Innovation in a creative production system: the case of design

Sunley, Peter; Pinch, Steven; Reimer, Suzanne; Macmillen, James

doi:10.1093/jeg/lbn028

Cited by 92 publications

(65 citation statements)

References 33 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Distinct from other forms, artistic knowledge relies on a greater reflexivity, contingency and open-endedness (Bain, 2005). It can be highly context-specific, involving practices of interpretation that constitute knowledge as both experiential and symbolic (Ewenstein and Whyte, 2009;Sunley et al, 2008). As such it requires elements of knowing that are both 'craft/task based' and 'epistemic/creative' (Amin and Roberts, 2008).…”

Section: Artistic Knowledgementioning

confidence: 99%

Sharing knowledge: Performing co-production in collaborative artistic work

Richardson

2016

Environ Plan A

View full text Add to dashboard Cite

The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. This article puts forward co-production as a lens for geographical approaches to collaborative knowledge production. Co-production extends understandings of collaboration as temporary, fragile and with multiple spatial forms. Through the example of creative writers' artistic knowledge, co-production is developed as a process of making together that involves intermittent spaces of sharing and cooperation between different actors beyond and across firm organisational boundaries. It is argued that the formal and informal mixing of these actors requires focusing on the micro-spaces of co-production that show how sharing knowledge occurs through forms of emotional work. Drawing on interviews with writers and participant observation of creative writing practices in Bristol, three spaces of coproduction are outlined: the workshop, the project and the event. These highlight the geographies of emotions in such co-production, in particular the role of trust which is significant in, but also beyond, face-to-face encounters. The article concludes by pointing to the implications of the research.

show abstract

Section: Artistic Knowledgementioning

confidence: 99%

Sharing knowledge: Performing co-production in collaborative artistic work

Richardson

2016

Environ Plan A

View full text Add to dashboard Cite

show abstract

“…At the same time, the output of the design sector typically needs to have both expressive and functional value (Sunley et al, 2008). Designs incorporate a tangible component (the actual visualisation, either a physical object or a graphics or other) and an intangible one, which is conceptual and artistic.…”

Section: How Designers Workmentioning

confidence: 99%

“…It is learned from accumulating experience more than from formal education. It gets strengthened by working for different types of clients and in diverse contexts (Sunley et al, 2008).…”

Section: How Designers Workmentioning

confidence: 99%

“…They are project-based firms that can only survive by continuously winning new contracts. A designer manager interviewed by Sunley et al (2008) illustratively said: "My designers are business consultants, they just happen to solve problems with graphics, rather than a report or something like that" (op.cit. p. 684).…”

Section: How Designers Workmentioning

confidence: 99%

“…Effective interaction between the two parties requires the exchange of highly tacit knowledge, whose transfer is facilitated by frequent and face-to-face communication. Moreover, firms are strongly associated with the name of the founder and the company reputation almost equates the founder's reputation (Sunley et al, 2008). This poses a barrier to growth in so far as the founder's skills cannot be replicated.…”

mentioning

confidence: 99%

See 2 more Smart Citations

Designing for a Living? Income Determinants Among Firm Founders in the Dutch Design Sector

Vankan¹,

Frenken

Castaldi

2014

Industry and Innovation

View full text Add to dashboard Cite

Many studies have analysed the role of the creative class and cultural industries in fostering regional development. The focus on regional development neglects the individual differences in success among members in the creative class and among firms within cultural industries. We study firm founders in three design sectors (industrial design, graphic design and web design) and analyse the determinants of their personal income. Next to individual factors affecting income differences among designers, we look at the relational and spatial contexts in which designers operate. Hence, we can also assess whether spatial clustering and organisational networking are beneficial for designers. The main result, based on 200 telephonic questionnaires, holds that income is determined mainly by business experience and the use of advanced ICTs, while education and spatial clustering have no impact. We argue that policies in the design sector should be oriented towards helping young designers to gain experience as well as towards lifelong learning in the use of ICTs.

show abstract

References

2015

Origination

View full text Add to dashboard Cite

Innovation in a creative production system: the case of design

Cited by 92 publications

References 33 publications

Sharing knowledge: Performing co-production in collaborative artistic work

Sharing knowledge: Performing co-production in collaborative artistic work

Designing for a Living? Income Determinants Among Firm Founders in the Dutch Design Sector

References

Contact Info

Product

Resources

About