, M. and Mauthner, M. and Jessop, J.},\n\tyear = {2012},\n\tkeywords = {qualitative (method)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Produsing Theory in a Digital World.\n \n \n \n\n\n \n Lind, R. A.\n\n\n \n\n\n\n Peter Lang, New York, 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{lind_produsing_2012,\n\taddress = {New York},\n\ttitle = {Produsing {Theory} in a {Digital} {World}},\n\tpublisher = {Peter Lang},\n\tauthor = {Lind, Rebecca Anne},\n\tyear = {2012},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n A Communicative Framework of Value in Cross-Sector Partnerships.\n \n \n \n \n\n\n \n Koschmann, M. A.; Kuhn, T. R.; and Pearrer, M. D.\n\n\n \n\n\n\n The Academy of Management Review, 37(3): 332–354. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{koschmann_communicative_2012,\n\ttitle = {A {Communicative} {Framework} of {Value} in {Cross}-{Sector} {Partnerships}},\n\tvolume = {37},\n\tissn = {0363-7425},\n\turl = {https://www.jstor.org/stable/23218092},\n\tabstract = {Cross-sector partnerships (XSPs) are an important part of today's organizational landscape and a favored strategy for addressing complex social problems. However, a discrepancy exists between the popularity and prevalence of XSPs and evidence of their ability to produce value with respect to the problems they address. We therefore offer a framework for increasing and assessing XSP value based on an alternative conception of organizational constitution rooted in communication theory. Our central argument is that the overall value of XSPs is not merely in connecting interested parties but, rather, in their ability to act—to substantially influence the people and issues within their problem domain. This ability, we argue, comes from the constitution of organizational forms that are distinct from their members and that display collective agency—the capacity to influence a host of relevant outcomes beyond what individual organizations could do on their own. Our primary contributions are developing a framework for understanding XSP constitution in terms of communication processes and explaining how XSP value can be increased and assessed through communication practices.},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {The Academy of Management Review},\n\tauthor = {Koschmann, Matthew A. and Kuhn, Timothy R. and Pearrer, Michael D.},\n\tyear = {2012},\n\tkeywords = {USA, business model non-profit (indicator), collaboration, entrepreneurship, funding agency, literature review (method), networks, non-profit},\n\tpages = {332--354},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Designing for Productive Failure.\n \n \n \n \n\n\n \n Kapur, M.; and Bielaczyc, K.\n\n\n \n\n\n\n Journal of the Learning Sciences, 21(1): 45–83. January 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Designing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{kapur_designing_2012,\n\ttitle = {Designing for {Productive} {Failure}},\n\tvolume = {21},\n\tissn = {1050-8406},\n\turl = {https://doi.org/10.1080/10508406.2011.591717},\n\tdoi = {10.1080/10508406.2011.591717},\n\tabstract = {In this article, we describe the design principles undergirding productive failure (PF; M. Kapur, 2008). We then report findings from an ongoing program of research on PF in mathematical problem solving in 3 Singapore public schools with significantly different mathematical ability profiles, ranging from average to lower ability. In the 1st study, 7th-grade mathematics students from intact classes experienced 1 of 2 conditions: (a) PF, in which students collaboratively solved complex problems on average speed without any instructional support or scaffolds up until a teacher-led consolidation; or (b) direct instruction (DI), in which the teacher provided strong instructional support, scaffolding, and feedback. Findings suggested that although PF students generated a diversity of linked representations and methods for solving the complex problems, they were ultimately unsuccessful in their problem-solving efforts. Yet despite seemingly failing in their problem-solving efforts, PF students significantly outperformed DI students on the well-structured and complex problems on the posttest. They also demonstrated greater representation flexibility in solving average speed problems involving graphical representations, a representation that was not targeted during instruction. The 2nd and 3rd studies, conducted in schools with students of significantly lower mathematical ability, largely replicated the findings of the 1st study. Findings and implications of PF for theory, design of learning, and future research are discussed.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Journal of the Learning Sciences},\n\tauthor = {Kapur, Manu and Bielaczyc, Katerine},\n\tmonth = jan,\n\tyear = {2012},\n\tpages = {45--83},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The influence of socio-cultural environments on the performance of nascent entrepreneurs: Community culture, motivation, self-efficacy and start-up success.\n \n \n \n \n\n\n \n Hopp, C.; and Stephan, U.\n\n\n \n\n\n\n Entrepreneurship & Regional Development, 24(9-10): 917–945. December 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{hopp_influence_2012,\n\ttitle = {The influence of socio-cultural environments on the performance of nascent entrepreneurs: {Community} culture, motivation, self-efficacy and start-up success},\n\tvolume = {24},\n\tissn = {0898-5626, 1464-5114},\n\tshorttitle = {The influence of socio-cultural environments on the performance of nascent entrepreneurs},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/08985626.2012.742326},\n\tdoi = {10.1080/08985626.2012.742326},\n\tabstract = {ABSTRACT: The importance of informal institutions and in particular culture for entrepreneurship is a subject of ongoing interest. Past research has mostly concentrated on cross-national comparisons, cultural values and the direct effects of culture on entrepreneurial behaviour, but in the main found inconsistent results. We add a fresh perspective to this research stream by turning attention to community-level culture and cultural norms. We hypothesize indirect effects of cultural norms on venture emergence: Community-level cultural norms (performance-based culture and socially supportive institutional norms) impact important supply-side variables (entrepreneurial self-efficacy and entrepreneurial motivation) which in turn influence nascent entrepreneurs’ success in creating operational ventures (venture emergence). We test our predictions on a unique longitudinal dataset, tracking nascent entrepreneurs’ venture creation efforts over a five-year time span, and find evidence supporting them. Our research contributes to a more fine-grained understanding of how culture, in particular perceptions of community cultural norms, influences venture emergence. Based on these findings, we discuss how venture creation efforts can be supported. Our research highlights the embeddedness of entrepreneurial behaviour and its immediate antecedent beliefs in the local, community context.\n \nANNOTATION: This is a five-year long longitudinal study of 560 nascent entrepreneurs to test mechanisms by which community-level cultural norms, informal institutions affect start-up entrepreneurial motivation and self-efficacy variables. Article’s focus on the influence of community-level culture norms (what authors call ""local and informal institutions"") and support for entrepreneurs (what authors call venture emergence/creation). Authors argue perceptions for community-level cultural norms are an important and undeveloped perspective in entrepreneurial research due to the local nature of entrepreneurial activity (920-921). The authors position start-up motivation and self-efficacy as economic behaviors embedded in socio-cultural norms, informal institutions and community-level cultural norms (918-919). The hypothesis of study: start-up motivation and self-efficacy of entrepreneurs are influenced by: (1) community cultural norms, particularly in performance-based cultures. Here, entrepreneurs are seen publicly as important stakeholders and consequently have easier access to resources (923-924); (2) displays of community support from governments, financiers and local groups (924). Start-up motivation confirmed, however self-efficacy not fully supported in the study, which the authors attribute, potentially, to methodologies of the study.},\n\tlanguage = {en},\n\tnumber = {9-10},\n\turldate = {2021-05-26},\n\tjournal = {Entrepreneurship \\& Regional Development},\n\tauthor = {Hopp, Christian and Stephan, Ute},\n\tmonth = dec,\n\tyear = {2012},\n\tkeywords = {business model entrepreneur (indicator), community, economic (indicator), ecosystem, entrepreneurship, governance, literature review (method)},\n\tpages = {917--945},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: The importance of informal institutions and in particular culture for entrepreneurship is a subject of ongoing interest. Past research has mostly concentrated on cross-national comparisons, cultural values and the direct effects of culture on entrepreneurial behaviour, but in the main found inconsistent results. We add a fresh perspective to this research stream by turning attention to community-level culture and cultural norms. We hypothesize indirect effects of cultural norms on venture emergence: Community-level cultural norms (performance-based culture and socially supportive institutional norms) impact important supply-side variables (entrepreneurial self-efficacy and entrepreneurial motivation) which in turn influence nascent entrepreneurs’ success in creating operational ventures (venture emergence). We test our predictions on a unique longitudinal dataset, tracking nascent entrepreneurs’ venture creation efforts over a five-year time span, and find evidence supporting them. Our research contributes to a more fine-grained understanding of how culture, in particular perceptions of community cultural norms, influences venture emergence. Based on these findings, we discuss how venture creation efforts can be supported. Our research highlights the embeddedness of entrepreneurial behaviour and its immediate antecedent beliefs in the local, community context. ANNOTATION: This is a five-year long longitudinal study of 560 nascent entrepreneurs to test mechanisms by which community-level cultural norms, informal institutions affect start-up entrepreneurial motivation and self-efficacy variables. Article’s focus on the influence of community-level culture norms (what authors call \"\"local and informal institutions\"\") and support for entrepreneurs (what authors call venture emergence/creation). Authors argue perceptions for community-level cultural norms are an important and undeveloped perspective in entrepreneurial research due to the local nature of entrepreneurial activity (920-921). The authors position start-up motivation and self-efficacy as economic behaviors embedded in socio-cultural norms, informal institutions and community-level cultural norms (918-919). The hypothesis of study: start-up motivation and self-efficacy of entrepreneurs are influenced by: (1) community cultural norms, particularly in performance-based cultures. Here, entrepreneurs are seen publicly as important stakeholders and consequently have easier access to resources (923-924); (2) displays of community support from governments, financiers and local groups (924). Start-up motivation confirmed, however self-efficacy not fully supported in the study, which the authors attribute, potentially, to methodologies of the study.\n

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\n \n\n \n \n \n \n \n \n The Performance of Museums and Other Cultural Institutions: Numbers or Genuine Judgments?.\n \n \n \n \n\n\n \n Gstraunthaler, T.; and Piber, M.\n\n\n \n\n\n\n International Studies of Management & Organization, 42(2): 29–42. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{gstraunthaler_performance_2012,\n\ttitle = {The {Performance} of {Museums} and {Other} {Cultural} {Institutions}: {Numbers} or {Genuine} {Judgments}?},\n\tvolume = {42},\n\tissn = {0020-8825},\n\tshorttitle = {The {Performance} of {Museums} and {Other} {Cultural} {Institutions}},\n\turl = {https://www.jstor.org/stable/41739588},\n\tabstract = {ANNOTATION: This paper, published in the Summer 2012 edition of International Studies of Management \\& Organization provides a general overview of contemporary trends in performance measures among arts organizations. Authors Thomas Gstraunthaler (Institute for Statistical Studies and Economics of Knowledge) and Martin Piber (University of Innsbruck) suggest that the strong emphasis placed on financial metrics  leads to “decreased attention being paid to the artistic work,” and subsequent tension and frustration amongst non-profit creative workers. (29) This trend towards for-profit mentalities has fundamentally shifted the priorities of cultural institutions, suggests Gstraunthaler and Piber, a situation that is further complicated by the fact that cultural institutions undeniably hold economic influence in the communities that surround them. The authors then present a literature review of previously established multidimensional performance measurements and their limitations, including the Balanced Scorecard system (Kaplan and Norton) and the Performance Prism (Neely), as well as the measurement matrix developed by Krug and Weinberg. In order to compare and contrast performance measurement practices, the authors suggest viewing them through the lens of Guba and Lincoln's “four generations of evaluation,” the concept of which is then introduced and examined with the authors highlighting the first three generational concepts as relevant to their case study.\n \nFinally, the methodology of the case studies is discussed, in which the practises of two different museums are examined through a narratological approach. The first of which (Museum A) is described as “a prominent museum of modern and contemporary art in the capital of a rather small European country,” while Museum B is “is located in a small European country. It is the main museum for modern and contemporary art in its area, and the government sees it as a vital element of self-identification for the people of the region.” (33, 35) The organizational, financial and governance models are both presented, as well as an overview of the museums’ histories, collections, and general practices. The following section then outlines the evaluation practices that the museums have in place, with the authors comparing the methods between the two cultural organizations.  The paper concludes with an overview of the performance measurement challenges currently faced by cultural organizations: lack of consistency, different priorities amongst various departments within each organization, as well as the tension between internal and external stakeholders. These challenges are categorized within Guba and Lincoln's evaluation frameworks, as the authors conclude with a call to arms for more extensive research on the subject. This paper may provide useful background information to those seeking an evaluation framework for their non-profit, as well as those curious about various organizational models at work in cultural institutions.},\n\tnumber = {2},\n\turldate = {2021-05-26},\n\tjournal = {International Studies of Management \\& Organization},\n\tauthor = {Gstraunthaler, Thomas and Piber, Martin},\n\tyear = {2012},\n\tkeywords = {business model non-profit (indicator), case study (method), discourse analysis (method), document analysis (method), economic (indicator), international, interviews (method), literature review (method), museums, non-profit, observation (method), organizations, space, stakeholder, strategic planning},\n\tpages = {29--42},\n}\n\n\n\n

\n

\n\n\n

\n ANNOTATION: This paper, published in the Summer 2012 edition of International Studies of Management & Organization provides a general overview of contemporary trends in performance measures among arts organizations. Authors Thomas Gstraunthaler (Institute for Statistical Studies and Economics of Knowledge) and Martin Piber (University of Innsbruck) suggest that the strong emphasis placed on financial metrics leads to “decreased attention being paid to the artistic work,” and subsequent tension and frustration amongst non-profit creative workers. (29) This trend towards for-profit mentalities has fundamentally shifted the priorities of cultural institutions, suggests Gstraunthaler and Piber, a situation that is further complicated by the fact that cultural institutions undeniably hold economic influence in the communities that surround them. The authors then present a literature review of previously established multidimensional performance measurements and their limitations, including the Balanced Scorecard system (Kaplan and Norton) and the Performance Prism (Neely), as well as the measurement matrix developed by Krug and Weinberg. In order to compare and contrast performance measurement practices, the authors suggest viewing them through the lens of Guba and Lincoln's “four generations of evaluation,” the concept of which is then introduced and examined with the authors highlighting the first three generational concepts as relevant to their case study. Finally, the methodology of the case studies is discussed, in which the practises of two different museums are examined through a narratological approach. The first of which (Museum A) is described as “a prominent museum of modern and contemporary art in the capital of a rather small European country,” while Museum B is “is located in a small European country. It is the main museum for modern and contemporary art in its area, and the government sees it as a vital element of self-identification for the people of the region.” (33, 35) The organizational, financial and governance models are both presented, as well as an overview of the museums’ histories, collections, and general practices. The following section then outlines the evaluation practices that the museums have in place, with the authors comparing the methods between the two cultural organizations. The paper concludes with an overview of the performance measurement challenges currently faced by cultural organizations: lack of consistency, different priorities amongst various departments within each organization, as well as the tension between internal and external stakeholders. These challenges are categorized within Guba and Lincoln's evaluation frameworks, as the authors conclude with a call to arms for more extensive research on the subject. This paper may provide useful background information to those seeking an evaluation framework for their non-profit, as well as those curious about various organizational models at work in cultural institutions.\n

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\n \n\n \n \n \n \n \n \n Community Enterprises—An Institutional Innovation.\n \n \n \n \n\n\n \n Frey, B. S.; Lüthi, R.; and Osterloh, M.\n\n\n \n\n\n\n Managerial and Decision Economics, 33(5/6): 427–439. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Community$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{frey_community_2012,\n\ttitle = {Community {Enterprises}—{An} {Institutional} {Innovation}},\n\tvolume = {33},\n\tissn = {0143-6570},\n\turl = {https://www.jstor.org/stable/41682548},\n\tabstract = {ANNOTATION: The authors’ research centres around online community-led non-profit producers of innovation resources such as Wikipedia and Linux, suggesting that these community enterprises “suffer from not being able to quantify their contributions.” (427) Community enterprises, claim Frey, Lüthi and Osterloh, are considered outliers to the market economy, and their paper aims to establish a suitable evaluation framework for these organizations. The research report provides an overview of community enterprises (CEs), including definitions and examples of key concepts surrounding the term. Frey, Lüthi and Osterloh discuss how CEs can be considered both communities and methods of innovation, while insisting that traditional performance metrics are not compatible with this new format. The authors also highlight the detriment caused by how, “in management research, it is common that only those variables that can easily be measured are studied, producing the paradox that novel phenomena are more concealed than illuminated,” (428) which results in a lack of public policy on the subject. The paper is formatted into four separate sections, the first several of which demonstrate how various stakeholders benefit from CEs, while simultaneously playing no part in either supporting or opposing these enterprises. The final two sections cover the implications of these organizations to both theories, and then policies. Frey, Lüthi and Osterloh also present the common characteristics of CEs through various lenses, including that of Benkler’s “commons-based peer production,” (428) and Surowiecki’s “wisdom of crowds” theory. (429) Once the common characteristics are established, the authors then discuss how CEs can be considered outliers in the market economy. The paper concludes with a discussion of how CEs present a complete subversion of traditional for-profit models. This subversion of ownership and lack of control over resources (argues Frey, Lüthi and Osterloh) puts CEs in opposition with for-profit firms, therefore leaving them vulnerable due to lack of current policy protection. Although community enterprises cannot be categorized as creative hubs per se, they are certainly an example of a non-financially motivated collaborative creative community and can therefore provide relevant insights into creative hub research. The study of community enterprises may also provide practical understanding for creative hub leaders interested in digital communities.},\n\tnumber = {5/6},\n\turldate = {2021-05-26},\n\tjournal = {Managerial and Decision Economics},\n\tauthor = {Frey, Bruno S. and Lüthi, Roger and Osterloh, Margit},\n\tyear = {2012},\n\tkeywords = {business model community interest company (indicator), business model non-profit (indicator), capability metric (indicator), collaboration, community, digital, emotional measures (indicator), entrepreneurship, innovation (indicator), literature review (method), non-profit, self-assessment (method)},\n\tpages = {427--439},\n}\n\n\n\n

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\n ANNOTATION: The authors’ research centres around online community-led non-profit producers of innovation resources such as Wikipedia and Linux, suggesting that these community enterprises “suffer from not being able to quantify their contributions.” (427) Community enterprises, claim Frey, Lüthi and Osterloh, are considered outliers to the market economy, and their paper aims to establish a suitable evaluation framework for these organizations. The research report provides an overview of community enterprises (CEs), including definitions and examples of key concepts surrounding the term. Frey, Lüthi and Osterloh discuss how CEs can be considered both communities and methods of innovation, while insisting that traditional performance metrics are not compatible with this new format. The authors also highlight the detriment caused by how, “in management research, it is common that only those variables that can easily be measured are studied, producing the paradox that novel phenomena are more concealed than illuminated,” (428) which results in a lack of public policy on the subject. The paper is formatted into four separate sections, the first several of which demonstrate how various stakeholders benefit from CEs, while simultaneously playing no part in either supporting or opposing these enterprises. The final two sections cover the implications of these organizations to both theories, and then policies. Frey, Lüthi and Osterloh also present the common characteristics of CEs through various lenses, including that of Benkler’s “commons-based peer production,” (428) and Surowiecki’s “wisdom of crowds” theory. (429) Once the common characteristics are established, the authors then discuss how CEs can be considered outliers in the market economy. The paper concludes with a discussion of how CEs present a complete subversion of traditional for-profit models. This subversion of ownership and lack of control over resources (argues Frey, Lüthi and Osterloh) puts CEs in opposition with for-profit firms, therefore leaving them vulnerable due to lack of current policy protection. Although community enterprises cannot be categorized as creative hubs per se, they are certainly an example of a non-financially motivated collaborative creative community and can therefore provide relevant insights into creative hub research. The study of community enterprises may also provide practical understanding for creative hub leaders interested in digital communities.\n

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\n \n\n \n \n \n \n \n Ethics and Feminist Research: Theory and Practice.\n \n \n \n\n\n \n Edwards, R.; and Mauthner, M.\n\n\n \n\n\n\n In Miller, T.; Birch, M.; Mauthner, M.; and Jessop, J., editor(s), Ethics in Qualitative Research, pages 14–28. SAGE Publications, Thousand Oaks, CA., 2nd edition, 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{edwards_ethics_2012,\n\taddress = {Thousand Oaks, CA.},\n\tedition = {2nd},\n\ttitle = {Ethics and {Feminist} {Research}: {Theory} and {Practice}},\n\tbooktitle = {Ethics in {Qualitative} {Research}},\n\tpublisher = {SAGE Publications},\n\tauthor = {Edwards, R. and Mauthner, M.},\n\teditor = {Miller, T. and Birch, M. and Mauthner, M. and Jessop, J.},\n\tyear = {2012},\n\tkeywords = {accessible (indicator), culture (indicator), equity (indicator), social capital (indicator)},\n\tpages = {14--28},\n}\n\n\n\n

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\n \n 2011\n \n \n (8)\n \n \n

