Resilient creative economies? Creative industries on the urban fringe

Suburban creativity: The geography of creative industriesin Johannesburg

“…Indeed, Teaford (1997) recognizes that suburbs have become what he terms 'post-suburban' -becoming completely independent from the city. The growing discourse on the presence of creative industries in suburban areas contributes to challenging the imagined geographies of both the suburb and creative industries (Drake, 2003;Gibson, Brennan-Horley, 2006;Gornostaeva, 2008;Felton et al, 2010b;Gibson, 2014). The often scattered suburban economy contradicts the idea of economic agglomeration, the premise on which the creative economy is built (Phelps, 2010).…”

“…Advances in technology with increased connectivity and better telecommunications enable locational flexibility of certain creative industries. Despite the application in creative industries of new technologies, 'creative place' thinking over the past two decades usually stresses the importance of clustering and proximity of a network available in inner cities (Landry, Bianchini, 1995;Landry, 2000;Florida, 2002) according minimal attention to the impact of technology on the choice of location for creative industries (Felton et al, 2010b). This said, a growing scholarship shows the importance of technology in location decision factors for creative industries beyond the inner city (Collis et al, 2010;Felton et al, 2010a).…”

What Makes Small- and Medium-Sized Enterprises Promote Organizational Creativity: The Contingency Perspective

“…Also, SMEs mostly compete in industries that require a high level of creativity to maintain the organization's competitive advantage. For instance, the majority of creative firms in Australia are SMEs, which employ an average of 20 people or fewer (Felton, Gibson, Flew, Graham, & Daniel, 2010). Therefore, SMEs would be an appropriate setting for examining the effect CEOs' characteristics have on organizational creativity.…”

Creative clusters and the evolution of knowledge and skills: From industrial to creative glassmaking

“…This has been partly linked to their 'newness' as they emerged in the late 90s as a policy tool (DCMS, 1998), but also to their re-branding in connection with digital innovation and as a new sector disrupting the industrial past and providing an economic development alternative to the disappearing manufacturing sector (O'Connor, 2009). However, the changes brought about by the recent recession have highlighted to researchers and policy makers the challenges faced by creative and cultural producers, but also the effect that these challenges can have on the urban landscape, with a halting of regeneration plans and an increasing number of empty shops and abandoned public spaces (De Propris, 2013;Felton et al, 2010;Pratt, 2009). In this context, words such as 'resilience' and 'adaptability' have become common jargon used to refer to the creative sector and justify cuts and vulnerable working conditions (Leadbeater et al, 2008;Robinson, 2010 ).…”