The Economics of Identity and Creativity aims to sythesize naturalistic evolutionary theory while discussing new developments in economics. The author's approach reexamines fundamental assumptions about how a capitalist economy works, from the relation between producers and consumers to the functioning of intellectual property rights. In the creative economy, the author argues, identities merge with the flow of creative action. To explain these changes, he draws upon a range of theories from analytical philosophy to biology, and from economics to sociology. The first part of the book examines the role of language in the naturalistic approach to cultural science. Hermann-Pillath draws on Darwinian evolutionary theory to map a concept of knowledge. Part Two offers a systematic approach to creativity and identity from the naturalistic point of view developed in Part One. Here the author builds a theory of creativity from the ideas of conceptual blending in the cognitive sciences. Herrmann-Pillath presents a theory of identity based on analytical philosophy, and looks at the problems in fixing the boundaries of an individual identity both in biological evolutionary theory and brain sciences. He takes the concept of identity through the current economic approaches, examining the distinction between social and personal identity. This fascinating interdisciplinary work provides a precise argument that the foundations of economics can be found in cultural science, and it has evolved to become the cultural institution at the core of the modern economy.

The Economics of Identity and Creativity aims to sythesize naturalistic evolutionary theory while discussing new developments in economics. The author's approach reexamines fundamental assumptions about how a capitalist economy works, from the relation between producers and consumers to the functioning of intellectual property rights. In the creative economy, the author argues, identities merge with the flow of creative action. To explain these changes, he draws upon a range of theories from analytical philosophy to biology, and from economics to sociology. The first part of the book examines the role of language in the naturalistic approach to cultural science. Hermann-Pillath draws on Darwinian evolutionary theory to map a concept of knowledge. Part Two offers a systematic approach to creativity and identity from the naturalistic point of view developed in Part One. Here the author builds a theory of creativity from the ideas of conceptual blending in the cognitive sciences. Herrmann-Pillath presents a theory of identity based on analytical philosophy, and looks at the problems in fixing the boundaries of an individual identity both in biological evolutionary theory and brain sciences. He takes the concept of identity through the current economic approaches, examining the distinction between social and personal identity. This fascinating interdisciplinary work provides a precise argument that the foundations of economics can be found in cultural science, and it has evolved to become the cultural institution at the core of the modern economy.

Annotation. This work bridges a critical gap in the social sciences. It brings identity and norms to economics. People's notions of what is proper, and what is forbidden, and for whom, are fundamental to how hard they work, and how they learn, spend, and save.

Creative work has been celebrated as the highest form of achievement since at least Aristotle. But our understanding of the dynamics and market for creative work--artistic work in particular--often relies on unexamined clichés about individual genius, industrial engineering of talent, and the fickleness of fashion. Pierre-Michel Menger approaches the subject with new rigor, drawing on sociology, economics, and philosophy to build on the central insight that, unlike the work most of us do most of the time, creative work is governed by uncertainty. Without uncertainty, neither self-realization nor creative innovation is possible. And without techniques for managing uncertainty, neither careers nor profitable ventures would surface. In the absence of clear paths to success, an oversupply of artists and artworks generates boundless differentiation and competition. How can artists, customers, entrepreneurs, and critics judge merit? Menger disputes the notion that artistic success depends solely on good connections or influential managers and patrons. Talent matters. But the disparity between superstardom and obscurity may hinge initially on minor gaps in intrinsic ability. The benefits of early promise in competition and the tendency of elite professionals to team up with one another amplify and disproportionately reward even small differences. Menger applies his temporal and causal analysis of behavior under uncertainty to the careers and oeuvres of Beethoven and Rodin. The result is a thought-provoking book that brings clarity to our understanding of a world widely seen as either irrational or so free of standards that only power and manipulation count.

This insightful book offers a new way of looking at the arts, culture and the creative industries from the perspective of evolutionary economics. The creative industries are key drivers of modern economies. While economic analysis has traditionally advanced a market-failure model of arts and culture, this book argues for an evolutionary market dynamics or innovation-based approach. Jason Potts explores theoretical and conceptual aspects of an evolutionary economic approach to the study of the creative economy. Topics include creative businesses and labour markets, social networks, innovation processes and systems, institutions, and the role of creative industries in market dynamics and economic growth.

Creative work is governed by uncertainty. So how can customers and critics judge merit, when the disparity between superstardom and obscurity hinges on minor gaps in ability? The Economics of Creativity brings clarity to a market widely seen as either irrational or so free of standards that only power and manipulation count.

Digital technologies have transformed the way many creative works are generated, disseminated and used. They have made cultural products more accessible, challenged established business models and the copyright system, and blurred the boundary between

"Critics contend that identity economics overemphasizes social identities as drivers of economic activity, potentially obscuring other elements including personal preferences, incentives, and market pressures. Identity-related notions are challenging to measure and quantify meaningfully and rigorously, which is one of the most common criticisms. Identity economics has long been debated by economic scientists and practitioners, but it is still considered to be in its infancy, which also draws attention to the absence of a clear consensus and solid empirical support. This book fills that gap by providing an in-depth analysis of the main claims made in favour of identity economics. It explores the reliability of identity-based explanations, the difficulties with measurement and quantification, concerns about overgeneralization and essentialism, the function of economic institutions, policy implications, a lack of agreement and empirical evidence, and considerations of intersectionality and multidimensionality. The book considers three interrelated aims. Firstly, it familiarizes readers with the concept of Identity Economics. Secondly, and essentially, it persuades a larger audience of the relevance and creativity of this sector, and thirdly, it advocates for the applicability of the approach to the field of knowledge. The focus of the examination centres around these three objectives. Few would argue that identity impacts our decisions but given that solid theory is predicated on good abstraction, the real question is whether we lose anything by excluding identity from the theory. The book skilfully weaves together the literature from several disciplines including regional, gender, labour, social and areas studies, thus academics, students and researchers in these fields will find the individual contributions useful for their respective areas of study"--

The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.

It has long been an interest of researchers in economics, sociology, organization studies, and economic geography to understand how firms innovate. Most recently, this interest has begun to examine the micro-processes of work and organization that sustain social creativity, emphasizing the learning and knowing through action when social actors and technologies come together in 'communities of practice'; everyday interactions of common purpose and mutual obligation. These communities are said to spark both incremental and radical innovation. In the book, leading international scholars critically examine the concept of communities of practice and its applications in different spatial, organizational, and creative settings. Chapters examine the development of the concept, the link between situated practice and different types of creative outcome, the interface between spatial and relational proximity, and the organizational demands of learning and knowing through communities of practice. More widely, the chapters examine the compatibility between markets, knowledge capitalism, and community; seemingly in conflict with each other, but discursively not. Exploring the frontiers of current understanding of situated knowing and learning, this book is for all those interested in the economic sociology of organizational creativity and knowledge capitalism in general.