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\n \n\n \n \n \n \n \n Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation.\n \n \n \n\n\n \n Wilk, D.\n\n\n \n\n\n\n 2011.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{wilk_change_2011,\n\ttitle = {Change by {Design}: {How} {Design} {Thinking} {Transforms} {Organizations} and {Inspires} {Innovation}},\n\tabstract = {Tim Brown, CEO of IDEO, shows how the techniques and strategies of design belong at every level of business.\n\nThe myth of innovation is that brilliant ideas leap fully formed from the minds of geniuses. The reality is that most innovations come from a process of rigorous examination through which great ideas are identified and developed before being realized as new offerings and capabilities.\n\nIn this revised and updated edition of Change By Design, Tim Brown reintroduces design thinking, the collaborative process by which the designer’s sensibilities and methods are employed to match people’s needs with what is technically feasible and a viable business strategy. In short, design thinking converts need into demand. It’s a human-centered approach to problem-solving that helps people and organizations become more innovative and creative.\n\nChange by Design is not a book by designers for designers; it is a book for creative leaders seeking to infuse design thinking into every level of an organization, product, or service to drive new alternatives for business and society.},\n\tauthor = {Wilk, Deborah},\n\tyear = {2011},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Communities of practice: A brief introduction.\n \n \n \n \n\n\n \n Wenger, E.\n\n\n \n\n\n\n . October 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Communities$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{wenger_communities_2011,\n\ttitle = {Communities of practice: {A} brief introduction},\n\tshorttitle = {Communities of practice},\n\turl = {https://scholarsbank.uoregon.edu/xmlui/handle/1794/11736},\n\tabstract = {The term "community of practice" is of relatively recent coinage, even though the phenomenon it refers to is age-old. The concept has turned out to provide a useful perspective on knowing and learning. A growing number of people and organizations in various sectors are now focusing on communities of practice as a key to improving their performance. \nThis brief and general introduction examines what communities of practice are and why researchers and practitioners in so many different contexts find them useful as an approach to knowing and learning.},\n\tlanguage = {en\\_US},\n\turldate = {2021-05-29},\n\tauthor = {Wenger, Etienne},\n\tmonth = oct,\n\tyear = {2011},\n\tkeywords = {co-working, communities of practise (indicator), community, innovation},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Cultural/Creative Hubs in Priority Neighbourhoods: Feasibility Study for a Cultural/Creative Hub in Weston Mount Dennis.\n \n \n \n \n\n\n \n Jones, T.; Robey, P.; Birnbaum, E.; and Njoh, P.\n\n\n \n\n\n\n Technical Report Toronto, Ontario, 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Cultural/Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{jones_culturalcreative_2011,\n\taddress = {Toronto, Ontario},\n\ttitle = {Cultural/{Creative} {Hubs} in {Priority} {Neighbourhoods}: {Feasibility} {Study} for a {Cultural}/{Creative} {Hub} in {Weston} {Mount} {Dennis}},\n\turl = {https://www.toronto.ca/legdocs/mmis/2012/ey/bgrd/backgroundfile-45014.pdf},\n\tabstract = {This study has two distinct but interconnected elements. Based on precedent and other desk research a model for the development and operation of Creative/Cultural Hubs in Toronto’s Priority neighbourhoods has been developed. That model has then been tested and applied to the Weston/Mt. Dennis neighbourhood, supported by extensive community engagement and research. Feasibility study prepared by Artscape for the City of Toronto. Authors define what is needed to a successful Cultural/Creative Hub in a priority neighbourhood and seek to understand the elements needed to draw and sustain creative people in one area. Recommendations for size and proposed use of a new facility. Identified need to: have active community support, openness to different visions and projects, willing to have artists and creative businesses in neighbourhood, support of local councillor, number of potential sites available.},\n\tauthor = {Jones, Tim and Robey, Pru and Birnbaum, Edward and Njoh, Patrice},\n\tyear = {2011},\n\tkeywords = {Toronto, community, labour, space, sustainable},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Challenging the Boundaries of Entrepreneurship: The Spatialities and Practices of UK ‘Mumpreneurs'.\n \n \n \n\n\n \n Ekinsmyth, C.\n\n\n \n\n\n\n Geoforum, 42(1): 104–114. 2011.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{ekinsmyth_challenging_2011,\n\ttitle = {Challenging the {Boundaries} of {Entrepreneurship}: {The} {Spatialities} and {Practices} of {UK} ‘{Mumpreneurs}'},\n\tvolume = {42},\n\tdoi = {https://doi.org/10.1016/j.geoforum.2010.10.005},\n\tabstract = {This paper examines the spatialities and practices of an illustrative sample of UK mumpreneurs, a sub-group of female entrepreneurs who operate at the interface between paid work and motherhood, who are increasing numerically, and who are carving for themselves, a sub-culture of entrepreneurship. They have great policy-importance, not least because the UK government has recognised mothers as a group who need to be encouraged into business ownership. Employing mixed methods with emphasis on qualitative approaches, the research findings suggest that policy makers need to understand better some key aspects of this entrepreneurial activity before their interventions can be effective. Annotation: mumpreneurs who creatively utilise the everyday spaces of motherhood: transitions into business rely heavily on family contexts and parent networks. The unconventional economic spaces and spatialities of mothering are crucial here. We need to re-conceive/re-define entrepreneurship and direct resources accordingly. Policy makers need to encourage local neighbourhood cultures of entrepreneurship. This paper examines the spatialities and practices of an illustrative sample of UK mumpreneurs, a sub-group of female entrepreneurs who operate at the interface between paid work and motherhood, who are increasing numerically, and who are carving for themselves, a sub-culture of entrepreneurship. They have great policy-importance, not least because the UK government has recognised mothers as a group who need to be encouraged into business ownership. Employes mixed methods with emphasis on qualitative approaches, the research findings suggest that policy makers.},\n\tnumber = {1},\n\tjournal = {Geoforum},\n\tauthor = {Ekinsmyth, Carol},\n\tyear = {2011},\n\tkeywords = {business model entrepreneur (indicator), craft industries, cultural and creative industries, discourse analysis (method), economic (indicator), entrepreneurship, interviews (method), labour, literature review (method), methods, networks, policy, qualitative (method), surveys (method)},\n\tpages = {104--114},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Square Feet: The Artist's Guide to Renting and Buying Creative Space.\n \n \n \n \n\n\n \n Birnbaum, L.; and Zimmerman, P.\n\n\n \n\n\n\n Technical Report Toronto Artscape, Toronto, 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Square$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{birnbaum_square_2011,\n\taddress = {Toronto},\n\ttitle = {Square {Feet}: {The} {Artist}'s {Guide} to {Renting} and {Buying} {Creative} {Space}},\n\turl = {https://www.artscape.ca/wp-content/uploads/2017/06/square_feet_2011.pdf},\n\tabstract = {ANNOTATION: A guide designed to help creative workers secure work space and/or living space. Sections include: defining what is needed in the space, budgeting, leasing information, buying property and mortgages, how to find space and zoning regulations, space emergencies.},\n\tinstitution = {Toronto Artscape},\n\tauthor = {Birnbaum, Leah and Zimmerman, Peter},\n\tyear = {2011},\n\tkeywords = {Toronto, co-working, governance, physical space (indicator), space},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Handbook of Creative Cities.\n \n \n \n\n\n \n Andersson, D. E.; Andersson, Å. E.; and Mellander, C.\n\n\n \n\n\n\n Edward Elgar Pub, Cheltenham, UK ; Northampton, MA, 2011.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{andersson_handbook_2011,\n\taddress = {Cheltenham, UK ; Northampton, MA},\n\ttitle = {Handbook of {Creative} {Cities}},\n\tabstract = {With the publication of The Rise of the Creative Class by Richard Florida in 2002, the ‘creative city’ became the new hot topic among urban policymakers, planners and economists. Florida has developed one of three path-breaking theories about the relationship between creative individuals and urban environments. The economist åke E. Andersson and the psychologist Dean Simonton are the other members of this ‘creative troika’. In the Handbook of Creative Cities, Florida, Andersson and Simonton appear in the same volume for the first time. The expert contributors in this timely Handbook extend their insights with a varied set of theoretical and empirical tools. The diversity of the contributions reflect the multidisciplinary nature of creative city theorizing, which encompasses urban economics, economic geography, social psychology, urban sociology, and urban planning. The stated policy implications are equally diverse, ranging from libertarian to social democratic visions of our shared creative and urban future.},\n\tpublisher = {Edward Elgar Pub},\n\tauthor = {Andersson, David E. and Andersson, Åke E. and Mellander, Charlotta},\n\tyear = {2011},\n\tkeywords = {artistic and creative practise (indicator), culture (indicator), design thinking, economic (indicator), ecosystem, physical space (indicator), planning, social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Independent artist-run centres: an empirical analysis of the Montreal non-profit visual arts field.\n \n \n \n \n\n\n \n Blessi, G. T.; Sacco, P. L.; and Pilati, T.\n\n\n \n\n\n\n Cultural Trends, 20(2): 141–166. June 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Independent$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{blessi_independent_2011,\n\ttitle = {Independent artist-run centres: an empirical analysis of the {Montreal} non-profit visual arts field},\n\tvolume = {20},\n\tissn = {0954-8963, 1469-3690},\n\tshorttitle = {Independent artist-run centres},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/09548963.2011.563907},\n\tdoi = {10.1080/09548963.2011.563907},\n\tabstract = {Canadian independent artist-run centres provide an interesting case study of the potential role and relevance of non-profit institutions in the contemporary arts field. Predominantly established during the 1970s, they have been founded by artist collectives typically operating within urban contexts, with the aim of providing new opportunities to cope with the physical, economic and cultural constraints that generally impede the professional development of artists. A remarkable urban environment in which it is possible to find, and study, a large number of such organizations is the city of Montreal, in the Quebec Province of Canada, which constitutes an excellent reference to track the onset and the evolution of independent artist-run spaces, and to understand why, how and to what extent they are currently experiencing new pressures and challenges, both on the internal and external sides. This article offers an empirical study of these organizations with reference to their organizational, managerial and strategic vision, and to co-operative interaction and network building practices. It contributes to the field of research on cultural management through its study of the effects of management systems on the strategic action of independent visual arts organizations.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2021-05-17},\n\tjournal = {Cultural Trends},\n\tauthor = {Blessi, Giorgio Tavano and Sacco, Pier Luigi and Pilati, Thomas},\n\tmonth = jun,\n\tyear = {2011},\n\tkeywords = {Canada, Quebec, artists, culture (indicator), management, physical space (indicator), sustainability (indicator)},\n\tpages = {141--166},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Individualization, Gender and Cultural Work.\n \n \n \n \n\n\n \n Banks, M.; and Milestone, K.\n\n\n \n\n\n\n Gender, Work & Organization, 18(1): 73–89. January 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Individualization,$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{banks_individualization_2011,\n\ttitle = {Individualization, {Gender} and {Cultural} {Work}},\n\tvolume = {18},\n\tissn = {09686673},\n\tshorttitle = {Individualization, {Gender} and {Cultural} {Work}},\n\turl = {http://doi.wiley.com/10.1111/j.1468-0432.2010.00535.x},\n\tdoi = {10.1111/j.1468-0432.2010.00535.x},\n\tabstract = {In the ‘new’ economy the virtues of creative and cultural industry production are widely promoted and idealized. For women, set free from their ‘feudal chains’, the ‘cool creative and egalitarian’ cultural economy — particularly in areas such new media, music, design and fashion — appears to offer paths to workplace freedom. But is this really so? Using evidence from the digital ‘new media’ sector, this article builds on the work of Lash and Adkins that suggests that the ostensibly detraditionalized cultural economy continues to play host to some markedly regressive traditional social structures. In particular it is shown how the new media sector exhibits some clear continuity with the old economy in terms of some enduring gender inequality and discrimination. However, more positively, evidence is presented of how women have been able to take advantage of individualized workplace structures and develop more autonomous and reflexive workplace roles.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-17},\n\tjournal = {Gender, Work \\& Organization},\n\tauthor = {Banks, Mark and Milestone, Katie},\n\tmonth = jan,\n\tyear = {2011},\n\tkeywords = {accessible (indicator), artistic and creative practise (indicator), cultural and creative industries, diversity (indicator), equity (indicator), gender, production},\n\tpages = {73--89},\n}\n\n\n\n

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\n \n 2010\n \n \n (8)\n \n \n

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\n \n\n \n \n \n \n \n \n The Logic of Evaluation and Not-for-Profit Arts Organizations: The Perspective of an Evaluation Consultant.\n \n \n \n \n\n\n \n Youker, B. W.\n\n\n \n\n\n\n International Journal of Arts Management, 12(3): 4–12. 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{youker_logic_2010,\n\ttitle = {The {Logic} of {Evaluation} and {Not}-for-{Profit} {Arts} {Organizations}: {The} {Perspective} of an {Evaluation} {Consultant}},\n\tvolume = {12},\n\tissn = {1480-8986},\n\tshorttitle = {The {Logic} of {Evaluation} and {Not}-for-{Profit} {Arts} {Organizations}},\n\turl = {https://www.jstor.org/stable/41065024},\n\tabstract = {This article defines evaluation, describes the logic of evaluation and discusses evaluation as it pertains to not-for-profit arts organizations. The purpose is to explain to not-for-profit arts organizations how an evaluation consultant conceptualizes the task of program evaluation. The article is based on the perspective and experiences of a consultant who was contracted to assist in building the program monitoring and internal evaluation capacities of arts organizations. Understanding the basics of systematic evaluation will assist arts organizations in developing sound program monitoring and evaluation strategies and practices.},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Youker, Brandon W.},\n\tyear = {2010},\n\tkeywords = {USA, arts sector, business model non-profit (indicator), case study (method), discourse analysis (method), education, interviews (method), non-profit, performance},\n\tpages = {4--12},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Alignment of Measures and Constructs in Organizational Research: The Case of Testing Measurement Models of Creativity.\n \n \n \n \n\n\n \n Sullivan, D. M.; and Ford, C. M.\n\n\n \n\n\n\n Journal of Business and Psychology, 25(3): 505–521. 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{sullivan_alignment_2010,\n\ttitle = {The {Alignment} of {Measures} and {Constructs} in {Organizational} {Research}: {The} {Case} of {Testing} {Measurement} {Models} of {Creativity}},\n\tvolume = {25},\n\tissn = {0889-3268},\n\tshorttitle = {The {Alignment} of {Measures} and {Constructs} in {Organizational} {Research}},\n\turl = {https://www.jstor.org/stable/40682669},\n\tabstract = {Organizational creativity research has a curious misalignment between construct definitions and measurement model specifications—definitions embrace multiple facets, but empirical measures do not. The purpose of this study was to examine potential measurement model misspecification in organizational creativity research. We compare whether creativity is best assessed as a unidimensional common latent construct model with reflective indicators or as a multi-dimensional composite latent construct model with formative indicators. Design/methodology/approach To assess potential measurement model misspecification, two studies were conducted in organizational and professional settings. For Study One, MBA students (n = 152) evaluated stimuli from entrepreneurship and advertising. For study, two professional artists (n = 167) evaluated art domain stimuli. Findings CFA results suggest composite latent construct models with two factors (novelty and usefulness) represent creativity assessments in entrepreneurship, advertising, and art better than one-and three-factor models. Implications Results suggest that failure to acknowledge inconsistencies between construct definitions and measurement models may put researchers at risk of reporting findings with limited statistical conclusion validity. Further, improved theories and empirical models should include facets of creativity. Broader implications of measurement model misspecification for organizational science research are also discussed. Originality/value This is one of the first studies to examine the potential measurement model misspecification in organizational creativity research. We examined this potential using data from three domains and across two domain-specific samples. The results were robust across all samples and settings and suggest concern with respect to current methods used for measuring organizational creativity.},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {Journal of Business and Psychology},\n\tauthor = {Sullivan, Diane M. and Ford, Cameron M.},\n\tyear = {2010},\n\tkeywords = {USA, business model (indicator), case study (method), cultural and creative industries, entrepreneurship, literature review (method), organizations, taxonomies},\n\tpages = {505--521},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Strategic invasion: response of the voluntary nonprofit to strategic processes.\n \n \n \n \n\n\n \n Sharp, Z.; and Brock, D. M.\n\n\n \n\n\n\n International Journal of Organizational Analysis, 18(3): 321–339. July 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"Strategic$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{sharp_strategic_2010,\n\ttitle = {Strategic invasion: response of the voluntary nonprofit to strategic processes},\n\tvolume = {18},\n\tissn = {1934-8835},\n\tshorttitle = {Strategic invasion},\n\turl = {https://www.emerald.com/insight/content/doi/10.1108/19348831011062157/full/html},\n\tdoi = {10.1108/19348831011062157},\n\tabstract = {The purpose of this paper is to examine the encounter between the voluntary nonprofit organization (VNPO) and the strategic process in order to study how these organizations may harness strategic processes in a way that somehow does not threaten their cultures and social mission. The paper adopts an exploratory case study approach. The case study identifies a set of complex, multi-faceted behaviors that serve a dual role, functioning simultaneously as both inhibitors and enablers of the strategic process. As a framework for future research, the paper proposes a two-dimensional scheme which models the scope and mode of organizational behavior in a strategic process. The case study indicates that VNPOs may tend to adopt what is classified as a sectional-organic pattern of response. This pattern of response balances the organization's needs for continuity and change, enabling the execution of the process in a manner compatible with the specific organizational characteristics of the VNPO. Previous studies of strategic processes in the VNPO have reported resistance and partial, stunted processes, stemming from the organization's need to protect its mission-oriented identity from the threats posed by a strategic process. However, the results of this case study, in which the subject organization managed to successfully develop an effective strategic plan, suggest that the behavior pattern of the VNPO in a strategic process may not be strictly defensive.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Organizational Analysis},\n\tauthor = {Sharp, Ziva and Brock, David M.},\n\tmonth = jul,\n\tyear = {2010},\n\tkeywords = {case study (method), economic (indicator), innovation, international, non-profit, strategic planning},\n\tpages = {321--339},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Media divides: Communication rights and the right to communicate in Canada.\n \n \n \n\n\n \n Raboy, M.; and Shtern, J.,\n editors.\n \n\n\n \n\n\n\n UBC Press, Vancouver, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{raboy_media_2010,\n\taddress = {Vancouver},\n\ttitle = {Media divides: {Communication} rights and the right to communicate in {Canada}},\n\tpublisher = {UBC Press},\n\teditor = {Raboy, Marc and Shtern, Jeremy},\n\tyear = {2010},\n\tkeywords = {accessible (indicator), culture (indicator), diversity (indicator), economic (indicator), equity (indicator), physical space (indicator), social (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n The Logic Model as a Tool For Developing a Network Performance Measurement System.\n \n \n \n \n\n\n \n Herranz, J.\n\n\n \n\n\n\n Public Performance & Management Review, 34(1): 56–80. 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{herranz_logic_2010,\n\ttitle = {The {Logic} {Model} as a {Tool} {For} {Developing} a {Network} {Performance} {Measurement} {System}},\n\tvolume = {34},\n\tissn = {1530-9576},\n\turl = {https://www.jstor.org/stable/20779222},\n\tabstract = {ABSTRACT: Performance measurement and networked collaboration are each important trends in public management. Research and practice on these two issues have largely proceeded on separate tracks. A logic model framework offers a way to conceptualize network coordination and performance by making explicit the hypothesized relations between network processes and outcomes. Hatry's (2006) logic model approach is used as a heuristic tool toward developing measurable indicators for network planning, implementation, and evaluation. This article provides a theoretical rationale for bridging the logic model concept with emergent network theory about outcomes-focused network processes. Several illustrative examples depict the application of logic modeling to three elements of a network performance measurement system: planning, implementation, and evaluation. The article discusses the implications of the logic model approach as a tool for developing, managing, and assessing the performance outcomes of collaborative and networked initiatives.\n\nANNOTATION: "Through the lens of a logic model framework, author Joaquín Herranz, Jr. (University of Washington) actively attempts to bridge the gap between the concepts of “networked collaboration” and “performance measurement” in this 2010 article published in the Public Performance \\& Management Review. Within the paper, Herranz addresses the dearth of literature that provides “practice-oriented tools are available to instruct or guide such managers on how to think about the relation between variable network processes and outcomes.” (57) The author argues for the implementation of the logic model framework as a useful tool for non-profit managers, citing its proven track record in the field of organizational theory, as well as its flexibility and often collaborative development process. The paper begins with a background overview of networked performance measurement from an American policy perspective, as well as an examination of “current” trends in the public sector. Herranz highlights specific challenges faced by evaluating collaborative non-profit organizations, admitting that while it is fairly straightforward for a single-agency program to measure whether or not it has achieved its deliverable, the multi-dimensionality of several networked agencies introduce an incredibly complicated number of interconnected performance indicators. Drawing heavily from Hatry’s logic model framework outlined in his textbook Performance Measurement: Getting Results, Herranz introduces the model’s theory, including the visual of a flow chart in which the five concepts of the model are linked: resources, activity, output, intermediate outcomes and end outcomes (with each concept accompanied by indicators represented by numbers and percentages.) The importance of involving several different stakeholders in the development of the logic model is stressed, as is the fact that the logic model is not a static tool, but one that constantly evolves with the organization that it represents. Herranz touts this as a benefit of the model – although traditionally linear, the model can adapt to any shape necessary, and is thus reflective the multidimensionality of collaborative non-profits, especially those housed in multi-tenant hubs. When adapting the logic model tool for collaborative non-profit organizations, Herranz recommends three separate models be implemented: one model of planning and tracking connections, once for charting the implementation of the plan, and finally another one for evaluation and reporting.\n \nHerranz then provides several illustrative examples of logic models. These are framed within the context of a case study of a multi-tenant non-profit hub located in Boston whose mandate focuses on social issues surrounding employment. Herranz provides illustrative sample models for network planning as well as network strategy from the hub, as well as depicts how a logic model can be applied as an evaluative framework and performance measurement tool. However, the author stresses that these models are merely hypotheticals, and are not to be read as definitive examples of the logic model at work. A discussion follows, which summaries the benefits and challenges of employing logic model tools to networked not-for-profit hubs, however Herranz maintains that the model holds powerful potential to “serve as a conceptual tool for planning, implementing, and evaluating the performance outcomes of collaborative and networked initiatives.” (78)},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Public Performance \\& Management Review},\n\tauthor = {Herranz, Joaquín},\n\tyear = {2010},\n\tkeywords = {USA, business model non-profit (indicator), collaboration, economic (indicator), for-profit, governance, labour, literature review (method), management, networks, non-profit, planning},\n\tpages = {56--80},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: Performance measurement and networked collaboration are each important trends in public management. Research and practice on these two issues have largely proceeded on separate tracks. A logic model framework offers a way to conceptualize network coordination and performance by making explicit the hypothesized relations between network processes and outcomes. Hatry's (2006) logic model approach is used as a heuristic tool toward developing measurable indicators for network planning, implementation, and evaluation. This article provides a theoretical rationale for bridging the logic model concept with emergent network theory about outcomes-focused network processes. Several illustrative examples depict the application of logic modeling to three elements of a network performance measurement system: planning, implementation, and evaluation. The article discusses the implications of the logic model approach as a tool for developing, managing, and assessing the performance outcomes of collaborative and networked initiatives. ANNOTATION: \"Through the lens of a logic model framework, author Joaquín Herranz, Jr. (University of Washington) actively attempts to bridge the gap between the concepts of “networked collaboration” and “performance measurement” in this 2010 article published in the Public Performance & Management Review. Within the paper, Herranz addresses the dearth of literature that provides “practice-oriented tools are available to instruct or guide such managers on how to think about the relation between variable network processes and outcomes.” (57) The author argues for the implementation of the logic model framework as a useful tool for non-profit managers, citing its proven track record in the field of organizational theory, as well as its flexibility and often collaborative development process. The paper begins with a background overview of networked performance measurement from an American policy perspective, as well as an examination of “current” trends in the public sector. Herranz highlights specific challenges faced by evaluating collaborative non-profit organizations, admitting that while it is fairly straightforward for a single-agency program to measure whether or not it has achieved its deliverable, the multi-dimensionality of several networked agencies introduce an incredibly complicated number of interconnected performance indicators. Drawing heavily from Hatry’s logic model framework outlined in his textbook Performance Measurement: Getting Results, Herranz introduces the model’s theory, including the visual of a flow chart in which the five concepts of the model are linked: resources, activity, output, intermediate outcomes and end outcomes (with each concept accompanied by indicators represented by numbers and percentages.) The importance of involving several different stakeholders in the development of the logic model is stressed, as is the fact that the logic model is not a static tool, but one that constantly evolves with the organization that it represents. Herranz touts this as a benefit of the model – although traditionally linear, the model can adapt to any shape necessary, and is thus reflective the multidimensionality of collaborative non-profits, especially those housed in multi-tenant hubs. When adapting the logic model tool for collaborative non-profit organizations, Herranz recommends three separate models be implemented: one model of planning and tracking connections, once for charting the implementation of the plan, and finally another one for evaluation and reporting. Herranz then provides several illustrative examples of logic models. These are framed within the context of a case study of a multi-tenant non-profit hub located in Boston whose mandate focuses on social issues surrounding employment. Herranz provides illustrative sample models for network planning as well as network strategy from the hub, as well as depicts how a logic model can be applied as an evaluative framework and performance measurement tool. However, the author stresses that these models are merely hypotheticals, and are not to be read as definitive examples of the logic model at work. A discussion follows, which summaries the benefits and challenges of employing logic model tools to networked not-for-profit hubs, however Herranz maintains that the model holds powerful potential to “serve as a conceptual tool for planning, implementing, and evaluating the performance outcomes of collaborative and networked initiatives.” (78)\n

