The creative economy is deadlong live the creative-social economies Introduction: defining the field In this paper, we discuss the possible evolution from the creative industries (CIs) and creative economy (CE) towards creative-social economies (CSE). However, before explaining why we believe there is an increasing overlap between these two areas of research and policy intervention, it is crucial to define the two areas separately and consider the definition and critical aspects of each field of research.Creative industries and creative economies. In the past 20 years, we have read widely around the role of the CE and CIs in economic development discourses and agendas for growth globally (UNESCO and UNDP, 2013;De Beukelaer, 2014;Sternberg, 2017). Directing attention towards CIs for the specific role they might play in economic development started to build up from the first Australian Creative Nation report (Radbourne, 1997) and the globally acclaimed and replicated definition provided by the Department of Culture, Media and Sport (DCMS) in 1998. Gross (2020) has undertaken an historical review of how the term CIs firstly developed in the UK within the newly elected Labour government in 1997. In the new definition the emphasis was put from the very start on the potential for these industries to create wealth: [. . .] those activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property" (DCMS, 1998).The definitionand associated measures of the economic contribution of these sectors towards national GDP, employment and exportspushed towards their complete separation from the arts and cultural field, supposedly to be more socially and communityoriented. This separation has caused a rift in the understanding how creativity works favouring two different business models (CIs as private/for-profit industries and arts and culture as made up by not for profit/public companies) rather than an ecological complexity perspective (Comunian, 2011(Comunian, , 2019. Even if within those initial discussions and in the words of the then Minister of Culture Chris Smith the two were profoundly intertwined and connected:Five principal reasons for the state subsidy of the arts in the modern world: to ensure excellence; to protect innovation; to assist access for as many people as possible, both to create and The special issue builds on the discussion and papers that were presented during an event entitled "SE, SI and the CE: current knowledge and shared research" which was hosted in the framework of the three-day workshop on "Dancing over Ideas of Research for a Responsible Innovation" (19-21 November 2018) co-organised and co-funded by King's College London (UK), Nanyang Technological University Singapore (NTU-King's College London M0600H0013, NTU-NISTH, NTU School of Art, Design and media and NTU-ADM Centre for Asian Art and Design) and the University of Applied Arts (Vienna). For information and up...

No abstract