Visual Artists Between Cultural Demand and Economic Subsistence. Empirical Findings From Berlin.



A second group comprises cultural industries producing hybrid forms of cultural and
non-cultural components such as in film, radio and television, newspaper, books and
magazine publishing. Related industries, which are operating outside the cultural
sphere but whose products could be regarded to have some creative or cultural
content including advertising, tourism and architectural services, pose the last group.
These divisions are demand-led and based on goods and services, however they do
not lead to a clear definition. The suggested definition of agents in the creative class
from F
lorida (2002) is also insufficient. An identity-endowing definition is offered
that allows for a generous delimitation of defined risen and large industries with a
self-definition “attracting bohemian types who like funky, socially free areas with cool
downtowns and lots of density” (G
laeser 2005: 594).

With such a multitude of definitions, the Creative Cluster model from Hartley
(2005) will be elaborated on. Originally the depicted pyramid only included three
sectors. The artists at the tip (added here), topping the cultural economy as a
subsumed sector, points out to what extent this fourth sector lies at the beginning of
the value added chain (see illustration 1). The agents, who take over the part of
origination, represent the actual creative portion in the CIs.

Illustration 1: Artists as the spearhead of CIs

Source: J. Hartley (Ed.) Creative Industries, 2005; modified

As the musicians define the innovative products in the music industry, it is the
painters and sculptors who serve as inspiration for the designers to reproduce artistic
products; it is the authors and writers in publishing companies; it is the video artists
and actors in the film industry; and finally in the advertising industry it is the art



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