\n\n\n

\n \n\n \n \n \n \n \n \n The Anatomy of the Creative City.\n \n \n \n \n\n\n \n Cohendet, P.; Grandadam, D.; and Simon, L.\n\n\n \n\n\n\n Industry & Innovation, 17(1): 91–111. February 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{cohendet_anatomy_2010,\n\ttitle = {The {Anatomy} of the {Creative} {City}},\n\tvolume = {17},\n\tissn = {1366-2716, 1469-8390},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/13662710903573869},\n\tdoi = {10.1080/13662710903573869},\n\tabstract = {The aim of this contribution is to depict and analyze the dynamics of situated creativity by presenting an anatomy of the creative city and an understanding of the emergence and formation of creative processes in these particular local ecologies of knowledge. We propose to study the anatomy of the creative city by defining three different layers—the upperground, the middleground and the underground—as the basic components of the creative processes in local innovative milieus. Each one of these layers intervenes with specific characteristics in the creative process, and enables new knowledge to transit from an informal micro-level to a formal macro-level. In order to illustrate this point of view, the creative city of Montréal is analyzed through two main case studies: Ubisoft and the Cirque du Soleil.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-24},\n\tjournal = {Industry \\& Innovation},\n\tauthor = {Cohendet, Patrick and Grandadam, David and Simon, Laurent},\n\tmonth = feb,\n\tyear = {2010},\n\tkeywords = {Canada, clusters, community, development, for-profit, hubs, innovation, non-profit, physical space (indicator), social structures (indicator), taxonomies},\n\tpages = {91--111},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Autonomy Guaranteed? Cultural Work and the “Art–Commerce Relation”.\n \n \n \n \n\n\n \n Banks, M.\n\n\n \n\n\n\n Journal for Cultural Research, 14(3): 251–269. July 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"Autonomy$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{banks_autonomy_2010,\n\ttitle = {Autonomy {Guaranteed}? {Cultural} {Work} and the “{Art}–{Commerce} {Relation}”},\n\tvolume = {14},\n\tissn = {1479-7585, 1740-1666},\n\tshorttitle = {Autonomy {Guaranteed}?},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/14797581003791487},\n\tdoi = {10.1080/14797581003791487},\n\tabstract = {The aim of this article is to examine synthetically the concept of "autonomy" in cultural and creative industries work. Following a brief discussion regarding the definition(s) of autonomy, and its historical linkages to discourses of art, the author then rehearses three prominent social science critiques which suggest that the possibilities for autonomy in cultural work have been seriously diminished or compromised. Against these readings, utilising Bill Ryan's work on the "art-commerce relation", the author then discusses how autonomous cultural work is, in fact, impossible to destroy since ensuring its survival is a prerequisite for the production of value in cultural and creative industry production. Finally, the author considers how this provision of freedom may then serve to underwrite autonomous cultural work of a more radical and, crucially, negotiated character than that conventionally conceived of in the orthodox critiques.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-17},\n\tjournal = {Journal for Cultural Research},\n\tauthor = {Banks, Mark},\n\tmonth = jul,\n\tyear = {2010},\n\tkeywords = {business model entrepreneur (indicator), economic (indicator), entrepreneurship, governance, literature review (method), sense-making (indicator)},\n\tpages = {251--269},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Craft labour and creative industries.\n \n \n \n \n\n\n \n Banks, M.\n\n\n \n\n\n\n International Journal of Cultural Policy, 16(3): 305–321. August 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"Craft$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{banks_craft_2010,\n\ttitle = {Craft labour and creative industries},\n\tvolume = {16},\n\tissn = {1028-6632, 1477-2833},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/10286630903055885},\n\tdoi = {10.1080/10286630903055885},\n\tabstract = {This article examines the role and status of craft labour in the creative industries. While it tends to be overlooked, craft labour is an integral part of what is ostensibly an artist‐led and ‘creative’ work process. The article highlights the necessity of craft in the creative industry ‘workshop’, and the relative autonomy enjoyed by its practitioners. However, while craft labour is depicted as vital, it is also subordinate to artistic labour, and amenable to reform through rational management and refinement of the division of labour – thus a series of likely threats to future craft production are outlined. The article concludes by appealing for further scrutiny of the conditions of craft labour in creative work, not only to reveal its particular and specific qualities, but to extend the somewhat limited scope of contemporary analyses of cultural and creative industry labour and politics.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-17},\n\tjournal = {International Journal of Cultural Policy},\n\tauthor = {Banks, Mark},\n\tmonth = aug,\n\tyear = {2010},\n\tkeywords = {business model entrepreneur (indicator), cultural and creative industries, labour, literature review (method), policy},\n\tpages = {305--321},\n}\n\n\n\n

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\n \n 2009\n \n \n (7)\n \n \n

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\n \n\n \n \n \n \n \n \n Use of the Balanced Scorecard and Performance Metrics to Achieve Operational and Strategic Alignment in Arts and Culture Not-for-Profits.\n \n \n \n \n\n\n \n Weinstein, L.; and Bukovinsky, D.\n\n\n \n\n\n\n International Journal of Arts Management, 11(2): 42–55. 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Use$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{weinstein_use_2009,\n\ttitle = {Use of the {Balanced} {Scorecard} and {Performance} {Metrics} to {Achieve} {Operational} and {Strategic} {Alignment} in {Arts} and {Culture} {Not}-for-{Profits}},\n\tvolume = {11},\n\tissn = {1480-8986},\n\turl = {https://www.jstor.org/stable/41064986},\n\tabstract = {ABSTRACT: The balanced scorecard (BSC) process provides an organization with an effective tool for performance measurement, organizational assessment and operational alignment. It serves as a framework for evaluating performance as it relates to the organization's strategies, by emphasizing the linkages between current operations, performance measurement and strategy. Since arts and culture organizations face many of the same challenges as for-profit organizations, they stand to gain similar benefits from the BSC approach. Using measures based on the cultural sector's core values, the BSC can contribute to continuous improvement and increased accountability. The challenge in assessing cultural organizations is to develop performance measures that support the efficient and effective operation of the organization. The authors describe the positive experiences of the Boston Lyric Opera in designing, implementing and using a BSC. \n\nANNOTATION: Weinstein and Bukovinsky present an overview of the Balanced Scorecard method of performance measurement (developed by Norton and Kaplan) which was designed specifically with the intent of aligning evaluation frameworks with the organization’s strategies. A brief literature review follows, providing necessary background information on performance measurement trends and methods in non-profit organizations, citing authors such as Turbide and Gilhespy. The challenges and limitations specific to applying performance measurement strategies in arts organizations are also recounted, while assuring the reader that the BSC method has the potential to be an effective performance measurement method for the sector. The next section of the paper outlines the practical nature of developing a Balanced Scorecard for an arts organization. Beginning with a clearly outlined mission and vision, the authors then recommend determining the necessary critical success factors that must be  reached in order to achieve these objectives. The third step consists of breaking down the determined success factors in smaller, more attainable and measurable goals. The fourth and final step is then to determine metrics for these “supporting activities.” Weinstein and Bukovinsky then expand upon each of these steps, providing context and examples for each. Finally, the authors present a case study in which the BSC method proved successful when implemented by the Boston Lyric Opera. After introducing the organization, they then chronicle the process of the development and subsequent implementation of the BSC method to the company’s operations. A visual of the finalized scorecard is provided as a table.  Authors cite numerous benefits of the BSC method once it had been applied to the organization, such as the ability to measure intangible metrics, a smooth and straightforward implementation process, and the facilitated focus of several core strategies. The paper then concludes with the reiterated recommendation that arts organizations consider implementing the BSC framework, with the caveat that the process “may require significant effort.” (54) This is one of the few research materials that provides a practical guide for arts organizations seeking to implement an effective and efficient evaluative framework, and although the context of the paper is specifically targeted towards American non-profits, Canadian non-profit organizations may also find inspiration from this source.},\n\tnumber = {2},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Weinstein, Larry and Bukovinsky, David},\n\tyear = {2009},\n\tkeywords = {USA, accessible (indicator), accountability, business model non-profit (indicator), case study (method), cultural and creative industries, digital, economic (indicator), innovation, literature review (method), management, methods, non-profit, operations, space, strategic planning},\n\tpages = {42--55},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: The balanced scorecard (BSC) process provides an organization with an effective tool for performance measurement, organizational assessment and operational alignment. It serves as a framework for evaluating performance as it relates to the organization's strategies, by emphasizing the linkages between current operations, performance measurement and strategy. Since arts and culture organizations face many of the same challenges as for-profit organizations, they stand to gain similar benefits from the BSC approach. Using measures based on the cultural sector's core values, the BSC can contribute to continuous improvement and increased accountability. The challenge in assessing cultural organizations is to develop performance measures that support the efficient and effective operation of the organization. The authors describe the positive experiences of the Boston Lyric Opera in designing, implementing and using a BSC. ANNOTATION: Weinstein and Bukovinsky present an overview of the Balanced Scorecard method of performance measurement (developed by Norton and Kaplan) which was designed specifically with the intent of aligning evaluation frameworks with the organization’s strategies. A brief literature review follows, providing necessary background information on performance measurement trends and methods in non-profit organizations, citing authors such as Turbide and Gilhespy. The challenges and limitations specific to applying performance measurement strategies in arts organizations are also recounted, while assuring the reader that the BSC method has the potential to be an effective performance measurement method for the sector. The next section of the paper outlines the practical nature of developing a Balanced Scorecard for an arts organization. Beginning with a clearly outlined mission and vision, the authors then recommend determining the necessary critical success factors that must be reached in order to achieve these objectives. The third step consists of breaking down the determined success factors in smaller, more attainable and measurable goals. The fourth and final step is then to determine metrics for these “supporting activities.” Weinstein and Bukovinsky then expand upon each of these steps, providing context and examples for each. Finally, the authors present a case study in which the BSC method proved successful when implemented by the Boston Lyric Opera. After introducing the organization, they then chronicle the process of the development and subsequent implementation of the BSC method to the company’s operations. A visual of the finalized scorecard is provided as a table. Authors cite numerous benefits of the BSC method once it had been applied to the organization, such as the ability to measure intangible metrics, a smooth and straightforward implementation process, and the facilitated focus of several core strategies. The paper then concludes with the reiterated recommendation that arts organizations consider implementing the BSC framework, with the caveat that the process “may require significant effort.” (54) This is one of the few research materials that provides a practical guide for arts organizations seeking to implement an effective and efficient evaluative framework, and although the context of the paper is specifically targeted towards American non-profits, Canadian non-profit organizations may also find inspiration from this source.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Performance Measurement in the Arts Sector: The Case of the Performing Arts.\n \n \n \n \n\n\n \n Turbide, J.; and Laurin, C.\n\n\n \n\n\n\n International Journal of Arts Management, 11(2): 56–70. 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Performance$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{turbide_performance_2009,\n\ttitle = {Performance {Measurement} in the {Arts} {Sector}: {The} {Case} of the {Performing} {Arts}},\n\tvolume = {11},\n\tissn = {1480-8986},\n\tshorttitle = {Performance {Measurement} in the {Arts} {Sector}},\n\turl = {https://www.jstor.org/stable/41064987},\n\tabstract = {ABSTRACT: This study addresses the issue of performance measurement in not-for-profit organizations (NPOs) within the performing arts sector. Previous studies in the arts and culture sector have shown that although their mission is articulated around the concept of artistic achievement arts organizations are held accountable based mainly on budgetary and financial criteria. A survey sent to more than 300 performing arts organizations in the Canadian province of Quebec found that a majority of organizations use multiple performance indicators spanning several dimensions of mission fulfilment to assess their own performance. I t was also found that even though performing arts NPOs acknowledge that their most important success factor is artistic excellence, their performance measurement systems place as much emphasis on financial as on non-financial indicators. \n\nANNOTATION: This paper written by Johanne Turbide (University of Warwick) and Claude Laurin (University of British Columbia) is the result of a research project in which a six-part questionnaire was mailed to more than 300 general managers of Canadian non-profit performing arts organizations based in the province of Quebec, with the aim of determining “how and for whom performing arts organizations assess their performance” (61). Turbide and Laurin begin their report with an extensive literature review encompassing published research on the subject of performance measurement models for non-profits, including how a select few (such as Kaplan and Norton’s Balanced Scorecard method) can be practically applied by non-profit organizations. The authors also list commonly cited challenges of measuring performance in non-profits, such as the trend of prioritizing financial performance metrics due to the significant influential role of funding agencies, and the lack of consistent definitions of key terms that can be applied across all performance sectors. The authors then present the development process of creating their questionnaire, and then reveal the results of their findings. Although responses seemed to indicate that organizational leaders were keen to acknowledge that the highest priority of their organization was artistic excellence, leaders then ranked both financial and non-financial performance indicators as equally important. Furthermore, they consistently ranked funding bodies as the most important stakeholder to which they were accountable. Results of the questionnaires are then displayed visually in tables, and the information aggregated from each section of the questionnaire is dissected and analysed in various subheadings. The authors conclude by reporting that the questionnaire results proved that arts organizations were already using multi-dimensional indicators to asses their organization’s success, and although they acknowledge the priority of the artistic indicators, the most common performance metrics remain financially based. Although the subject matter is certainly relevant to this research paper, much of the information being presented appears to be outdated and may no longer be applicable to contemporary creative and cultural organizations. However, the Canadian perspective and the presentation of a comprehensive methodology behind developing a data-aggregating questionnaire for arts organizations may still prove to be useful for modern readers.},\n\tnumber = {2},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Turbide, Johanne and Laurin, Claude},\n\tyear = {2009},\n\tkeywords = {Canada, Quebec, accountability, arts sector, business model non-profit (indicator), digital, economic (indicator), governance, innovation, literature review (method), management, non-profit, qualitative (method), surveys (method)},\n\tpages = {56--70},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: This study addresses the issue of performance measurement in not-for-profit organizations (NPOs) within the performing arts sector. Previous studies in the arts and culture sector have shown that although their mission is articulated around the concept of artistic achievement arts organizations are held accountable based mainly on budgetary and financial criteria. A survey sent to more than 300 performing arts organizations in the Canadian province of Quebec found that a majority of organizations use multiple performance indicators spanning several dimensions of mission fulfilment to assess their own performance. I t was also found that even though performing arts NPOs acknowledge that their most important success factor is artistic excellence, their performance measurement systems place as much emphasis on financial as on non-financial indicators. ANNOTATION: This paper written by Johanne Turbide (University of Warwick) and Claude Laurin (University of British Columbia) is the result of a research project in which a six-part questionnaire was mailed to more than 300 general managers of Canadian non-profit performing arts organizations based in the province of Quebec, with the aim of determining “how and for whom performing arts organizations assess their performance” (61). Turbide and Laurin begin their report with an extensive literature review encompassing published research on the subject of performance measurement models for non-profits, including how a select few (such as Kaplan and Norton’s Balanced Scorecard method) can be practically applied by non-profit organizations. The authors also list commonly cited challenges of measuring performance in non-profits, such as the trend of prioritizing financial performance metrics due to the significant influential role of funding agencies, and the lack of consistent definitions of key terms that can be applied across all performance sectors. The authors then present the development process of creating their questionnaire, and then reveal the results of their findings. Although responses seemed to indicate that organizational leaders were keen to acknowledge that the highest priority of their organization was artistic excellence, leaders then ranked both financial and non-financial performance indicators as equally important. Furthermore, they consistently ranked funding bodies as the most important stakeholder to which they were accountable. Results of the questionnaires are then displayed visually in tables, and the information aggregated from each section of the questionnaire is dissected and analysed in various subheadings. The authors conclude by reporting that the questionnaire results proved that arts organizations were already using multi-dimensional indicators to asses their organization’s success, and although they acknowledge the priority of the artistic indicators, the most common performance metrics remain financially based. Although the subject matter is certainly relevant to this research paper, much of the information being presented appears to be outdated and may no longer be applicable to contemporary creative and cultural organizations. However, the Canadian perspective and the presentation of a comprehensive methodology behind developing a data-aggregating questionnaire for arts organizations may still prove to be useful for modern readers.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Placing Power in the Creative City: Governmentalities and Subjectivities in Liberty Village, Toronto.\n \n \n \n \n\n\n \n Catungal, J. P.; and Leslie, D.\n\n\n \n\n\n\n Environment and Planning A: Economy and Space, 41(11): 2576–2594. November 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Placing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{catungal_placing_2009,\n\ttitle = {Placing {Power} in the {Creative} {City}: {Governmentalities} and {Subjectivities} in {Liberty} {Village}, {Toronto}},\n\tvolume = {41},\n\tissn = {0308-518X},\n\tshorttitle = {Placing {Power} in the {Creative} {City}},\n\turl = {https://doi.org/10.1068/a41245},\n\tdoi = {10.1068/a41245},\n\tabstract = {In this paper we analyze the making of Liberty Village as a creative hub in inner-city Toronto. We focus on the role of property developers and the Liberty Village Business Improvement Association in fostering the area's internal economic geography. Drawing on the literature on governmentality, we dissect how the production of a place identity requires both the production of new subjectivities and the exclusion of alternative actors and understandings of organization within the district.},\n\tlanguage = {en},\n\tnumber = {11},\n\turldate = {2021-05-26},\n\tjournal = {Environment and Planning A: Economy and Space},\n\tauthor = {Catungal, John Paul and Leslie, Deborah},\n\tmonth = nov,\n\tyear = {2009},\n\tkeywords = {Canada, Toronto, case study (method), collaboration, community, development, economic (indicator), for-profit, governance, hubs, interviews (method), neoliberalism, networks, non-profit, physical space (indicator), policy},\n\tpages = {2576--2594},\n}\n\n\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n \n Creative Cities, Creative Spaces and Urban Policy.\n \n \n \n \n\n\n \n Evans, G.\n\n\n \n\n\n\n Urban Studies, 46(5/6): 1003–1040. 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{evans_creative_2009,\n\ttitle = {Creative {Cities}, {Creative} {Spaces} and {Urban} {Policy}},\n\tvolume = {46},\n\tissn = {0042-0980},\n\turl = {https://www.jstor.org/stable/43198013},\n\tabstract = {The paper presents the results of an international study of creative industry policies and strategies, based on a survey of public-sector creative city initiatives and plans and their underlying rationales. As well as this survey and an accompanying literature review, interviews were carried out with senior policy-makers and intermediaries from Europe, North America, Africa and south-east Asia. The paper considers the scope and scale of so-called new-industrial clusters in local cultural and creative quarters and subregional creative hubs, which are the subject of policy interventions and public-private investment. The semantic and symbolic expansion of the cultural industries and their concentration in once-declining urban and former industrial districts, to the creative industries, and now to the knowledge and experience economy, is revealed in economic, sectoral and spatial terms. Whilst policy convergence and emulation are evident, manifested by the promotion of creative spaces and industry clusters and versions of the digital media and science city, this is driven by a meta-analysis of growth in the new economy, but one that is being achieved by old industrial economic interventions and policy rationales. These are being used to justify the redevelopment of former and residual industrial zones, with cities utilising the creative quarter/knowledge hub as a panacea to implement broader city expansion and regeneration plans.},\n\tnumber = {5/6},\n\turldate = {2021-05-24},\n\tjournal = {Urban Studies},\n\tauthor = {Evans, Graeme},\n\tyear = {2009},\n\tkeywords = {Canada, USA, clusters, cultural and creative industries, economic (indicator), hubs, international, planning, policy},\n\tpages = {1003--1040},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n A Fine Line: How Design Strategies Are Shaping the Future of Business.\n \n \n \n\n\n \n Esslinger, H.\n\n\n \n\n\n\n Jossey-Bass, San Francisco, 1st edition, 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{esslinger_fine_2009,\n\taddress = {San Francisco},\n\tedition = {1st},\n\ttitle = {A {Fine} {Line}: {How} {Design} {Strategies} {Are} {Shaping} the {Future} of {Business}},\n\tpublisher = {Jossey-Bass},\n\tauthor = {Esslinger, Hartmut},\n\tyear = {2009},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Design and Creativity: Policy, Management and Practice.\n \n \n \n \n\n\n \n Dorland, A.\n\n\n \n\n\n\n In Julier, G.; and Moor, L., editor(s), pages 105–121. Berg Publishing Plc, Oxford, 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Design$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{julier_design_2009,\n\taddress = {Oxford},\n\ttitle = {Design and {Creativity}: {Policy}, {Management} and {Practice}},\n\tisbn = {9781474293693 9781847883063},\n\tshorttitle = {Design and {Creativity}},\n\turl = {https://www.bloomsburycollections.com/book/design-and-creativity-policy-management-and-practice},\n\tabstract = {Book abstract (where the Chapter is located): Design and other creative industries not only shape our lives in numerous ways, providing cultural goods such as films, music and magazines, but also shape the look and feel of everyday objects and spaces. The creative industries are also important economically; governments and businesses now make considerable efforts to manage creativity for a range of political and economic ends. Does the management of design conflict with traditional ideas of creative freedom and autonomy? How do government policies and business priorities influence the day-to-day practices of designers? And how far have the processes and purpose of creative work been changed by its new centrality to business and government? Bringing together case studies and material from a range of industries and contexts, as well as a series of interviews with practitioners, Design and Creativity provides a cutting-edge account of key trends in the creative industries at the start of the twenty-first century.},\n\turldate = {2021-05-24},\n\tpublisher = {Berg Publishing Plc},\n\tauthor = {Dorland, AnneMarie},\n\teditor = {Julier, Guy and Moor, Liz},\n\tyear = {2009},\n\tdoi = {10.5040/9781474293693},\n\tkeywords = {Canada, business model entrepreneur (indicator), cultural and creative industries, design thinking, design thinking (indicator), economic (indicator), innovation, physical space (indicator), policy},\n\tpages = {105--121},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation.\n \n \n \n\n\n \n Brown, T.\n\n\n \n\n\n\n Harper Business, New York, 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{brown_change_2009,\n\taddress = {New York},\n\ttitle = {Change by {Design}: {How} {Design} {Thinking} {Transforms} {Organizations} and {Inspires} {Innovation}},\n\tabstract = {The myth of innovation is that brilliant ideas leap fully formed from the minds of geniuses. The reality is that most innovations come from a process of rigorous examination through which great ideas are identified and developed before being realized as new offerings and capabilities. This book introduces the idea of design thinking‚ the collaborative process by which the designer′s sensibilities and methods are employed to match people′s needs not only with what is technically feasible and a viable business strategy. In short‚ design thinking converts need into demand. It′s a human−centered approach to problem solving that helps people and organizations become more innovative and more creative. Design thinking is not just applicable to so−called creative industries or people who work in the design field. It′s a methodology that has been used by organizations such as Kaiser Permanente to increase the quality of patient care by re−examining the ways that their nurses manage shift change‚ or Kraft to rethink supply chain management. This is not a book by designers for designers; this is a book for creative leaders seeking to infuse design thinking into every level of an organization‚ product‚ or service to drive new alternatives for business and society.},\n\tpublisher = {Harper Business},\n\tauthor = {Brown, Tim},\n\tyear = {2009},\n\tkeywords = {business model innovation (indicator), cultural and creative industries, design thinking, design thinking (indicator), innovation, methods, organizations},\n}\n\n\n\n

\n

\n\n\n\n\n\n

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\n \n 2008\n \n \n (7)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Managing Nonprofit Organizations: The Importance of Transformational Leadership and Commitment to Operating Standards for Nonprofit Accountability.\n \n \n \n \n\n\n \n Geer, B. W.; Maher, J. K.; and Cole, M. T.\n\n\n \n\n\n\n Public Performance & Management Review, 32(1): 51–75. 2008.\n \n\n\n\n
\n\n\n\n \n \n $\"Managing$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{geer_managing_2008,\n\ttitle = {Managing {Nonprofit} {Organizations}: {The} {Importance} of {Transformational} {Leadership} and {Commitment} to {Operating} {Standards} for {Nonprofit} {Accountability}},\n\tvolume = {32},\n\tissn = {1530-9576},\n\tshorttitle = {Managing {Nonprofit} {Organizations}},\n\turl = {https://www.jstor.org/stable/20447708},\n\tabstract = {ABSTRACT: Using survey methodology and telephone interviews, this exploratory study proposes a framework for nonprofit leaders to promote accountability in their organizations, an important goal for both management and performance in the nonprofit sector. The study relies on Brody's (2001) four-part construct of organizational accountability (fiscal responsibility, good governance, adherence to mission, and program effectiveness) to examine the issue of promoting accountability in nonprofit organizations. We hypothesize that higher levels of nonprofit accountability are related to higher levels of an organization's commitment to operating standards and to higher levels of transformational leadership as exhibited by the organization's leader. Study results indicate that both predictor variables are positively and significantly related to nonprofit accountability, with transformational leadership being the stronger indicator of accountability. The findings of the study have significant implications for nonprofit managers and for nonprofit organizational performance. \nANNOTATION: Through research collected from 85 survey respondents and 6 interviews with non-profit leaders across a variety of sectors in Pennsylvania, authors Geer, Maher and Cole present a proposition which aims to facilitate accountability strategies in non-profit organizations. Their research suggests strong correlations between three major factors found in all successful non-profit organizations: accountability, commitment to operating standards, and transformational leadership, with the latter being the “stronger indicator of accountability.” (68) Geer, Maher and Cole begin by presenting an overview of published research emphasizing the need for accountability in non-profits. The research focuses primarily on non-profit organizations located within the U.S. through the lens of American reporting standards and legislation.  The authors then call for the establishment of an evaluation model that goes beyond simply using financial metrics and program evaluations, and instead focuses on two other variables: “a) commitment to operating standards (codes of conduct) and (b) transformational leadership.” (52) After providing concise definitions for terms such as “operating standards” and “transformational leadership,” the authors present the methodology and results of their case study. The accountability of the organizations is measured through the PANO Standards for Excellence (Pennsylvania Association of Nonprofit Organization) developed in 2006, a program that has since been “singled out as one of the leading examples of accountability programs in the country.” (60) Collected data demonstrates positive correlations between organizations willing to implement operating standards and transformational leadership with effective accountability. The concept of accountability is then examined through the lens of Brody’s four main tenets of organizational responsibility. Geer, Maher and Cole conclude with the assertion that the greater the level of commitment to operating standards and transformational leadership, the greater the level of effective accountability associated with the non-profit organization. Although not necessarily reflecting models employed by creative hubs, this paper does present an analysis of evaluation frameworks employed by non-profit organizations across a wide variety of creative and cultural sectors.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {Public Performance \\& Management Review},\n\tauthor = {Geer, Bobbi Watt and Maher, Jill K. and Cole, Michele T.},\n\tyear = {2008},\n\tkeywords = {USA, accountability, business model non-profit (indicator), discourse analysis (method), document analysis (method), economic (indicator), governance, interviews (method), literature review (method), non-profit, operations, qualitative (method), surveys (method)},\n\tpages = {51--75},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: Using survey methodology and telephone interviews, this exploratory study proposes a framework for nonprofit leaders to promote accountability in their organizations, an important goal for both management and performance in the nonprofit sector. The study relies on Brody's (2001) four-part construct of organizational accountability (fiscal responsibility, good governance, adherence to mission, and program effectiveness) to examine the issue of promoting accountability in nonprofit organizations. We hypothesize that higher levels of nonprofit accountability are related to higher levels of an organization's commitment to operating standards and to higher levels of transformational leadership as exhibited by the organization's leader. Study results indicate that both predictor variables are positively and significantly related to nonprofit accountability, with transformational leadership being the stronger indicator of accountability. The findings of the study have significant implications for nonprofit managers and for nonprofit organizational performance. ANNOTATION: Through research collected from 85 survey respondents and 6 interviews with non-profit leaders across a variety of sectors in Pennsylvania, authors Geer, Maher and Cole present a proposition which aims to facilitate accountability strategies in non-profit organizations. Their research suggests strong correlations between three major factors found in all successful non-profit organizations: accountability, commitment to operating standards, and transformational leadership, with the latter being the “stronger indicator of accountability.” (68) Geer, Maher and Cole begin by presenting an overview of published research emphasizing the need for accountability in non-profits. The research focuses primarily on non-profit organizations located within the U.S. through the lens of American reporting standards and legislation. The authors then call for the establishment of an evaluation model that goes beyond simply using financial metrics and program evaluations, and instead focuses on two other variables: “a) commitment to operating standards (codes of conduct) and (b) transformational leadership.” (52) After providing concise definitions for terms such as “operating standards” and “transformational leadership,” the authors present the methodology and results of their case study. The accountability of the organizations is measured through the PANO Standards for Excellence (Pennsylvania Association of Nonprofit Organization) developed in 2006, a program that has since been “singled out as one of the leading examples of accountability programs in the country.” (60) Collected data demonstrates positive correlations between organizations willing to implement operating standards and transformational leadership with effective accountability. The concept of accountability is then examined through the lens of Brody’s four main tenets of organizational responsibility. Geer, Maher and Cole conclude with the assertion that the greater the level of commitment to operating standards and transformational leadership, the greater the level of effective accountability associated with the non-profit organization. Although not necessarily reflecting models employed by creative hubs, this paper does present an analysis of evaluation frameworks employed by non-profit organizations across a wide variety of creative and cultural sectors.\n

\n\n\n

\n \n\n \n \n \n \n \n Wikinomics: How Mass Collaboration Changes Everything.\n \n \n \n\n\n \n Tapscott, D.; and Williams, A. D.\n\n\n \n\n\n\n Portflolio, New York, 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@book{tapscott_wikinomics_2008,\n\taddress = {New York},\n\ttitle = {Wikinomics: {How} {Mass} {Collaboration} {Changes} {Everything}},\n\tpublisher = {Portflolio},\n\tauthor = {Tapscott, D. and Williams, A. D.},\n\tyear = {2008},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n ICT infrastructure as public infrastructure: Connecting communities to the knowledge-based economy & society - Final report of the Community Wireless Infrastructure Research Project.\n \n \n \n\n\n \n Middleton, C.; Clement, A.; Crow, B.; and Longford, G.\n\n\n \n\n\n\n Technical Report 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@techreport{middleton_ict_2008,\n\ttitle = {{ICT} infrastructure as public infrastructure: {Connecting} communities to the knowledge-based economy \\& society - {Final} report of the {Community} {Wireless} {Infrastructure} {Research} {Project}.},\n\tauthor = {Middleton, Catherine and Clement, Andrew and Crow, Barbara and Longford, Graham},\n\tyear = {2008},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Productive Failure.\n \n \n \n \n\n\n \n Kapur, M.\n\n\n \n\n\n\n Cognition and Instruction, 26(3): 379–424. July 2008.\n \n\n\n\n
\n\n\n\n \n \n $\"Productive$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@article{kapur_productive_2008,\n\ttitle = {Productive {Failure}},\n\tvolume = {26},\n\tissn = {0737-0008},\n\turl = {https://doi.org/10.1080/07370000802212669},\n\tdoi = {10.1080/07370000802212669},\n\tabstract = {This study demonstrates an existence proof for productive failure: engaging students in solving complex, ill-structured problems without the provision of support structures can be a productive exercise in failure. In a computer-supported collaborative learning setting, eleventh-grade science students were randomly assigned to one of two conditions to solve problems in Newtonian kinematics. In one condition, students solved ill-structured problems in groups followed by well-structured problems individually. In the other condition, students solved well-structured problems in small groups followed by well-structured problems individually. Finally, all students solved ill-structured problems individually. Groups who solved ill-structured problems expectedly struggled with defining and analyzing the problems, resulting in poor quality of solutions. However, despite failing in their collaborative efforts, these students outperformed their counterparts in the well-structured condition on individual near- and far-transfer measures subsequently, suggesting a latent productivity in what initially seemed to be failure.},\n\tnumber = {3},\n\turldate = {2021-05-26},\n\tjournal = {Cognition and Instruction},\n\tauthor = {Kapur, Manu},\n\tmonth = jul,\n\tyear = {2008},\n\tpages = {379--424},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n From Economy to Ecology a Policy Framework for Creative Labour.\n \n \n \n \n\n\n \n Gollmitzer, M.\n\n\n \n\n\n\n Technical Report Canadian Conference of the Arts, Ottawa, 2008.\n \n\n\n\n
\n\n\n\n \n \n $\"From$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@techreport{gollmitzer_economy_2008,\n\taddress = {Ottawa},\n\ttitle = {From {Economy} to {Ecology} a {Policy} {Framework} for {Creative} {Labour}},\n\turl = {https://www.researchgate.net/publication/228717986_From_economy_to_ecology_A_policy_framework_for_creative_labour},\n\tabstract = {This study was conducted by SFU’s Center for Policy Studies on Culture and Communities (supported by Infrastructure Canada), in partnership with the Canadian Conference of the Arts. Despite the general assumption that the creative economy will produce a more flexible, multi skilled and mobile labour force which is increasingly self- employed and thus resembling the cultural sector in its core characteristics, most countries (with the possible exception of the Nordic region) have not yet developed an integrated conception of creative labour policy. A review of 20 countries active in policies to build creative labour forces alongside policies to stimulate innovation and creative enterprise, finds existing policy instruments can be divided into four categories: education and training; awards and contest; business support; and \\&ldquo;tax and social security policies; with most of the emphasis on the former. After looking at special efforts to establish the economic rights of artists, the authors conclude a broader approach to “flexicurity” —  that is social security for the self — employed flexible labour force is a key driver of creative innovation. A review of the strengths and weaknesses of Canada’s creative labour force reveals new “sociality” — in informal, networked cultures of creative production — potentially acting as a double edged sword: contributing to both stability and instability. A gap between classes of creative workers is found. Sharp differences in status, training, credentials and the degree of professional independence obtained by various categories of creative workers exist. Most at risk are youth, aboriginal and visible minorities and those in rural areas. Nonetheless, there are important innovations in collective bargaining and resources made available to creative workers (including advice on standard minimums in negotiations concerning copyright payments). The researchers offer several recommendations for Canadian policy makers: 1) current official cultural statistics are inadequate to measure the incredible diversity of employment situations specific to creative workers in the new economy. 2) It is important to include the role of the social economy \\&ndash; the non-profit and voluntary sectors; in estimating the value added by creative activities, and the capacity of those non-profit organizations which service creative workers. 3) A broader policy framework called a creative ecology approach is needed, drawing from the urban planning conceptions of the creative city and from new thinking about the role of public and private cultural infrastructure in providing the environment in which creativity can flourish. 4) There is an urgent need for governments to examine multiple ways to enhance social security and income support for the most important but frequently forgotten component of the creative economy: the creative workers themselves.},\n\tinstitution = {Canadian Conference of the Arts},\n\tauthor = {Gollmitzer, Mirjam},\n\tyear = {2008},\n\tkeywords = {Canada, accessible (indicator), cultural and creative industries, economic (indicator), ecosystem, innovation, labour, policy},\n}\n\n\n\n

\n

\n\n\n

\n This study was conducted by SFU’s Center for Policy Studies on Culture and Communities (supported by Infrastructure Canada), in partnership with the Canadian Conference of the Arts. Despite the general assumption that the creative economy will produce a more flexible, multi skilled and mobile labour force which is increasingly self- employed and thus resembling the cultural sector in its core characteristics, most countries (with the possible exception of the Nordic region) have not yet developed an integrated conception of creative labour policy. A review of 20 countries active in policies to build creative labour forces alongside policies to stimulate innovation and creative enterprise, finds existing policy instruments can be divided into four categories: education and training; awards and contest; business support; and “tax and social security policies; with most of the emphasis on the former. After looking at special efforts to establish the economic rights of artists, the authors conclude a broader approach to “flexicurity” — that is social security for the self — employed flexible labour force is a key driver of creative innovation. A review of the strengths and weaknesses of Canada’s creative labour force reveals new “sociality” — in informal, networked cultures of creative production — potentially acting as a double edged sword: contributing to both stability and instability. A gap between classes of creative workers is found. Sharp differences in status, training, credentials and the degree of professional independence obtained by various categories of creative workers exist. Most at risk are youth, aboriginal and visible minorities and those in rural areas. Nonetheless, there are important innovations in collective bargaining and resources made available to creative workers (including advice on standard minimums in negotiations concerning copyright payments). The researchers offer several recommendations for Canadian policy makers: 1) current official cultural statistics are inadequate to measure the incredible diversity of employment situations specific to creative workers in the new economy. 2) It is important to include the role of the social economy – the non-profit and voluntary sectors; in estimating the value added by creative activities, and the capacity of those non-profit organizations which service creative workers. 3) A broader policy framework called a creative ecology approach is needed, drawing from the urban planning conceptions of the creative city and from new thinking about the role of public and private cultural infrastructure in providing the environment in which creativity can flourish. 4) There is an urgent need for governments to examine multiple ways to enhance social security and income support for the most important but frequently forgotten component of the creative economy: the creative workers themselves.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Capacity Building and Nonprofit Organizational Effectiveness.\n \n \n \n \n\n\n \n Gollmar, W. G.\n\n\n \n\n\n\n Ph.D. Thesis, Cardinal Stritch University, 2008.\n \n\n\n\n
\n\n\n\n \n \n $\"Capacity$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@phdthesis{gollmar_capacity_2008,\n\ttitle = {Capacity {Building} and {Nonprofit} {Organizational} {Effectiveness}},\n\turl = {https://www.proquest.com/openview/9fac165e595ebe579f526cca7b8a31dc/1?pq-origsite=gscholar&cbl=18750&diss=y},\n\tabstract = {ANNOTATION: "This very robust, nearly 300-page PhD dissertation was written by William G. Gollmar (Cardinal Stritch University) in May of 2018. The paper is comprised of a literature review and a case study, and reads as a call to arms for non-profits to successfully demonstrate their effectiveness. Gollmar hypothesizes that “nonprofit organizations engaging more frequently in capacity building activities will score higher on the three indicators standing as proxies for organizational effectiveness.” (ii) The literature review section examines the “capacity building” and summarizes published research on non-profit organizational effectiveness. Gollman focuses their attention on three indicators of organizational effectiveness—""board effectiveness, reputation, and financial ratios.” (ii) The case study section reports the results gained from over 500 surveys that were sent to non-profit organizations in the Milwaukee – Waukesha Metropolitan Statistical Area. Ten experts in the field were also sent surveys to asses their opinions on the organizations’ reputational effectiveness. Financial data information for the organizations was also retrieved from the Internal Revenue Service.\n \nGollmar begins by providing context for the status of non-profit organizations in the United States, which covers trends in funding, policy-making, and public perception. This culminates in the justification for the need for an effective and adaptable form of performance measurement that does not rely solely on financial metrics. What then follows is an extensive literature review, in which Gollmar presents typologies of accountability, as well as a list of common challenges in non-profit operations. While the report focuses generally on non-profits across all sectors (excluding hospitals and educational institutions), organizations in the arts and culture sectors are frequently referenced. Detailed explanations address the issue of why traditional performance measurement theories cannot be applied to the non-profit sector, with Gollman recommending a model that acknowledges the “multiple-stakeholder view (which) holds that effectiveness is a construct whose definition changes with the opinion of each stakeholder.” (12)\n \nAfter presenting the methodology and limitations of their case study, Gollmar then provides a description of the pilot project in which the survey questions were developed. An expansive literature review centred around the key concepts of capacity building then follows, as well as in-depth presentations of several established evaluative framework approaches. The results of the surveys are then presented through discussion and visual tables through the lens of the three specified metrics of effectiveness: “board effectiveness,  reputation,  and financial  ratios.” (ii) Gollman demonstrates through the aggregated data that determining whether an organization can be deemed “successful” through financial metrics is not a viable method of performance measurement for non-profits. Instead, research indicates that organizations who engaged in a certain level of capacity building over a period of two years “had a better Reputation, a better Board Effectiveness score, and had three financial ratios that were higher—Fundraising Efficiency A, Public Support B, and Fiscal Performance A.” (221) The paper concludes with recommendations on further steps for research, as well as a discussion on how the results can be practically applied to non-profit organizations.\n \nAlthough clearly written for the benefit of American non-profit organizations, this ambitious and robust dissertation provides excellent general background information on performance measurements in the context of the non-profit sector. Practical tools include explanations of several evaluative frameworks, examples of effective capacity-building models, as well as the list of survey questions sent to non-profits which can easily be modified by others interested in pursuing similar research.},\n\tlanguage = {en},\n\turldate = {2021-05-26},\n\tschool = {Cardinal Stritch University},\n\tauthor = {Gollmar, William G.},\n\tyear = {2008},\n\tkeywords = {USA, accountability, business model non-profit (indicator), community engagement (indicator), discourse analysis (method), document analysis (method), economic (indicator), literature review (method), non-profit, space, strategic planning, surveys (method)},\n}\n\n\n\n

\n

\n\n\n

\n ANNOTATION: \"This very robust, nearly 300-page PhD dissertation was written by William G. Gollmar (Cardinal Stritch University) in May of 2018. The paper is comprised of a literature review and a case study, and reads as a call to arms for non-profits to successfully demonstrate their effectiveness. Gollmar hypothesizes that “nonprofit organizations engaging more frequently in capacity building activities will score higher on the three indicators standing as proxies for organizational effectiveness.” (ii) The literature review section examines the “capacity building” and summarizes published research on non-profit organizational effectiveness. Gollman focuses their attention on three indicators of organizational effectiveness—\"\"board effectiveness, reputation, and financial ratios.” (ii) The case study section reports the results gained from over 500 surveys that were sent to non-profit organizations in the Milwaukee – Waukesha Metropolitan Statistical Area. Ten experts in the field were also sent surveys to asses their opinions on the organizations’ reputational effectiveness. Financial data information for the organizations was also retrieved from the Internal Revenue Service. Gollmar begins by providing context for the status of non-profit organizations in the United States, which covers trends in funding, policy-making, and public perception. This culminates in the justification for the need for an effective and adaptable form of performance measurement that does not rely solely on financial metrics. What then follows is an extensive literature review, in which Gollmar presents typologies of accountability, as well as a list of common challenges in non-profit operations. While the report focuses generally on non-profits across all sectors (excluding hospitals and educational institutions), organizations in the arts and culture sectors are frequently referenced. Detailed explanations address the issue of why traditional performance measurement theories cannot be applied to the non-profit sector, with Gollman recommending a model that acknowledges the “multiple-stakeholder view (which) holds that effectiveness is a construct whose definition changes with the opinion of each stakeholder.” (12) After presenting the methodology and limitations of their case study, Gollmar then provides a description of the pilot project in which the survey questions were developed. An expansive literature review centred around the key concepts of capacity building then follows, as well as in-depth presentations of several established evaluative framework approaches. The results of the surveys are then presented through discussion and visual tables through the lens of the three specified metrics of effectiveness: “board effectiveness, reputation, and financial ratios.” (ii) Gollman demonstrates through the aggregated data that determining whether an organization can be deemed “successful” through financial metrics is not a viable method of performance measurement for non-profits. Instead, research indicates that organizations who engaged in a certain level of capacity building over a period of two years “had a better Reputation, a better Board Effectiveness score, and had three financial ratios that were higher—Fundraising Efficiency A, Public Support B, and Fiscal Performance A.” (221) The paper concludes with recommendations on further steps for research, as well as a discussion on how the results can be practically applied to non-profit organizations. Although clearly written for the benefit of American non-profit organizations, this ambitious and robust dissertation provides excellent general background information on performance measurements in the context of the non-profit sector. Practical tools include explanations of several evaluative frameworks, examples of effective capacity-building models, as well as the list of survey questions sent to non-profits which can easily be modified by others interested in pursuing similar research.\n

\n\n\n

\n \n\n \n \n \n \n \n The Long Tail: Why the Future of Business Is Selling Less of More.\n \n \n \n\n\n \n Anderson, C.\n\n\n \n\n\n\n Hachette Books, New York, 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{anderson_long_2008,\n\taddress = {New York},\n\ttitle = {The {Long} {Tail}: {Why} the {Future} of {Business} {Is} {Selling} {Less} of {More}},\n\tabstract = {Chris Anderson shows how the future of commerce and culture isn't in hits, the high-volume head of a traditional demand curve, but in what used to be regarded as misses--the endlessly long tail of that same curve.},\n\tpublisher = {Hachette Books},\n\tauthor = {Anderson, Chris},\n\tyear = {2008},\n\tkeywords = {business model (indicator), cultural and creative industries, entrepreneurship, innovation, methods},\n}\n\n\n\n

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\n\n\n\n\n\n

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\n \n 2007\n \n \n (8)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n The Work of Culture.\n \n \n \n \n\n\n \n Bennett, T.\n\n\n \n\n\n\n Cultural Sociology, 1(1): 31–47. March 2007.\n Publisher: SAGE Publications\n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{bennett_work_2007,\n\ttitle = {The {Work} of {Culture}},\n\tvolume = {1},\n\tissn = {1749-9755},\n\turl = {https://doi.org/10.1177/1749975507073918},\n\tdoi = {10.1177/1749975507073918},\n\tabstract = {The formulations of cultural sociology have a tendency to merge culture and the social so closely that they become indistinguishable from one another. Drawing on Foucauldian governmentality theory and actor network theory, this article argues that it is preferable to examine the processes through which culture is separated off from the social via the production of distinctive cultural assemblages.The kinds of issues that need to be taken into consideration to account for the work that goes into making culture as a publicly differentiated realm are identified. Attention then focuses on the kinds of work that culture does in being brought to act on the ‘working surfaces on the social’ that are organized in the relations between social and cultural knowledges. The argument is exemplified by considering how the assemblages of Aboriginal culture produced by Baldwin Spencer enabled the production of a new surface of social management through which the relations between white and Aboriginal Australia were organized in the context of the Aboriginal domain.},\n\tlanguage = {EN},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Cultural Sociology},\n\tauthor = {Bennett, Tony},\n\tmonth = mar,\n\tyear = {2007},\n\tnote = {Publisher: SAGE Publications},\n\tkeywords = {cultural and creative industries, culture (indicator), diversity (indicator), knowledge-sharing (indicator), literature review (method), networks, social (indicator)},\n\tpages = {31--47},\n}\n\n\n\n

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\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Rethinking the Social Impacts of the Arts.\n \n \n \n \n\n\n \n Belfiore, E.; and Bennett, O.\n\n\n \n\n\n\n International Journal of Cultural Policy, 13(2): 135–151. May 2007.\n Publisher: Routledge _eprint: https://doi.org/10.1080/10286630701342741\n\n\n\n
\n\n\n\n \n \n $\"Rethinking$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{belfiore_rethinking_2007,\n\ttitle = {Rethinking the {Social} {Impacts} of the {Arts}},\n\tvolume = {13},\n\tissn = {1028-6632},\n\turl = {https://doi.org/10.1080/10286630701342741},\n\tdoi = {10.1080/10286630701342741},\n\tabstract = {The paper presents a critical discussion of the current debate over the social impacts of the arts in the UK. It argues that the accepted understanding of the terms of the debate is rooted in a number of assumptions and beliefs that are rarely questioned. The paper goes on to present the interim findings of a three‐year research project, which aims to rethink the social impact of the arts, with a view to determining how these impacts might be better understood. The desirability of a historical approach is articulated, and a classification of the claims made within the Western intellectual tradition for what the arts “do” to people is presented and discussed.},\n\tnumber = {2},\n\turldate = {2025-03-15},\n\tjournal = {International Journal of Cultural Policy},\n\tauthor = {Belfiore, Eleonora and Bennett, Oliver},\n\tmonth = may,\n\tyear = {2007},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/10286630701342741},\n\tkeywords = {artistic and creative impacts (indicator), artistic and creative values (indicator), arts sector, literature review (method), social factors (indicator)},\n\tpages = {135--151},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Determinants of Impact: Towards a Better Understanding of Encounters with the Arts.\n \n \n \n \n\n\n \n Belfiore, E.; and Bennett, O.\n\n\n \n\n\n\n Cultural Trends, 16(3): 225–275. September 2007.\n Publisher: Routledge _eprint: https://doi.org/10.1080/09548960701479417\n\n\n\n
\n\n\n\n \n \n $\"Determinants$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{belfiore_determinants_2007,\n\ttitle = {Determinants of {Impact}: {Towards} a {Better} {Understanding} of {Encounters} with the {Arts}},\n\tvolume = {16},\n\tissn = {0954-8963},\n\tshorttitle = {Determinants of {Impact}},\n\turl = {https://doi.org/10.1080/09548960701479417},\n\tdoi = {10.1080/09548960701479417},\n\tabstract = {The article argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the article draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors—social, cultural and psychological—that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The ‘determinants of impact’ identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and ‘environmental factors’, which are extrinsic to both the individual and the artwork. The article concludes that any meaningful attempt to assess the impact of the arts would need to take these ‘determinants of impact’ into account, in order to capture the multidimensional and subjective nature of the aesthetic experience.},\n\tnumber = {3},\n\turldate = {2025-03-15},\n\tjournal = {Cultural Trends},\n\tauthor = {Belfiore, Eleonora and Bennett, Oliver},\n\tmonth = sep,\n\tyear = {2007},\n\tnote = {Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/09548960701479417},\n\tkeywords = {artistic and creative impacts (indicator), artistic and creative values (indicator), arts sector, creative work, culture (indicator), emotional measures (indicator), literature review (method), social (indicator)},\n\tpages = {225--275},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Use of Baldrige Assessment Techniques in Strategic Planning and Assessment for Arts Administration in Higher Education.\n \n \n \n \n\n\n \n Weinstein, L.; Paul, R.; and Williams, S.\n\n\n \n\n\n\n International Journal of Arts Management, 9(3): 34–49. 2007.\n \n\n\n\n
\n\n\n\n \n \n $\"Use$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{weinstein_use_2007,\n\ttitle = {Use of {Baldrige} {Assessment} {Techniques} in {Strategic} {Planning} and {Assessment} for {Arts} {Administration} in {Higher} {Education}},\n\tvolume = {9},\n\tissn = {1480-8986},\n\turl = {https://www.jstor.org/stable/41064940},\n\tabstract = {The criteria and core values of the Baldrige National Quality Award provide a seven-part framework for organizational excellence through deployment of effective, systematic, aligned and integrated approaches in the areas of leadership; strategic planning; customer and market focus; measurement, analysis and knowledge management human resources; and process management. The Baldrige assessment process is used throughout the United States by businesses, schools, health-care providers, not-for-profit organizations and government agencies. The authors describe how arts administrators can apply these concepts in self-and organizational assessment, which, in turn, provide the basis for a continuous-improvement plan. They look at several of the Baldrige criteria and illustrate how these apply to arts administration. Annotation: In this paper, authors Larry Weinstein (University of Kentucky), Randall Paul (University of Oklahoma) and Scott Williams (Texas A\\&M University) suggest that arts programs suffer from financial cuts due to their inability to effectively prove their worth through a consistent evaluative framework. Published in the Spring 2017 edition of the International Journal of Arts Management, Weinstein, Paul and Williams provide an overview detailing the challenges of American public administrators facing decreased arts funding and program cuts, while touting the benefits of strategic planning methods. The authors cite examples supporting this claim, while admitting that very few arts administrators have the necessary training to effectively employ strategic planning. In view of this consideration, the authors present the Baldridge technique as an effective organizational management tool as well as a strategic planning tool. The criteria, developed by the “The Criteria for Performance Excellence of the Baldrige National Quality Award Program” in order to strengthen U.S. competitiveness, are suggested as ideal for arts programs as they “allow organizations to develop creative approaches that are aligned with organizational needs, and they provide a foundation for conducting organizational self assessments.” (36) The paper then continues with an in-depth examination of the application process for the award. Finally, the criteria are then presented, separated into seven categories and 19 subcategories, with Weinstein, Paul and Williams providing explanations and examples for each.This paper reads mostly as an instructional tool, providing guidance to American non-profit organizations (particularly those involved in arts programs offered by higher education facilities) seeking to apply to the awards program. However, the self-assessment categories developed by the Baldrige Program, as well as the success factors suggested by the authors, may prove to be a useful tool for arts education organizations seeking inspiration for developing effective in-depth self-assessment frameworks.},\n\tnumber = {3},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Weinstein, Larry and Paul, Randall and Williams, Scott},\n\tyear = {2007},\n\tkeywords = {USA, business model non-profit (indicator), diversity (indicator), education, innovation, literature review (method), operations, stakeholder, strategic planning},\n\tpages = {34--49},\n}\n\n\n\n

\n

\n\n\n

\n The criteria and core values of the Baldrige National Quality Award provide a seven-part framework for organizational excellence through deployment of effective, systematic, aligned and integrated approaches in the areas of leadership; strategic planning; customer and market focus; measurement, analysis and knowledge management human resources; and process management. The Baldrige assessment process is used throughout the United States by businesses, schools, health-care providers, not-for-profit organizations and government agencies. The authors describe how arts administrators can apply these concepts in self-and organizational assessment, which, in turn, provide the basis for a continuous-improvement plan. They look at several of the Baldrige criteria and illustrate how these apply to arts administration. Annotation: In this paper, authors Larry Weinstein (University of Kentucky), Randall Paul (University of Oklahoma) and Scott Williams (Texas A&M University) suggest that arts programs suffer from financial cuts due to their inability to effectively prove their worth through a consistent evaluative framework. Published in the Spring 2017 edition of the International Journal of Arts Management, Weinstein, Paul and Williams provide an overview detailing the challenges of American public administrators facing decreased arts funding and program cuts, while touting the benefits of strategic planning methods. The authors cite examples supporting this claim, while admitting that very few arts administrators have the necessary training to effectively employ strategic planning. In view of this consideration, the authors present the Baldridge technique as an effective organizational management tool as well as a strategic planning tool. The criteria, developed by the “The Criteria for Performance Excellence of the Baldrige National Quality Award Program” in order to strengthen U.S. competitiveness, are suggested as ideal for arts programs as they “allow organizations to develop creative approaches that are aligned with organizational needs, and they provide a foundation for conducting organizational self assessments.” (36) The paper then continues with an in-depth examination of the application process for the award. Finally, the criteria are then presented, separated into seven categories and 19 subcategories, with Weinstein, Paul and Williams providing explanations and examples for each.This paper reads mostly as an instructional tool, providing guidance to American non-profit organizations (particularly those involved in arts programs offered by higher education facilities) seeking to apply to the awards program. However, the self-assessment categories developed by the Baldrige Program, as well as the success factors suggested by the authors, may prove to be a useful tool for arts education organizations seeking inspiration for developing effective in-depth self-assessment frameworks.\n

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\n \n\n \n \n \n \n \n \n Evaluating Network Arrangements: Toward Revised Performance Measures.\n \n \n \n \n\n\n \n Mandell, M.; and Keast, R.\n\n\n \n\n\n\n Public Performance & Management Review, 30(4): 574–597. 2007.\n \n\n\n\n
\n\n\n\n \n \n $\"Evaluating$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{mandell_evaluating_2007,\n\ttitle = {Evaluating {Network} {Arrangements}: {Toward} {Revised} {Performance} {Measures}},\n\tvolume = {30},\n\tissn = {1530-9576},\n\tshorttitle = {Evaluating {Network} {Arrangements}},\n\turl = {https://www.jstor.org/stable/20447651},\n\tabstract = {As public problems have become more and more complex, there has been a realization that individual government agencies, working alone, can no longer handle these "wicked issues." Instead, there has been a growing emphasis on replacing categorical or program-based funding arrangements with more integrated efforts. These efforts have been the focus of recent work on collaborative endeavors involving a variety of network arrangements. The difficulty has been that although these types of collaborative efforts are increasing in number, a related growing concern is whether such arrangements have been any more effective than those involving single-agency efforts. As a result, interest has increased in evaluating these types of efforts. However, the evaluation measures used are those that apply to individual organizations, rather than network arrangements that often include not only representatives of public sector organizations but also representatives of nonprofit and private organizations as well as individuals and groups representing community interests. New ways are needed of evaluating performance in these network arrangements.},\n\tnumber = {4},\n\turldate = {2021-05-26},\n\tjournal = {Public Performance \\& Management Review},\n\tauthor = {Mandell, Myrna and Keast, Robyn},\n\tyear = {2007},\n\tkeywords = {Australia, USA, business model non-profit (indicator), case study (method), collaboration, community impact (indicator), economic (indicator), entrepreneurship, governance, literature review (method), networks, non-profit, policy, sustainability (indicator), sustainable, taxonomies},\n\tpages = {574--597},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n The Inclusive City: Design Solutions for Buildings, Neighborhoods and Urban Spaces.\n \n \n \n\n\n \n Goltsman, S.; and Iancofano, D.\n\n\n \n\n\n\n MIG Communications, Berkely, CA., 2007.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@book{goltsman_inclusive_2007,\n\taddress = {Berkely, CA.},\n\ttitle = {The {Inclusive} {City}: {Design} {Solutions} for {Buildings}, {Neighborhoods} and {Urban} {Spaces}},\n\tpublisher = {MIG Communications},\n\tauthor = {Goltsman, S. and Iancofano, D.},\n\tyear = {2007},\n\tkeywords = {accessible (indicator), physical space (indicator)},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Management Control Systems in Early-Stage Startup Companies.\n \n \n \n \n\n\n \n Davila, A.; and Foster, G.\n\n\n \n\n\n\n The Accounting Review, 82(4): 907–937. 2007.\n \n\n\n\n
\n\n\n\n \n \n $\"Management$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{davila_management_2007,\n\ttitle = {Management {Control} {Systems} in {Early}-{Stage} {Startup} {Companies}},\n\tvolume = {82},\n\tissn = {0001-4826},\n\turl = {https://www.jstor.org/stable/30243482},\n\tabstract = {This paper uses a multi-method, multi-case field research design to study the evolving portfolio of the management control systems (MCSs) of 78 early-stage startup companies. We examine 46 individual systems from eight different MCS categories-financial planning, financial evaluation, human resource planning, human resource evaluation, strategic planning, product development, sales/marketing, and partnerships. We report analysis of the following: (1) The speed of adoption of financial planning and financial evaluation systems in relation to six other MCS categories. These systems are considered key MCSs associated with management accounting. We find financial planning to be the most widely adopted MCS category at an early stage, followed by the human resource planning and strategic planning categories. Financial evaluation systems are typically adopted at a later stage. (2) Variables associated with the rate of adoption of MCSs. Our results indicate that number of employees, presence of venture capital, international operations, and time to revenue are positively associated with the rate of adoption. Furthermore, the rate of adoption simultaneously affects company size. (3) CEO turnover and the rate of adoption of MCSs. We find that CEOs who have adopted fewer MCSs have shorter tenures. This is consistent with the hypothesized difference between entrepreneurs and managers. Overall, the evidence strongly supports the relevance of MCSs to the growth of early-stage startup companies.               \n                                                                                                                                                                              Annotation: This article published by the American Accounting Association in their July 2007 edition of The Accounting Review comprises of a case study chronicling 78 early-stage start-up companies and their evolving management control systems. Authors Antonio Davila (IESE Business School) and George Foster (Stanford University) examine 46 unique management control systems (MCS) across 8 different categories, that of “financial planning, financial evaluation, human resource planning, human resource evaluation, strategic planning, product development, sales/marketing, and partnerships.” (907) The report primarily analyses the speed of adoption of each of these systems, as well as how variables such as number of employees and CEO turnover affect these adoption rates.\n \n               The report begins with defining the terms associated with typical MCS’s, and provides a general overview of previous research done on the subject. Davila and Foster then present the details of their case study, in which questionnaires were sent to 78 for-profit start-up companies (of which the vast majority were in the information and biotechnology sectors) as well as conducting several semi-structured interviews. The collected data is then discussed at length and is also presented in several visual tables throughout the paper. The data is then synthesized through a variety of formulae in order to present quantifiable conclusions to the research, such as providing proof that MCS’s evolve with start-up companies as they become more established, and that CEO’s who did not enact MCS’s early on in the start-ups’ life cycles were more likely to be replaced. Data also demonstrates that financial management was the first and most widely adopted system in the start-ups’ life cycle, followed by human resource and strategic planning. The role of venture capital funding is also examined as an influential variable amongst MCS adoptions. An appendix also presents illustrative quotes from the semi-structured interviews which provide key insights into the dynamic MCS process. While this rather dense report is from a for-profit perspective, it does provide a firm understanding of the effective establishment of start-up models, as well as insight into the typical life cycle of a start-up company.},\n\tnumber = {4},\n\turldate = {2021-05-24},\n\tjournal = {The Accounting Review},\n\tauthor = {Davila, Antonio and Foster, George},\n\tyear = {2007},\n\tkeywords = {USA, accessible (indicator), business model (indicator), business model entrepreneur (indicator), case study (method), discourse analysis (method), document analysis (method), economic (indicator), entrepreneurship, for-profit, interviews (method), literature review (method), management, mixed methods (method), planning, qualitative (method), start-ups, strategic planning, surveys (method)},\n\tpages = {907--937},\n}\n\n\n\n

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\n This paper uses a multi-method, multi-case field research design to study the evolving portfolio of the management control systems (MCSs) of 78 early-stage startup companies. We examine 46 individual systems from eight different MCS categories-financial planning, financial evaluation, human resource planning, human resource evaluation, strategic planning, product development, sales/marketing, and partnerships. We report analysis of the following: (1) The speed of adoption of financial planning and financial evaluation systems in relation to six other MCS categories. These systems are considered key MCSs associated with management accounting. We find financial planning to be the most widely adopted MCS category at an early stage, followed by the human resource planning and strategic planning categories. Financial evaluation systems are typically adopted at a later stage. (2) Variables associated with the rate of adoption of MCSs. Our results indicate that number of employees, presence of venture capital, international operations, and time to revenue are positively associated with the rate of adoption. Furthermore, the rate of adoption simultaneously affects company size. (3) CEO turnover and the rate of adoption of MCSs. We find that CEOs who have adopted fewer MCSs have shorter tenures. This is consistent with the hypothesized difference between entrepreneurs and managers. Overall, the evidence strongly supports the relevance of MCSs to the growth of early-stage startup companies. Annotation: This article published by the American Accounting Association in their July 2007 edition of The Accounting Review comprises of a case study chronicling 78 early-stage start-up companies and their evolving management control systems. Authors Antonio Davila (IESE Business School) and George Foster (Stanford University) examine 46 unique management control systems (MCS) across 8 different categories, that of “financial planning, financial evaluation, human resource planning, human resource evaluation, strategic planning, product development, sales/marketing, and partnerships.” (907) The report primarily analyses the speed of adoption of each of these systems, as well as how variables such as number of employees and CEO turnover affect these adoption rates. The report begins with defining the terms associated with typical MCS’s, and provides a general overview of previous research done on the subject. Davila and Foster then present the details of their case study, in which questionnaires were sent to 78 for-profit start-up companies (of which the vast majority were in the information and biotechnology sectors) as well as conducting several semi-structured interviews. The collected data is then discussed at length and is also presented in several visual tables throughout the paper. The data is then synthesized through a variety of formulae in order to present quantifiable conclusions to the research, such as providing proof that MCS’s evolve with start-up companies as they become more established, and that CEO’s who did not enact MCS’s early on in the start-ups’ life cycles were more likely to be replaced. Data also demonstrates that financial management was the first and most widely adopted system in the start-ups’ life cycle, followed by human resource and strategic planning. The role of venture capital funding is also examined as an influential variable amongst MCS adoptions. An appendix also presents illustrative quotes from the semi-structured interviews which provide key insights into the dynamic MCS process. While this rather dense report is from a for-profit perspective, it does provide a firm understanding of the effective establishment of start-up models, as well as insight into the typical life cycle of a start-up company.\n

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\n \n\n \n \n \n \n \n \n The Politics of Cultural Work.\n \n \n \n \n\n\n \n Banks, M.\n\n\n \n\n\n\n Palgrave Macmillan UK, London, 2007.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{banks_politics_2007,\n\taddress = {London},\n\ttitle = {The {Politics} of {Cultural} {Work}},\n\tisbn = {9781349285532 9780230288713},\n\turl = {http://link.springer.com/10.1057/9780230288713},\n\tabstract = {Through a wide-ranging study of labour in the cultural industries, this book critically evaluates how various sociological traditions - including critical theory, governmentality and liberal-democratic approaches - have sought to theorize the creative cultural worker, in art, music, media and design-based occupations.},\n\tlanguage = {en},\n\turldate = {2021-05-17},\n\tpublisher = {Palgrave Macmillan UK},\n\tauthor = {Banks, Mark},\n\tyear = {2007},\n\tdoi = {10.1057/9780230288713},\n\tkeywords = {creative work, economic (indicator), entrepreneurship, governance, innovation, labour, policy},\n}\n\n\n\n

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\n \n 2006\n \n \n (3)\n \n \n

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\n \n\n \n \n \n \n \n \n Ethics and power in community-campus partnerships for research.\n \n \n \n \n\n\n \n Boser, S.\n\n\n \n\n\n\n Action Research, 4(1): 9–21. March 2006.\n Publisher: SAGE Publications\n\n\n\n
\n\n\n\n \n \n $\"Ethics$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{boser_ethics_2006,\n\ttitle = {Ethics and power in community-campus partnerships for research},\n\tvolume = {4},\n\tissn = {1476-7503},\n\turl = {https://doi.org/10.1177/1476750306060538},\n\tdoi = {10.1177/1476750306060538},\n\tabstract = {The past 20 years have seen a strong emergence of participatory approaches in social research. Such efforts typically include the researched in defining the questions, in data collection and analysis, and in interpreting and taking action based on the research findings. The objective is co-generating knowledge and, potentially, sharing decision-making based on that knowledge. This movement toward participatory research brings new sets of social relations for research and, as such, presents a new set of ethical challenges. The current framework for understanding the ethical issues involved in research is predicated on post-positivist epistemological assumptions of a distanced objectivist research stance, and thus is ill-suited for examining the ethics of participatory research. This article shall address this gap, outlining the potential ethical implications and presenting a framework for considering the ethical questions involved in participatory research partnerships.},\n\tlanguage = {EN},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Action Research},\n\tauthor = {Boser, Susan},\n\tmonth = mar,\n\tyear = {2006},\n\tnote = {Publisher: SAGE Publications},\n\tkeywords = {collaboration, collaboration (indicator), community, community engagement (indicator), community impact (indicator), knowledge-sharing (indicator), literature review (method), self-assessment (method)},\n\tpages = {9--21},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Multimodal ethnography.\n \n \n \n \n\n\n \n Dicks, B.; Soyinka, B.; and Coffey, A.\n\n\n \n\n\n\n Qualitative Research, 6(1): 77–96. February 2006.\n \n\n\n\n
\n\n\n\n \n \n $\"Multimodal$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{dicks_multimodal_2006,\n\ttitle = {Multimodal ethnography},\n\tvolume = {6},\n\tissn = {1468-7941, 1741-3109},\n\turl = {http://journals.sagepub.com/doi/10.1177/1468794106058876},\n\tdoi = {10.1177/1468794106058876},\n\tabstract = {Ethnographers, like other researchers, currently have a broad range of media at their disposal for conducting fieldwork, for aiding analysis \\&, most challengingly, for representing their completed work. These include digital media such as photographs, video film, audio-recordings, graphics \\& others besides. Through the computer 'writing space', these media can be integrated together, alongside more conventional written interpretation, into hypermedia environments. However, integration poses a number of potential problems, which this article addresses through a discussion of the semiotics of multimedia. In particular, it argues that different media can be seen to 'afford' different kinds of meaning. The integration of different media, therefore, has potentially significant implications for ethnography. Rather than seeing these media forms as discrete, we suggest an approach to ethnographic work which sees meaning as emerging from the fusion of differently mediated forms into new, 'multi-semiotic' modes. We therefore recognize the need to go beyond the current interest in visual methods, \\& instead to develop ways of understanding what kinds of meanings are produced in multimodal ethnographic work.},\n\tlanguage = {en},\n\tnumber = {1},\n\turldate = {2021-05-24},\n\tjournal = {Qualitative Research},\n\tauthor = {Dicks, Bella and Soyinka, Bambo and Coffey, Amanda},\n\tmonth = feb,\n\tyear = {2006},\n\tkeywords = {discourse analysis (method), interviews (method), literature review (method), participant observation (method)},\n\tpages = {77--96},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Memory Practices in the Sciences.\n \n \n \n\n\n \n Bowker, G.\n\n\n \n\n\n\n MIT Press, Cambridge, MA, 2006.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{bowker_memory_2006,\n\taddress = {Cambridge, MA},\n\ttitle = {Memory {Practices} in the {Sciences}},\n\tpublisher = {MIT Press},\n\tauthor = {Bowker, Geoffrey},\n\tyear = {2006},\n\tkeywords = {social (indicator)},\n}\n\n\n\n

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\n \n 2005\n \n \n (1)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Accounting for Culture: Thinking Through Cultural Citizenship.\n \n \n \n \n\n\n \n Andrew, C.; Gattinger, M.; Jeannotte, M. S.; and Straw, W.,\n editors.\n \n\n\n \n\n\n\n University of Ottawa Press, 2005.\n \n\n\n\n
\n\n\n\n \n \n $\"Accounting$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{andrew_accounting_2005,\n\ttitle = {Accounting for {Culture}: {Thinking} {Through} {Cultural} {Citizenship}},\n\tshorttitle = {Accounting for {Culture}},\n\turl = {https://www.jstor.org/stable/j.ctt1ckphqj},\n\tabstract = {Many scholars, practitioners, and policy-makers in the cultural sector argue that Canadian cultural policy is at a crossroads: that the environment for cultural policy-making has evolved substantially and that traditional rationales for state intervention no longer apply.  The concept of cultural citizenship is a relative newcomer to the cultural policy landscape, and offers a potentially compelling alternative rationale for government intervention in the cultural sector. Likewise, the articulation and use of cultural indicators and of governance concepts are also new arrivals, emerging as potentially powerful tools for policy and program development.   \\textit{Accounting for Culture} is a unique collection of essays from leading Canadian and international scholars that critically examines cultural citizenship, cultural indicators, and governance in the context of evolving cultural practices and cultural policy-making. It will be of great interest to scholars of cultural policy, communications, cultural studies, and public administration alike.},\n\turldate = {2025-03-15},\n\tpublisher = {University of Ottawa Press},\n\teditor = {Andrew, Caroline and Gattinger, Monica and Jeannotte, M. Sharon and Straw, Will},\n\tyear = {2005},\n\tdoi = {10.2307/j.ctt1ckphqj},\n\tkeywords = {Canada, cultural and creative industries, culture (indicator), mixed methods (method), policy, policy instruments (indicator), social structures (indicator)},\n}\n\n\n\n

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\n\n\n\n\n\n

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\n \n 2004\n \n \n (6)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Funding Relations between Nonprofits and Government: A Positive Example.\n \n \n \n \n\n\n \n Brown, L. K.; and Troutt, E.\n\n\n \n\n\n\n Nonprofit and Voluntary Sector Quarterly, 33(1): 5–27. March 2004.\n Publisher: SAGE Publications Inc\n\n\n\n
\n\n\n\n \n \n $\"Funding$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{brown_funding_2004,\n\ttitle = {Funding {Relations} between {Nonprofits} and {Government}: {A} {Positive} {Example}},\n\tvolume = {33},\n\tissn = {0899-7640},\n\tshorttitle = {Funding {Relations} between {Nonprofits} and {Government}},\n\turl = {https://journals.sagepub.com/doi/10.1177/0899764003260601},\n\tdoi = {10.1177/0899764003260601},\n\tabstract = {This article examines the attributes of a successful contracting model for the financing and support of nonprofit organizations. It describes how, through government initiative, a program can be built in which transaction costs are minimized through a cooperative approach to contracting based on mutual trust. It shows how investment in a long-term, trust-based, cooperative relationship underlined by professional standards and a continuous focus on a common mission by all levels of actors within and without government can provide the impetus for a system in which high standards of service are maintained, accountability is organic, and organizations feel supported in their mission but not controlled. The example presented is a provincial government program for the prevention of family violence in Manitoba, Canada, but the features that make it successful can be applied widely.},\n\tnumber = {1},\n\turldate = {2025-03-15},\n\tjournal = {Nonprofit and Voluntary Sector Quarterly},\n\tauthor = {Brown, Laura K. and Troutt, Elizabeth},\n\tmonth = mar,\n\tyear = {2004},\n\tnote = {Publisher: SAGE Publications Inc},\n\tkeywords = {collaboration, economic (indicator), interviews (method), non-profit, qualitative (method), trust-based, trust-based environments (indicator), trust-based funding (indicator)},\n\tpages = {5--27},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n Beyond the Great Divide: Collaborative Networks and the Challenge to the Dominant Conceptions of Creative Industries.\n \n \n \n\n\n \n Uricchio, W.\n\n\n \n\n\n\n International Journal of Cultural Studies, 7(1): 79–90. 2004.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@article{uricchio_beyond_2004,\n\ttitle = {Beyond the {Great} {Divide}: {Collaborative} {Networks} and the {Challenge} to the {Dominant} {Conceptions} of {Creative} {Industries}.},\n\tvolume = {7},\n\tnumber = {1},\n\tjournal = {International Journal of Cultural Studies},\n\tauthor = {Uricchio, William},\n\tyear = {2004},\n\tpages = {79--90},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Work, workfare, work/life balance and an ethic of care.\n \n \n \n \n\n\n \n Mcdowell, L.\n\n\n \n\n\n\n Progress in Human Geography, 28(2): 145–163. April 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"Work,$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{mcdowell_work_2004,\n\ttitle = {Work, workfare, work/life balance and an ethic of care},\n\tvolume = {28},\n\tissn = {0309-1325},\n\turl = {https://doi.org/10.1191/0309132504ph478oa},\n\tdoi = {10.1191/0309132504ph478oa},\n\tabstract = {In this paper, I build on Paul Cloke's (2002) provocative argument about the necessity of developing an ethical stance in human geography. I do this, however, through an assessment of the implications of a number of changes in the nature of the labour market in Great Britain, in the assumptions that lie behind welfare provision under New Labour and in the position of women and men in Britainrather than through an emphasis on the Christian values that infused Cloke's argument. I show how the dominance of an individualistic ethos pervades both the labour market and the welfare state, undermining notions of collective welfare and an ethic of care, within the wider context of the hegemony of a neoliberal ideology in global as well as national politics. If an ethic of care is to be (re)instituted, it will demand wide-reaching changes in the ways in which organizations and institutions operate at a range of spatial scales as well as new sets of responsibilities towards co-workers, members of households and the wider public. I conclude by considering some of the implications of such an ethic for everyday practices within the academy.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2021-05-26},\n\tjournal = {Progress in Human Geography},\n\tauthor = {Mcdowell, Linda},\n\tmonth = apr,\n\tyear = {2004},\n\tkeywords = {economic (indicator), labour, neoliberalism, physical space (indicator), policy, social relations (indicator)},\n\tpages = {145--163},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Mission, Money, and Merit: Strategic Decision Making by Non-Profit Managers.\n \n \n \n \n\n\n \n Krug, K.; and Weinberg, C. B.\n\n\n \n\n\n\n Nonprofit management and leadership, 14(3): 325–342. 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"Mission,$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{krug_mission_2004,\n\ttitle = {Mission, {Money}, and {Merit}: {Strategic} {Decision} {Making} by {Non}-{Profit} {Managers}},\n\tvolume = {14},\n\turl = {https://icom-portugal.org/multimedia/File/V%20Jornadas/MissionMoneyMerit.pdf},\n\tabstract = {ANNOTATION: This article written by Kersti Krug and Charles B. Weinberg (both hailing from the University of British Columbia) extends Norton and Kaplan’s Balanced Scorecard performance management method in order to develop a more multidimensional approach for application by non-profit managers. Published in the Nonprofit Management and Leadership journal in 2004, Krug and Weinberg’s suggested model employs a three-pronged approach inspired by the writings of Peter Drucker, which measures the effectiveness of mission through three different facets: “doing the right things” (mission), “doing things right” (money) and “doing things right in terms of quality” (merit.) (326). Krug and Weinberg then report on the results of testing this model through working with eight managing directors of American and Canadian non-profit organizations (varying from museums to art galleries to aquariums.) The model is then broken down into four elements: project and cost, mission, money (revenue/cost coverage) and merit (performance quality), with the authors providing explanations, descriptions and examples for each. Dispersed throughout are “Tales from the Field,” which are relevant quotes from the interviews conducted with the managers of the non-profits. After discussing how the model was developed the authors then present a practical guide on how non-profit organizations can use the model. Necessary data is represented on an Excel spreadsheet as various “bubbles.” Each bubble is indicative of a different program offered by the organization, such as “space rentals,” “gift shop,” or “core collections,” the size of which is proportional to the amount of money dedicated to it. The bubbles are then positioned on the axes of the graph depending on how the program contributes to the organization’s mission. After various stakeholders are consulted, and information is provided anonymously, the visual is then revealed with the aim of promoting discussion amongst stakeholders who must then come to an agreed positioning of the “bubbles” on the graph. This, argues authors, allows for the “refinement” of the mission statement, as during the case studies the graph model “unveiled many underlying assumptions that were coloring interpretations of what was written in a mission statement, it exposed what was fuzzy or too open to interpretation–or simply not working as intended.” (334). The paper then continues with a discussion on how this model contributes to a deeper understanding of the three central tenets of money, mission and merit, and how this model can be used as a beneficial tool for managers of non-profit organizations. Throughout the paper are examples of the model at work on various graphs, as well as explanations on how to read the data being presented. The authors then conclude with a list of 14 “Lessons from the Field” that became evident through the author’s research, each lesson accompanied by a brief explanation. This is one of the few papers included in this annotated bibliography that presents a practical, (albeit slightly complex) working model for arts organizations to employ, and may prove inspiring to those involved in strategic decision making.},\n\tnumber = {3},\n\tjournal = {Nonprofit management and leadership},\n\tauthor = {Krug, Kersti and Weinberg, Charles B.},\n\tyear = {2004},\n\tkeywords = {business model non-profit (indicator), case study (method), museums, non-profit, organizations},\n\tpages = {325--342},\n}\n\n\n\n

\n

\n\n\n

\n ANNOTATION: This article written by Kersti Krug and Charles B. Weinberg (both hailing from the University of British Columbia) extends Norton and Kaplan’s Balanced Scorecard performance management method in order to develop a more multidimensional approach for application by non-profit managers. Published in the Nonprofit Management and Leadership journal in 2004, Krug and Weinberg’s suggested model employs a three-pronged approach inspired by the writings of Peter Drucker, which measures the effectiveness of mission through three different facets: “doing the right things” (mission), “doing things right” (money) and “doing things right in terms of quality” (merit.) (326). Krug and Weinberg then report on the results of testing this model through working with eight managing directors of American and Canadian non-profit organizations (varying from museums to art galleries to aquariums.) The model is then broken down into four elements: project and cost, mission, money (revenue/cost coverage) and merit (performance quality), with the authors providing explanations, descriptions and examples for each. Dispersed throughout are “Tales from the Field,” which are relevant quotes from the interviews conducted with the managers of the non-profits. After discussing how the model was developed the authors then present a practical guide on how non-profit organizations can use the model. Necessary data is represented on an Excel spreadsheet as various “bubbles.” Each bubble is indicative of a different program offered by the organization, such as “space rentals,” “gift shop,” or “core collections,” the size of which is proportional to the amount of money dedicated to it. The bubbles are then positioned on the axes of the graph depending on how the program contributes to the organization’s mission. After various stakeholders are consulted, and information is provided anonymously, the visual is then revealed with the aim of promoting discussion amongst stakeholders who must then come to an agreed positioning of the “bubbles” on the graph. This, argues authors, allows for the “refinement” of the mission statement, as during the case studies the graph model “unveiled many underlying assumptions that were coloring interpretations of what was written in a mission statement, it exposed what was fuzzy or too open to interpretation–or simply not working as intended.” (334). The paper then continues with a discussion on how this model contributes to a deeper understanding of the three central tenets of money, mission and merit, and how this model can be used as a beneficial tool for managers of non-profit organizations. Throughout the paper are examples of the model at work on various graphs, as well as explanations on how to read the data being presented. The authors then conclude with a list of 14 “Lessons from the Field” that became evident through the author’s research, each lesson accompanied by a brief explanation. This is one of the few papers included in this annotated bibliography that presents a practical, (albeit slightly complex) working model for arts organizations to employ, and may prove inspiring to those involved in strategic decision making.\n

\n\n\n

\n \n\n \n \n \n \n \n \n The Art of Reflective Management: Dramatic Insights from Scottish Community Theatre.\n \n \n \n \n\n\n \n Beirne, M.; and Knight, S.\n\n\n \n\n\n\n International Journal of Arts Management, 6(2): 33–43. 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{beirne_art_2004,\n\ttitle = {The {Art} of {Reflective} {Management}: {Dramatic} {Insights} from {Scottish} {Community} {Theatre}},\n\tvolume = {6},\n\tissn = {1480-8986},\n\tshorttitle = {The {Art} of {Reflective} {Management}},\n\turl = {https://www.jstor.org/stable/41064818},\n\tabstract = {In Britain, developments at the sharp end of arts management have been intensely controversial. Artists and arts workers have been highly critical of the way that management techniques have been imported into their organizations from the corporate sector, often with counterproductive consequences. Acknowledging their concerns, this paper argues that exchanges between management and the arts can usefully be developed in a two-way rather than predominantly passive or one-way fashion, with arts and other organizations drawing managerial value directly from artistic traditions and creative practices.},\n\tnumber = {2},\n\turldate = {2021-05-24},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Beirne, Martin and Knight, Stephanie},\n\tyear = {2004},\n\tkeywords = {UK, action-research (method), business model community arts (indicator), business model non-profit (indicator), case study (method), community, creative work, development, discourse analysis (method), economic (indicator), focus groups (method), interviews (method), management, non-profit, participant observation (method), qualitative (method), self-assessment (method), sense-making (indicator), surveys (method)},\n\tpages = {33--43},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Minority women's microenterprises in rural areas of the United States of America: African American, Hispanic American and Native American case studies.\n \n \n \n \n\n\n \n Aspaas, H. R.\n\n\n \n\n\n\n GeoJournal, 61(3): 281–289. 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"Minority$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{aspaas_minority_2004,\n\ttitle = {Minority women's microenterprises in rural areas of the {United} {States} of {America}: {African} {American}, {Hispanic} {American} and {Native} {American} case studies},\n\tvolume = {61},\n\tissn = {0343-2521, 1572-9893},\n\tshorttitle = {Minority women?},\n\turl = {http://link.springer.com/10.1007/s10708-004-3689-0},\n\tdoi = {10.1007/s10708-004-3689-0},\n\tabstract = {This paper argues that it is important for urban scholars and practitioners to comparatively appraise the differential forms of local embeddedness of cultural quarters. Such appraisals can help to realize more sustainable practices of cultural quarter anchoring within neighbourhoods. The case study of Leipzig, Germany – a city that deploys both ‘creative city’ and ‘cultural industries’ models of urban development within a context of post-industrial, post-socialist transformation – is used to examine the adaptive re- use of a former cotton-spinning mill, the Baumwollspinnerei, into an internationally renowned cultural quarter. The POSES Star Framework is developed as an analytical tool to systematically outline multiple local embeddedness dynamics (political, organizational, social, ephemeral, and spatial) of a cultural quarter within a neighbourhood and within a specific urban planning and policy context. The application of the POSES Star Framework to the Baumwollspinnerei reveals that internal organizational concerns for site development and marketing are prioritized over external engagements with Leipzig’s urban planning and cultural policy discourses.},\n\tlanguage = {en},\n\tnumber = {3},\n\turldate = {2021-05-17},\n\tjournal = {GeoJournal},\n\tauthor = {Aspaas, Helen Ruth},\n\tyear = {2004},\n\tkeywords = {community impact (indicator), cultural district, culture (indicator), hubs, international, planning, social structures (indicator)},\n\tpages = {281--289},\n}\n

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\n\n\n\n\n\n

\n

\n \n 2001\n \n \n (2)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n The Evaluation of Social Objectives in Cultural Organizations.\n \n \n \n \n\n\n \n Gilhespy, I.\n\n\n \n\n\n\n International Journal of Arts Management, 4(1): 48–57. 2001.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{gilhespy_evaluation_2001,\n\ttitle = {The {Evaluation} of {Social} {Objectives} in {Cultural} {Organizations}},\n\tvolume = {4},\n\tissn = {1480-8986},\n\turl = {https://www.jstor.org/stable/41064744},\n\tabstract = {This paper presents some of the findings of a research project examining an evaluation of the achievement of the objectives of cultural organizations. Specifically, the paper presents an analysis of the appropriateness and sensitivity of a range of performance indicators that were designed to measure the achievement of some of the social objectives of cultural organizations. The usefulness and relevance of the indicators is explored in relation to a number of interest groups (stakeholders). The conclusion is that certain indicators may be useful both in monitoring the achievement of objectives at an organizational level and in providing evidence for advocacy purposes when reporting to supporting agencies. However, they are less useful in comparing amongst organizations or for use as evidence of some of the more intangible values underpinning cultural activities.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Gilhespy, Ian},\n\tyear = {2001},\n\tkeywords = {UK, accountability, discourse analysis (method), governance, interviews (method), literature review (method), youth},\n\tpages = {48--57},\n}\n\n\n\n

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\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n The Fourth Pillar of Sustainability: Culture's Essential Role in Public Planning.\n \n \n \n\n\n \n Hawkes, J.\n\n\n \n\n\n\n Common Ground Publishing Pty, 2001.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@book{hawkes_fourth_2001,\n\ttitle = {The {Fourth} {Pillar} of {Sustainability}: {Culture}'s {Essential} {Role} in {Public} {Planning}},\n\tpublisher = {Common Ground Publishing Pty},\n\tauthor = {Hawkes, J.},\n\tyear = {2001},\n}\n\n\n\n

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\n\n\n\n\n\n

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\n \n 2000\n \n \n (2)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Multiculturalism and the History of Canadian Diversity.\n \n \n \n \n\n\n \n Day, R. J.\n\n\n \n\n\n\n University of Toronto Press, Toronto, 2000.\n \n\n\n\n
\n\n\n\n \n \n $\"Multiculturalism$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{day_multiculturalism_2000,\n\taddress = {Toronto},\n\ttitle = {Multiculturalism and the {History} of {Canadian} {Diversity}},\n\tisbn = {978-0-8020-8075-2},\n\turl = {https://www.jstor.org/stable/10.3138/9781442677449},\n\tabstract = {Arguing that Canada's multicultural policies are propelled by a fantasy of unity rooted in a European drive to control diversity, Day suggests that state intervention can never bring an end to tensions related to ethnocultural relations of power. Partial Abstract: Is Canada a country of equal and peacefully coexisting identities, working towards what Charles Taylor has called a ‘post-industrial Sittlichkeit'? In this analysis of the history of Canadian diversity, Richard Day argues that no degree or style of state intervention can ever bring an end to tensions related to ethnocultural relations of power. Using Foucault's method of genealogical analysis and a theory of the state form derived from the works of Deleuze and Guattari, Day creates a framework for his exploration of the construction of human difference and its management over the years. He argues that Canada's multicultural policies are propelled by a fantasy of unity based on the nation-state model. Our legislation, policies, and practices do not move us towards equality and reciprocity, he reveals, because they are rooted in a European drive to manage and control diversity.},\n\turldate = {2025-03-15},\n\tpublisher = {University of Toronto Press},\n\tauthor = {Day, Richard J.F.},\n\tyear = {2000},\n\tkeywords = {Canada, diversity (indicator), equity (indicator), governance, literature review (method), mixed methods (method), policy, policy instruments (indicator)},\n}\n\n\n\n

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\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n The Learning Cultural Organization of the Millennium: Performance Measures and Audience Response.\n \n \n \n \n\n\n \n Soren, B. J.\n\n\n \n\n\n\n International Journal of Arts Management, 2(2): 40–49. 2000.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{soren_learning_2000,\n\ttitle = {The {Learning} {Cultural} {Organization} of the {Millennium}: {Performance} {Measures} and {Audience} {Response}},\n\tvolume = {2},\n\tissn = {1480-8986},\n\tshorttitle = {The {Learning} {Cultural} {Organization} of the {Millennium}},\n\turl = {https://www.jstor.org/stable/41064687},\n\tabstract = {Although a considerable amount has been written on performance measures, little has been written on the importance of performance measures in assessing the impact of cultural organizations on their visitors and audiences. In this article, learning organization and learning audience frameworks are linked with the strengthening and deepening of the educational mandate of museums and performing-arts organizations. The article reports on a case study in which performance measures were developed with staff at a history and science museum in Michigan based on feedback from visitors and community stakeholders. A strategy to assess the impact of community museum and performing-arts organization experiences on local visitors and audience members is also discussed.},\n\tnumber = {2},\n\turldate = {2021-05-29},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Soren, Barbara J.},\n\tyear = {2000},\n\tkeywords = {USA, business model non-profit (indicator), case study (method), community impact (indicator), diversity (indicator), equity (indicator), literature review (method), museums, performance},\n\tpages = {40--49},\n}\n\n\n\n

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\n \n 1999\n \n \n (1)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Measuring the Performance of Cultural Organizations: A Model.\n \n \n \n \n\n\n \n Gilhespy, I.\n\n\n \n\n\n\n International Journal of Arts Management, 2(1): 38–52. 1999.\n \n\n\n\n
\n\n\n\n \n \n $\"Measuring$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{gilhespy_measuring_1999,\n\ttitle = {Measuring the {Performance} of {Cultural} {Organizations}: {A} {Model}},\n\tvolume = {2},\n\tissn = {1480-8986},\n\tshorttitle = {Measuring the {Performance} of {Cultural} {Organizations}},\n\turl = {https://www.jstor.org/stable/41064674},\n\tabstract = {ABSTRACT: The principal aim of this paper is to present a model of a performance measurement system for application to and by arts and cultural organizations. The contention developed is that it is possible to render down the various and multiple objectives of arts and cultural organizations into a relatively small number of options. These options are clarified and presented in the form of a matrix. It is argued that the matrix provides a series of strategic options for arts managers that may be pursued in relation to one another. This process is presented in the form of a model. It is further argued that the achievement of these strategic options may be measured with a degree of sensitivity. \n\nANNOTATION: Gilhespy proposes a new performance measurement model designed specifically for arts and cultural organizations, with the assumption that mission objectives can be distilled to a select number of strategic options which are then effectively measured. This model was developed from the data collected using the Grounded Theory framework from 27 semi-structured interviews with management professionals of arts organizations in the South of England. Gilhespy begins by providing the cultural context of the non-profit sector in England at the time of the paper’s publishing, followed by an introduction to the four concepts being utilized as metrics in the paper: efficiency, effectiveness, economy and equity. The process of the model’s development is then recounted, including the determination of the 10 core mission statement variables or “policy objectives” informing the model, namely: “Access Maximization, Attendance Maximization, Diversity/Multiculturalism, Economy, Maximization, Education, Excellence, Innovation, Revenue, Maximization Service Quality, Maximization Social Cohesion.” (41) Each policy objective concept is then defined, dissected and analysed in the sections that follow. Gilhespy also introduces the concept of “weighting” for each of the policy objectives, in which creative and cultural organizations must assign a weight, or a value of importance for each variable. The author then demonstrates the practical application of this weighted formula to a hypothetical organization using an x, y, and z formula, as well as visually depicting the model as a flowchart. Finally, the benefits and the drawbacks to the model are addressed from both internal and external stakeholders’ perspectives. While the research of this paper resides firmly in the context of Britain in the 1980s and 90s, the core concepts remain relevant today. The model is presented in a very straightforward and efficient manner, and the language style is highly readable and accessible. Although not focused on creative hubs per se, the model presented in this paper may prove to be a source of inspiration for potential evaluative frameworks.},\n\tnumber = {1},\n\turldate = {2021-05-26},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Gilhespy, Ian},\n\tyear = {1999},\n\tkeywords = {UK, business model (indicator), business model non-profit (indicator), creative work, discourse analysis (method), diversity (indicator), economic (indicator), education, innovation, interviews (method), literature review (method), non-profit, policy, strategic planning, youth},\n\tpages = {38--52},\n}\n\n\n\n

\n

\n\n\n

\n ABSTRACT: The principal aim of this paper is to present a model of a performance measurement system for application to and by arts and cultural organizations. The contention developed is that it is possible to render down the various and multiple objectives of arts and cultural organizations into a relatively small number of options. These options are clarified and presented in the form of a matrix. It is argued that the matrix provides a series of strategic options for arts managers that may be pursued in relation to one another. This process is presented in the form of a model. It is further argued that the achievement of these strategic options may be measured with a degree of sensitivity. ANNOTATION: Gilhespy proposes a new performance measurement model designed specifically for arts and cultural organizations, with the assumption that mission objectives can be distilled to a select number of strategic options which are then effectively measured. This model was developed from the data collected using the Grounded Theory framework from 27 semi-structured interviews with management professionals of arts organizations in the South of England. Gilhespy begins by providing the cultural context of the non-profit sector in England at the time of the paper’s publishing, followed by an introduction to the four concepts being utilized as metrics in the paper: efficiency, effectiveness, economy and equity. The process of the model’s development is then recounted, including the determination of the 10 core mission statement variables or “policy objectives” informing the model, namely: “Access Maximization, Attendance Maximization, Diversity/Multiculturalism, Economy, Maximization, Education, Excellence, Innovation, Revenue, Maximization Service Quality, Maximization Social Cohesion.” (41) Each policy objective concept is then defined, dissected and analysed in the sections that follow. Gilhespy also introduces the concept of “weighting” for each of the policy objectives, in which creative and cultural organizations must assign a weight, or a value of importance for each variable. The author then demonstrates the practical application of this weighted formula to a hypothetical organization using an x, y, and z formula, as well as visually depicting the model as a flowchart. Finally, the benefits and the drawbacks to the model are addressed from both internal and external stakeholders’ perspectives. While the research of this paper resides firmly in the context of Britain in the 1980s and 90s, the core concepts remain relevant today. The model is presented in a very straightforward and efficient manner, and the language style is highly readable and accessible. Although not focused on creative hubs per se, the model presented in this paper may prove to be a source of inspiration for potential evaluative frameworks.\n

\n\n\n

\n\n\n\n\n\n

\n

\n \n 1997\n \n \n (1)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n Interpretive Ethnography: Ethnographic Practices for the 21st Century.\n \n \n \n\n\n \n Denzin, N. K.\n\n\n \n\n\n\n SAGE Publications, Thousand Oaks, CA., 1997.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@book{denzin_interpretive_1997,\n\taddress = {Thousand Oaks, CA.},\n\ttitle = {Interpretive {Ethnography}: {Ethnographic} {Practices} for the 21st {Century}},\n\tpublisher = {SAGE Publications},\n\tauthor = {Denzin, Norman K.},\n\tyear = {1997},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 1996\n \n \n (1)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n The Balanced Scorecard: Translating Strategy into Action.\n \n \n \n\n\n \n Kaplan, R.; and Norton, D.\n\n\n \n\n\n\n Harvard Business School Press, Boston, 1996.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@book{kaplan_balanced_1996,\n\taddress = {Boston},\n\ttitle = {The {Balanced} {Scorecard}: {Translating} {Strategy} into {Action}},\n\tpublisher = {Harvard Business School Press},\n\tauthor = {Kaplan, Robert and Norton, David},\n\tyear = {1996},\n}\n\n\n\n

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\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 1986\n \n \n (1)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n The Forms of Capital.\n \n \n \n\n\n \n Bourdieu, P.\n\n\n \n\n\n\n In Richardson, J., editor(s), Handbook of Theory and Research for the Sociology of Education, pages 241–258. Greenwood Press, New York, 1986.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@incollection{bourdieu_forms_1986,\n\taddress = {New York},\n\ttitle = {The {Forms} of {Capital}},\n\tbooktitle = {Handbook of {Theory} and {Research} for the {Sociology} of {Education}},\n\tpublisher = {Greenwood Press},\n\tauthor = {Bourdieu, Pierre},\n\teditor = {{Richardson, J.}},\n\tyear = {1986},\n\tkeywords = {culture (indicator), economic (indicator), social (indicator), social capital (indicator)},\n\tpages = {241--258},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 1984\n \n \n (1)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n Distinction: A Social Critique of the Judgement of Taste.\n \n \n \n\n\n \n Bourdieu, P.\n\n\n \n\n\n\n Harvard University Press, Cambridge, MA, 1984.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{bourdieu_distinction_1984,\n\taddress = {Cambridge, MA},\n\ttitle = {Distinction: {A} {Social} {Critique} of the {Judgement} of {Taste}},\n\tpublisher = {Harvard University Press},\n\tauthor = {Bourdieu, Pierre},\n\tyear = {1984},\n\tkeywords = {culture (indicator), economic (indicator), social (indicator), social capital (indicator)},\n}\n\n\n\n

\n

\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 1982\n \n \n (1)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n In A Different Voice.\n \n \n \n\n\n \n Gilligan, C.\n\n\n \n\n\n\n Harvard University Press, Boston, MA, 1982.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@book{gilligan_different_1982,\n\taddress = {Boston, MA},\n\ttitle = {In {A} {Different} {Voice}},\n\tpublisher = {Harvard University Press},\n\tauthor = {Gilligan, Carol},\n\tyear = {1982},\n\tkeywords = {emotional measures (indicator)},\n}\n\n\n\n

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\n\n\n\n\n\n

\n

\n \n undefined\n \n \n (18)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Intangible Cultural Heritage and Sustainable Development: Inside a UNESCO Convention.\n \n \n \n \n\n\n \n Bortolotto, C.; and Skounti, A.,\n editors.\n \n\n\n \n\n\n\n Routeledge, Abingdon, .\n \n\n\n\n
\n\n\n\n \n \n $\"Intangible$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{bortolotto_intangible_nodate,\n\taddress = {Abingdon},\n\ttitle = {Intangible {Cultural} {Heritage} and {Sustainable} {Development}: {Inside} a {UNESCO} {Convention}},\n\tshorttitle = {Intangible {Cultural} {Heritage} and {Sustainable} {Development}},\n\turl = {https://www.routledge.com/Intangible-Cultural-Heritage-and-Sustainable-Development-Inside-a-UNESCO-Convention/Bortolotto-Skounti/p/book/9781032154336},\n\tabstract = {Drawing on debates about intangible cultural heritage (ICH) safeguarding at the local and international levels, Intangible Cultural Heritage and Sustainable Development: Inside a UNESCO Convention, explores the theoretical and practical implications of the intertwinement between these policy fields.Considering how sustainable development (SD) priorities are influencing representations of ICH, the volume questions how they are expanding the frontiers of the heritage realm and unsettling accepted understandings of the social uses of heritage. The contributing authors, who hail from a variety of different contexts and disciplinary backgrounds, explore these issues from a unique vantage point as both scholars and actors of the processes they analyze. Playing different roles in the implementation of the Convention, their positioning as insiders allows for a unique analytical perspective that is based on first-hand engagement with the practices of the Convention. Intangible Cultural Heritage and Sustainable Development: Inside a UNESCO Convention sheds light on the complexity, potential, and consequences of combining ICH and SD at the policy-making level and in heritage practices on the ground. It will be of interest to academics and students working in heritage studies, development studies, anthropology, archaeology, international law, political science, international relations, and sociology.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tpublisher = {Routeledge},\n\teditor = {Bortolotto, Chiara and Skounti, Ahmed},\n\tkeywords = {cultural and creative industries, development (indicator), mixed methods (method), organizations, policy, policy instruments (indicator), sustainability (indicator), sustainable},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Canadian Arts Data/Données sur les arts au Canada (CADAC).\n \n \n \n \n\n\n \n \n\n\n \n\n\n\n \n \n\n\n\n
\n\n\n\n \n \n $\"Canadian$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@misc{noauthor_canadian_nodate,\n\ttitle = {Canadian {Arts} {Data}/{Données} sur les arts au {Canada} ({CADAC})},\n\turl = {https://www.cadac.ca/},\n\tabstract = {About Description: CADAC is a joint effort of arts funders across the country and is dedicated to the collection, dissemination, and analysis of financial and statistical information about Canadian arts organizations in a system of record. CADAC provides a simplified process, standardized forms and a web-based application to arts organizations applying for operating (core) grants to submit financial and statistical information for use by funding agencies. The new CADAC system was developed in 2022 by the Canada Council for the Arts, in collaboration with the CADAC members, as its strong commitment to foster sectoral collaboration and sharing of knowledge within the arts sector, and to promote the value of the public investment in the arts.},\n\turldate = {2025-03-15},\n\tkeywords = {Canada, artistic and creative measures (indicator), arts sector, economic (indicator), funding agency, operations, organizations, quantitative (method)},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Close Encounters of the Creative Kind: A Guide to Experimental Approaches to Policy Research and Knowledge Translation.\n \n \n \n \n\n\n \n Fielding, S.\n\n\n \n\n\n\n \n \n\n\n\n
\n\n\n\n \n \n $\"Close$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@misc{fielding_close_nodate,\n\ttitle = {Close {Encounters} of the {Creative} {Kind}: {A} {Guide} to {Experimental} {Approaches} to {Policy} {Research} and {Knowledge} {Translation}},\n\tshorttitle = {Close {Encounters} of the {Creative} {Kind}},\n\turl = {https://www.are.na/block/7724393},\n\tabstract = {Partial Introduction: Creative approaches to communicating and disseminating policy and research provide opportunities to share unique stories and perspectives, evoke feelings, provoke original thought, and communicate the experiential. As a result, these methods have significant potential to increase reach and impact by communicating with a wider audience, who may not be drawn to reading a written report.},\n\tlanguage = {en},\n\turldate = {2025-03-15},\n\tjournal = {Are.na},\n\tauthor = {Fielding, Stephanie},\n\tkeywords = {accessible (indicator), action-research (method), artistic and creative impacts (indicator), collaboration, collaboration (indicator), community engagement (indicator), emotional measures (indicator), networks, policy, public engagement (indicator)},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n Understanding, capturing and assessing value in collaborative design research.\n \n \n \n\n\n \n Whitham, R.; Moreton, S.; Bowen, S.; Speed, C.; and Durrant, A.\n\n\n \n\n\n\n International Journal of CoCreation in Design and the Arts, 15(1): 1–7. .\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{whitham_understanding_nodate,\n\ttitle = {Understanding, capturing and assessing value in collaborative design research},\n\tvolume = {15},\n\tabstract = {ANNOTATION: Editorial for a special issue that explores collaborative design research impact measurement: see the rest of the papers in the issue.},\n\tnumber = {1},\n\tjournal = {International Journal of CoCreation in Design and the Arts},\n\tauthor = {Whitham, Roger and Moreton, Simon and Bowen, Simon and Speed, Chris and Durrant, Abigail},\n\tkeywords = {culture (indicator), economic (indicator), social (indicator)},\n\tpages = {1--7},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Pluralism in the Arts in Canada.\n \n \n \n \n\n\n \n Smith, C.\n\n\n \n\n\n\n Canadian Centre for for Policy Alternatives, 2012, .\n \n\n\n\n
\n\n\n\n \n \n $\"Pluralism$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@book{smith_pluralism_nodate,\n\taddress = {2012},\n\ttitle = {Pluralism in the {Arts} in {Canada}},\n\turl = {https://www.policyalternatives.ca/publications/ourschools-ourselves/pluralism-arts-canada},\n\tabstract = {Pluralism in the Arts in Canada: A Change is Gonna Come captures some of the dialogue happening around critical diversity, social justice, artistic expression and performance in Canada. The experiences and research of the book's contributors give ample evidence about what is being done to demonstrably promote pluralism in the arts, to create forums for expressions from Aboriginal and racialized communities and to build engagement and audiences from these communities.},\n\turldate = {2021-05-29},\n\tpublisher = {Canadian Centre for for Policy Alternatives},\n\tauthor = {Smith, Charles},\n\tkeywords = {diversity (indicator), performance},\n}\n\n\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n Adding it Up: 52 Projects by 30+ Artists in 4 Neighbourhoods.\n \n \n \n \n\n\n \n Consulting, M. A.; Nicodemus, A. G.; Engh, R.; and Mascaro, C.\n\n\n \n\n\n\n Technical Report Metis Arts Consulting, .\n \n\n\n\n
\n\n\n\n \n \n $\"Adding$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@techreport{metris_arts_consulting_adding_nodate,\n\ttitle = {Adding it {Up}: 52 {Projects} by 30+ {Artists} in 4 {Neighbourhoods}},\n\turl = {https://metrisarts.com/wp-content/uploads/2014/05/adding-it-up-final-draft-web.pdf},\n\tabstract = {Beginning in 2012, Pillsbury House + Theatre (PH+T), a hybrid arts center/social service organization, began experimenting with arts-based community development in its four surrounding neighborhoods. With ArtPlace and\nsubsequent Minnesota State Arts Board funding, it launched the Arts on Chicago (AOC) and Art Blocks programs. In the span of two years, over 30 neighborhood-based artists engaged their neighbors in 52 projects that ranged from a stilting club to artistic bike racks to puppet shows to photographic portraits of neighbors. PH+T also developed structures to remain responsive to changing community interests and provide artist project leaders with professional development.\nWhat is the change that PH+T sought to make and how and why did it expect this change to occur? Ultimately, they hoped to empower neighborhood residents,\nwhich included artist project leaders, to affect positive change. That positive change could be individual, family-level, or community-wide outcomes, with\ngoals and values ideally determined collectively by neighborhood residents. PH+T theorized that this change would come about by catalyzing a critical mass of participatory neighborhood arts activities. Led by neighborhood artists, these activities would be strategically designed to foster residents’ access to\narts participation, increase residents’ levels of community attachment, and promote residents’ agency (both individual and collective). PH+T imbued each\nof these concepts with sub-themes and values, which directly informed the selection of our research questions.\nTo advance field-wide knowledge, provide accountability to its stakeholders, and deepen the effectiveness of its future work, PH+T engaged Metris Arts Consulting to collaborate on this evaluation. This report assesses the impact of 2012-2014 Art Blocks and Arts on Chicago activities on residents’ arts and cultural “access,” community “attachment,” and individual and collective\n“agency.” It also explores what strategies were most effective and makes recommendations on how to improve data collection efforts moving forward. \nOur findings capture the perspectives of artist project leaders, neighborhood residents and other civic stakeholders. We made use of the extensive data\ncollected internally by PH+T, prior to Metris’ involvement, and also designed and executed select additional methods to help us address gaps in our ability\nto answer specific research questions. Core data sources include artists’ final reflections (response rates of 70\\%-83\\% of artist teams/year); spreadsheets\ndetailing the social connections that Arts on Chicago artists made via their projects, which underpinned our social network analysis (response rate of 60\\%\nof artist teams); and a residents’ survey designed with a quasi-control group (response rate of 14\\%). Using a range of data sources, we explored AOC and\nArt Blocks’ impacts related to residents’ arts access, community attachment, and individual and collective agency.},\n\tinstitution = {Metis Arts Consulting},\n\tauthor = {Metris Arts Consulting and Nicodemus, Anne Gadwa and Engh, Rachel and Mascaro, Christopher},\n}\n\n\n\n

\n

\n\n\n

\n Beginning in 2012, Pillsbury House + Theatre (PH+T), a hybrid arts center/social service organization, began experimenting with arts-based community development in its four surrounding neighborhoods. With ArtPlace and subsequent Minnesota State Arts Board funding, it launched the Arts on Chicago (AOC) and Art Blocks programs. In the span of two years, over 30 neighborhood-based artists engaged their neighbors in 52 projects that ranged from a stilting club to artistic bike racks to puppet shows to photographic portraits of neighbors. PH+T also developed structures to remain responsive to changing community interests and provide artist project leaders with professional development. What is the change that PH+T sought to make and how and why did it expect this change to occur? Ultimately, they hoped to empower neighborhood residents, which included artist project leaders, to affect positive change. That positive change could be individual, family-level, or community-wide outcomes, with goals and values ideally determined collectively by neighborhood residents. PH+T theorized that this change would come about by catalyzing a critical mass of participatory neighborhood arts activities. Led by neighborhood artists, these activities would be strategically designed to foster residents’ access to arts participation, increase residents’ levels of community attachment, and promote residents’ agency (both individual and collective). PH+T imbued each of these concepts with sub-themes and values, which directly informed the selection of our research questions. To advance field-wide knowledge, provide accountability to its stakeholders, and deepen the effectiveness of its future work, PH+T engaged Metris Arts Consulting to collaborate on this evaluation. This report assesses the impact of 2012-2014 Art Blocks and Arts on Chicago activities on residents’ arts and cultural “access,” community “attachment,” and individual and collective “agency.” It also explores what strategies were most effective and makes recommendations on how to improve data collection efforts moving forward. Our findings capture the perspectives of artist project leaders, neighborhood residents and other civic stakeholders. We made use of the extensive data collected internally by PH+T, prior to Metris’ involvement, and also designed and executed select additional methods to help us address gaps in our ability to answer specific research questions. Core data sources include artists’ final reflections (response rates of 70%-83% of artist teams/year); spreadsheets detailing the social connections that Arts on Chicago artists made via their projects, which underpinned our social network analysis (response rate of 60% of artist teams); and a residents’ survey designed with a quasi-control group (response rate of 14%). Using a range of data sources, we explored AOC and Art Blocks’ impacts related to residents’ arts access, community attachment, and individual and collective agency.\n

\n\n\n

\n \n\n \n \n \n \n \n \n Creative Cities: Mapping creativity driven cities.\n \n \n \n \n\n\n \n Matovic, M.; Hernani, A. M.; and del Valle, R. S. S.\n\n\n \n\n\n\n Technical Report Bilbao, .\n \n\n\n\n
\n\n\n\n \n \n $\"Creative$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@techreport{matovic_creative_nodate,\n\taddress = {Bilbao},\n\ttitle = {Creative {Cities}: {Mapping} creativity driven cities},\n\tshorttitle = {Creative {Cities}},\n\turl = {https://www.deusto.es/cs/Satellite/deusto/en/university-deusto/deusto-a-unique-student-experience/ciudades-creativas-identificacion-de-buenas-practicas-para-la-transformacion-urbana-por-medio-de-la-creatividad-0/noticia},\n\tabstract = {ABSTRACT: Deusto Cities Lab has recently published a report collecting the experiences of some of the cities member of the UNESCO Creative Cities Network (UCCN) that have developed successful projects to achieve urban transformation, social inclusion, economic development and cultural prosperity through creativity. Based on Deusto Cities Lab’s approach, the document Creative Cities: Mapping creativity driven cities, presents 12 best practices divided into 4 categories: cooperativeness, creativity, cohesion and compactness. This research work contributes to the work that UNESCO is carrying out to identify specific tools to promote, protect and safeguard culture, cultural diversity and creativity as key driving forces for the 2030 Agenda and the Sustainable Development Goals. \n \nANNOTATION: This publication gathers the experiences of 180 Unesco Creative Cities Network (UCCN) cities that have carried out successful projects for urban transformation, social inclusion, economic development and cultural prosperity through creativity. UCCNs centre creativity and cultural industries through local urban development and cooperate within international spheres. The document presents the 12 best practices of the Network’s member cities. Evaluative components of UCCN cities: urban transformation, social inclusion, economic development, and cultural property through creativity are examples of creativity as essential elements in sustainable urban development. Evaluative methodology: multi-dimensional approach to creativity and towards the redefinition of the "creative city" concept.\n \nCreative Cohesion Cities: case studies - Budapest, Kobe and Parma - foster social cohesion through creativity that brings citizens together, reinforces their sense of identity and diversity, and foster tolerance and interaction among broad ranges of population groups.\n- Creative Compact Cities: case studies - Krajow, Ljubljana, and Ulynovsk - are compact and in their creativity account for human security, spatial integration, and connectivity. Best practices that focus on community-based management and public space maintenance.\n- Creative-Cooperativeness Cities: case studies - Bologna, Dénia, Hangzhou - focus on design as a tool that makes cities attractive, cooperativeness, efficient, liveable; fosters networks, innovation, and creativity; cooperativeness but people and community-centred at the same time.\n- Creative Governance Cities: case studies - Dunedin, Helsinki, Puebla - focus on "creative" and sustainable urban governance through multi-level and collaborative solutions that help cities learn from the past, create the present, and enable the future, while placing creative fields at the centre of their urban strategy.\n \n- Lessons learned:\n●          Make special programmes and projects that address vulnerable parts of society such as children or elderly people\n●          Work with specific target group in order to offer tailor-made solutions to their everyday problems\n●          Think in advance - make long term action plans and projects in order to ensure a successful and long-living creative city\n●          Think outside the box and overcome the limits of real physical space by using new technologies\n●          Make your city more compact by decentralisation - go out and work with the suburbs\n●          Combine a Creative City project with other relevant topics in the city. A city can be a Green, Smart, Creative and Learning city at the same time\n●          Make sure that local government supports creativity with a proper strategy\n●          Think how to transfer traditional knowledge to new generations\n●          Work with universities and other centres of learning\n●          Use creativity and creative thinking to deal with everyday problems. The solution is sometimes where you least expect it.\n●          Place citizens at the centre of the local development strategy because human cleverness, desires, motivation, imagination and creativity are crucial resources for modern cities.},\n\tlanguage = {en},\n\turldate = {2021-05-26},\n\tauthor = {Matovic, Milica and Hernani, Anartz Madariaga and del Valle, Roberto Sal Salvador},\n\tkeywords = {accessible (indicator), artistic and creative practise (indicator), culture (indicator), development, diversity (indicator), governance, hubs, social (indicator)},\n}\n\n\n\n

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\n ABSTRACT: Deusto Cities Lab has recently published a report collecting the experiences of some of the cities member of the UNESCO Creative Cities Network (UCCN) that have developed successful projects to achieve urban transformation, social inclusion, economic development and cultural prosperity through creativity. Based on Deusto Cities Lab’s approach, the document Creative Cities: Mapping creativity driven cities, presents 12 best practices divided into 4 categories: cooperativeness, creativity, cohesion and compactness. This research work contributes to the work that UNESCO is carrying out to identify specific tools to promote, protect and safeguard culture, cultural diversity and creativity as key driving forces for the 2030 Agenda and the Sustainable Development Goals. ANNOTATION: This publication gathers the experiences of 180 Unesco Creative Cities Network (UCCN) cities that have carried out successful projects for urban transformation, social inclusion, economic development and cultural prosperity through creativity. UCCNs centre creativity and cultural industries through local urban development and cooperate within international spheres. The document presents the 12 best practices of the Network’s member cities. Evaluative components of UCCN cities: urban transformation, social inclusion, economic development, and cultural property through creativity are examples of creativity as essential elements in sustainable urban development. Evaluative methodology: multi-dimensional approach to creativity and towards the redefinition of the \"creative city\" concept. Creative Cohesion Cities: case studies - Budapest, Kobe and Parma - foster social cohesion through creativity that brings citizens together, reinforces their sense of identity and diversity, and foster tolerance and interaction among broad ranges of population groups. - Creative Compact Cities: case studies - Krajow, Ljubljana, and Ulynovsk - are compact and in their creativity account for human security, spatial integration, and connectivity. Best practices that focus on community-based management and public space maintenance. - Creative-Cooperativeness Cities: case studies - Bologna, Dénia, Hangzhou - focus on design as a tool that makes cities attractive, cooperativeness, efficient, liveable; fosters networks, innovation, and creativity; cooperativeness but people and community-centred at the same time. - Creative Governance Cities: case studies - Dunedin, Helsinki, Puebla - focus on \"creative\" and sustainable urban governance through multi-level and collaborative solutions that help cities learn from the past, create the present, and enable the future, while placing creative fields at the centre of their urban strategy. - Lessons learned: ● Make special programmes and projects that address vulnerable parts of society such as children or elderly people ● Work with specific target group in order to offer tailor-made solutions to their everyday problems ● Think in advance - make long term action plans and projects in order to ensure a successful and long-living creative city ● Think outside the box and overcome the limits of real physical space by using new technologies ● Make your city more compact by decentralisation - go out and work with the suburbs ● Combine a Creative City project with other relevant topics in the city. A city can be a Green, Smart, Creative and Learning city at the same time ● Make sure that local government supports creativity with a proper strategy ● Think how to transfer traditional knowledge to new generations ● Work with universities and other centres of learning ● Use creativity and creative thinking to deal with everyday problems. The solution is sometimes where you least expect it. ● Place citizens at the centre of the local development strategy because human cleverness, desires, motivation, imagination and creativity are crucial resources for modern cities.\n

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\n \n\n \n \n \n \n \n Compete or Cooperate in the Creative Industries? A Quasi-Experiemental Study with Dutch Cultral and Creative Entrepreneurs.\n \n \n \n\n\n \n Loots, E.; Cnossen, B.; and Witteloostuijn, A. v.\n\n\n \n\n\n\n International Journal of Arts Management, 20: 20–31. .\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{loots_compete_nodate,\n\ttitle = {Compete or {Cooperate} in the {Creative} {Industries}? {A} {Quasi}-{Experiemental} {Study} with {Dutch} {Cultral} and {Creative} {Entrepreneurs}},\n\tvolume = {20},\n\tabstract = {This exploratory study examines the relationship between cultural and creative entrepreneurs’ self-perceived creative and entrepreneurial competencies and their competitive and cooperative behaviour. The authors developed tailor-made survey scales and conducted a Prisoner’s Dilemma experiment with 45 cultural and creative entrepreneurs in the Netherlands. They found that both self-perceived absolute and relative creativity were associated with cooperation, yet in the reverse directions – that is, one’s self-perceived creative compe- tencies positively related to cooperation, while self-perceived creative skills relative to other people’s creativity negatively affected cooperative behaviour. The former may suggest a sense of self-confidence that leads to a propensity to seek collaboration, while the latter may indicate a sense of superiority that eradicates any need or inclination to cooperate; self-perceived entrepreneurial competencies do not matter.},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Loots, Ellen and Cnossen, Boukje and Witteloostuijn, Arjen van},\n\tkeywords = {collaboration (indicator), entrepreneurship, international, skill-building (indicator)},\n\tpages = {20--31},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Special Issue: Cultural Entrepreneurship & the New Arts Management.\n \n \n \n \n\n\n \n Konrad, E. D.; Moog, P.; and Rentschler, R.\n\n\n \n\n\n\n International Journal of Arts Management, 20(2): 3–8. .\n \n\n\n\n
\n\n\n\n \n \n $\"Special$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{konrad_special_nodate,\n\ttitle = {Special {Issue}: {Cultural} {Entrepreneurship} \\& the {New} {Arts} {Management}},\n\tvolume = {20},\n\turl = {https://www.proquest.com/openview/579d509c0113c1850939568955283280/1?pq-origsite=gscholar&cbl=26212},\n\tabstract = {(Introduction) Cultural entrepreneurship and the new arts management are two related and often overlapping research fields. Due to this close relationship as well as the particular kinds of interdisciplinary research approach, it makes sense to combine the two areas into one special issue of the IJAM. Further, the two research fields can learn from each other.},\n\tnumber = {2},\n\tjournal = {International Journal of Arts Management},\n\tauthor = {Konrad, Elmar D. and Moog, Petra and Rentschler, Ruth},\n\tkeywords = {case study (method), cultural and creative industries, entrepreneurship, interviews (method), quantitative (method), start-ups},\n\tpages = {3--8},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Shared Platforms as Innovative Support for Small Nonprofit Organizations: Toronto Case Study Evidence.\n \n \n \n \n\n\n \n Dart, R.; Akingbola, O.; and Allen, K.\n\n\n \n\n\n\n Canadian Journal of Nonprofit and Social Economy Research: Revue Canadienne de Recherche sur les OSBL et l'Économie Sociale (ANSERJ), 10(1): 26–40. .\n \n\n\n\n
\n\n\n\n \n \n $\"Shared$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{dart_shared_nodate,\n\ttitle = {Shared {Platforms} as {Innovative} {Support} for {Small} {Nonprofit} {Organizations}: {Toronto} {Case} {Study} {Evidence}},\n\tvolume = {10},\n\turl = {https://search.proquest.com/openview/61a19db6b202ca5ca59f416dadea5df9/1?pq-origsite=gscholar&cbl=436331},\n\tabstract = {The theoretical foundations of the SP model have multiple connections to organizational and nonprofit theory. Since this study is predicated on the need to understand the structure, function, adaptation, and evolution of SPs, and the potential value that such structural arrangements might have for small nonprofit organizations, the literature on shared platforms, the capacity issues of small nonprofit organizations, and bricolage is particularly relevant. [...]there was evidence in the data of a tight network of a relatively small number of practitioners among the platforms and major funders. Frankly it just makes way, way more sense" (Interviewee L). [...]there is at least a preliminary basis for the further consideration of the ASP as a structure that assists with capacity issues of small nonprofit organizations. [...]this study was based on cross-sectional research and did not have the ability to document the longitudinal processes of change over time as the founding shared platform model diffused and changed in the Toronto nonprofit organizational community.},\n\tnumber = {1},\n\tjournal = {Canadian Journal of Nonprofit and Social Economy Research: Revue Canadienne de Recherche sur les OSBL et l'Économie Sociale (ANSERJ)},\n\tauthor = {Dart, Ray and Akingbola, Olakunie and Allen, Katie},\n\tkeywords = {Canada, Toronto, case study (method), co-working, innovation, innovation (indicator), interviews (method), non-profit, organizations},\n\tpages = {26--40},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Shared Platforms as Innovative Support for Small Nonprofit Organizations: Toronto Case Study Evidence - ProQuest.\n \n \n \n \n\n\n \n \n\n\n \n\n\n\n \n \n\n\n\n
\n\n\n\n \n \n $\"Shared$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{noauthor_shared_nodate,\n\ttitle = {Shared {Platforms} as {Innovative} {Support} for {Small} {Nonprofit} {Organizations}: {Toronto} {Case} {Study} {Evidence} - {ProQuest}},\n\tshorttitle = {Shared {Platforms} as {Innovative} {Support} for {Small} {Nonprofit} {Organizations}},\n\turl = {https://www.proquest.com/openview/61a19db6b202ca5ca59f416dadea5df9/1?pq-origsite=gscholar&cbl=436331},\n\tabstract = {Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.},\n\tlanguage = {en},\n\turldate = {2021-05-24},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Digital technology and creative arts career patterns in the UK creative economy.\n \n \n \n\n\n \n Comunian, R.; Faggian, A.; and Jewell, S.\n\n\n \n\n\n\n Journal of Education and Work, 28(4): 346–368. .\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{comunian_digital_nodate,\n\ttitle = {Digital technology and creative arts career patterns in the {UK} creative economy},\n\tvolume = {28},\n\tabstract = {In this article, we ask what role both digital and artistic human capital play in the creative economy by examining employment patterns of digital technology (DT) and creative arts and design (CAD) graduates. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we investigate the characteristics and location determinants of these graduates. The article deals specifically with understanding how digital and creative skills in the UK are embedded across industries, or are concentrated in creative sub-sectors. Furthermore, it explores the role that these graduates play in each of the different sectors and their financial rewards. Findings suggest that digital technology graduates tend to concentrate in the software and gaming sub-sector of the creative industries, but also are likely to be in embedded creative jobs outside of the creative industries. DT and CAD graduates are more likely to be in a creative job than other graduates. Although they are more likely to be in full-time employment than part-time or self-employment, DT graduates suffer from a higher level of unemployment than CAD graduates.},\n\tnumber = {4},\n\tjournal = {Journal of Education and Work},\n\tauthor = {Comunian, Roberta and Faggian, Alessandra and Jewell, Sarah},\n\tkeywords = {accessible (indicator), cultural and creative industries, development},\n\tpages = {346--368},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Performance Evaluation in the Arts and Cultural Sector: A Story of Accounting at Its Margins.\n \n \n \n\n\n \n Chiaravelotti, F.\n\n\n \n\n\n\n The Journal of Arts Management, Law & Society, 44(2): 61–89. .\n \n\n\n\n
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@article{chiaravelotti_performance_nodate,\n\ttitle = {Performance {Evaluation} in the {Arts} and {Cultural} {Sector}: {A} {Story} of {Accounting} at {Its} {Margins}},\n\tvolume = {44},\n\tnumber = {2},\n\tjournal = {The Journal of Arts Management, Law \\& Society},\n\tauthor = {Chiaravelotti, Francesco},\n\tpages = {61--89},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Handmade films and artist-run labs: The chemical sites of film’s counterculture.\n \n \n \n \n\n\n \n Cantanese, R.; and Parikka, J.\n\n\n \n\n\n\n NECSUS, 7(2): 43–63. .\n \n\n\n\n
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@article{cantanese_handmade_nodate,\n\ttitle = {Handmade films and artist-run labs: {The} chemical sites of film’s counterculture},\n\tvolume = {7},\n\turl = {https://necsus-ejms.org/handmade-films-and-artist-run-labs-the-chemical-sites-of-films-counterculture/},\n\tnumber = {2},\n\turldate = {2021-05-24},\n\tjournal = {NECSUS},\n\tauthor = {Cantanese, Rossella and Parikka, Jussi},\n\tpages = {43--63},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Audience Transformations Shifting Audience Positions in Late Modernity.\n \n \n \n\n\n \n Carpentier, N.; Schrøder, K.; and Hallett, L.\n\n\n \n\n\n\n Routledge, New York, .\n \n\n\n\n
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@book{carpentier_audience_nodate,\n\taddress = {New York},\n\ttitle = {Audience {Transformations} {Shifting} {Audience} {Positions} in {Late} {Modernity}},\n\tpublisher = {Routledge},\n\tauthor = {Carpentier, Nico and Schrøder, Kim and Hallett, Lawrie},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n Beyond the “Toolkit Approach”: Arts Impact Evaluation Research and the Realities of Cultural Policy-Making.\n \n \n \n\n\n \n Belifore, E.; and Bennett, O.\n\n\n \n\n\n\n Journal for Cultural Research, 14(2): 121–142. .\n \n\n\n\n
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@article{belifore_beyond_nodate,\n\ttitle = {Beyond the “{Toolkit} {Approach}”: {Arts} {Impact} {Evaluation} {Research} and the {Realities} of {Cultural} {Policy}-{Making}},\n\tvolume = {14},\n\tnumber = {2},\n\tjournal = {Journal for Cultural Research},\n\tauthor = {Belifore, Eleonora and Bennett, Oliver},\n\tpages = {121--142},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n \n Business incubators models of the USA and UK: A SWOT Analysis.\n \n \n \n \n\n\n \n Al-Mubaraki, H. M.; and Busler, M.\n\n\n \n\n\n\n World Journal of Entrepreneurship, Management and Sustainable Development; Brighton, 6(4): 335–354. .\n \n\n\n\n
\n\n\n\n \n \n $\"Business$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{al-mubaraki_business_nodate,\n\ttitle = {Business incubators models of the {USA} and {UK}: {A} {SWOT} {Analysis}.},\n\tvolume = {6},\n\tshorttitle = {Business incubators models of the {USA} and {UK}},\n\turl = {https://www.proquest.com/docview/1030893462/abstract/4B01576BFCC94C19PQ/1},\n\tabstract = {To identify the strengths, weaknesses, opportunities and threats of business incubator models and their potential use in worldwide. Methodology: We studied two international cases: (a) United States, (b) United Kingdom. Findings: The results highlight the similarities and differences between the countries. It adds knowledge for both academics and practitioners who are interested in business incubation. Value: This paper is the first to utilize the SWOT technique to analyze the business incubation field and provides recommendations to implement successful adoption of the incubator's strengths. The potential of Business Incubators who act as models in worldwide and their contribution to the economy, the active role they play in the local, regional and national economic development are discussed. Implications: Adaptation of a Business Incubator Model leads to (1) the support of diverse economies, (2) the commercialization of new technologies, (3) job creation and (4) increases in wealth, given that weaknesses can be overcome.},\n\tlanguage = {en},\n\tnumber = {4},\n\turldate = {2021-05-24},\n\tjournal = {World Journal of Entrepreneurship, Management and Sustainable Development; Brighton},\n\tauthor = {Al-Mubaraki, Hanadi Mubarak and Busler, Michael},\n\tkeywords = {UK, USA, business model (indicator), case study (method), economic (indicator), evaluation, for-profit, incubators, international},\n\tpages = {335--354},\n}\n\n\n\n

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\n \n\n \n \n \n \n \n De-Westernizing Creative Labour Studies: The Informality of Creative Work from an Ex-Centric Perspective.\n \n \n \n\n\n \n Alacovska, A.; and Gill, R.\n\n\n \n\n\n\n International Journal of Cultural Studies, 22(2): 195–212. .\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{alacovska_-westernizing_nodate,\n\ttitle = {De-{Westernizing} {Creative} {Labour} {Studies}: {The} {Informality} of {Creative} {Work} from an {Ex}-{Centric} {Perspective}},\n\tvolume = {22},\n\tabstract = {Creative labour studies focus almost exclusively on Euro-American metropolitan ‘creative hubs’ and hence the creative worker they theorize is typically white, middle-class, urban and overwhelmingly male. This article outlines the contours of a de-Westernizing project in creative labour studies while introducing a special journal issue that examines the lived dynamics of creative work outside the West. The article advocates an ‘ex-centric perspective’ on creative work. An ex-centric perspective does not merely aim at multiplying non-West empirical case studies. Rather, it aims at destabilizing, decentring and provincializing the taken-for-grantedness of some entrenched notions in creative labour studies such as informality and precarity. An ex-centric perspective, we contend, offers a potential challenge to many of the claims about creative work that have taken on the status of general truths and universal principles in spite of them being generated from limited empirical evidence gleaned from research sites situated almost exclusively in the creative hubs of Euro-America. Annotation: The report presents itself as a challenge to the assumed “general truths” around the prevalence of precarity, the individualism of workers, and informality that are deemed inherent in creative work. Authors Alacovska and Gill begin by providing an overview of creative labour studies including the research’s current limitations, which tend to focus solely on western art forms in large metropolitan hubs. In order to resist this process, the authors argue there must be a push against the typical Western-centric neoliberal creative clusters and hubs as they become established globally. Alacovska and Gill also call for the resistance of the fetishization (and therefore exclusive research) of the creative and cultural labour workers found in “cool” and “edgy” post-industrial western cities such as London, Amsterdam, Berlin and New York. Finally, the dearth of research available that is not centred around western creative industries is highlighted, as the authors provide brief annotations for the few examples that are currently available. An analysis of the concept of informality and precarity in creative labour then follows, with specific attention paid to the concepts’ detrimental attributes. Authors also reframe informal creative labour through the lens of feminism, creating correlations with the concepts of immaterial labour and care labour. Alacovska and Gill highlight the paradox of the West simultaneously encouraging informal creative labour, while denouncing the informal economies of ex-centric non-western countries. This dichotomy, argues the authors, suggest that “the boundaries between the formal and the informal are in themselves racialized and colonial, imposed by development agencies, financial institutions and governments from ‘the centre’.” (203) Alacovska and Gill also cite the challenge of categorizing informal practices, as many of them can be considered “non-market social relations sustained by moral values.” (204) The paper then concludes with an overview of the other articles that are included in this special edition of the journal.},\n\tnumber = {2},\n\tjournal = {International Journal of Cultural Studies},\n\tauthor = {Alacovska, Ana and Gill, Rosalind},\n\tkeywords = {artistic and creative measures (indicator), artistic and creative values (indicator), cultural and creative industries, diversity (indicator), economic (indicator), equity (indicator), gender, international, labour},\n\tpages = {195--212},\n}\n\n\n\n

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\n Creative labour studies focus almost exclusively on Euro-American metropolitan ‘creative hubs’ and hence the creative worker they theorize is typically white, middle-class, urban and overwhelmingly male. This article outlines the contours of a de-Westernizing project in creative labour studies while introducing a special journal issue that examines the lived dynamics of creative work outside the West. The article advocates an ‘ex-centric perspective’ on creative work. An ex-centric perspective does not merely aim at multiplying non-West empirical case studies. Rather, it aims at destabilizing, decentring and provincializing the taken-for-grantedness of some entrenched notions in creative labour studies such as informality and precarity. An ex-centric perspective, we contend, offers a potential challenge to many of the claims about creative work that have taken on the status of general truths and universal principles in spite of them being generated from limited empirical evidence gleaned from research sites situated almost exclusively in the creative hubs of Euro-America. Annotation: The report presents itself as a challenge to the assumed “general truths” around the prevalence of precarity, the individualism of workers, and informality that are deemed inherent in creative work. Authors Alacovska and Gill begin by providing an overview of creative labour studies including the research’s current limitations, which tend to focus solely on western art forms in large metropolitan hubs. In order to resist this process, the authors argue there must be a push against the typical Western-centric neoliberal creative clusters and hubs as they become established globally. Alacovska and Gill also call for the resistance of the fetishization (and therefore exclusive research) of the creative and cultural labour workers found in “cool” and “edgy” post-industrial western cities such as London, Amsterdam, Berlin and New York. Finally, the dearth of research available that is not centred around western creative industries is highlighted, as the authors provide brief annotations for the few examples that are currently available. An analysis of the concept of informality and precarity in creative labour then follows, with specific attention paid to the concepts’ detrimental attributes. Authors also reframe informal creative labour through the lens of feminism, creating correlations with the concepts of immaterial labour and care labour. Alacovska and Gill highlight the paradox of the West simultaneously encouraging informal creative labour, while denouncing the informal economies of ex-centric non-western countries. This dichotomy, argues the authors, suggest that “the boundaries between the formal and the informal are in themselves racialized and colonial, imposed by development agencies, financial institutions and governments from ‘the centre’.” (203) Alacovska and Gill also cite the challenge of categorizing informal practices, as many of them can be considered “non-market social relations sustained by moral values.” (204) The paper then concludes with an overview of the other articles that are included in this special edition of the journal.\n

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