Publication in the Diário da República: Despacho n.º 7822/2020 - 07/08/2020
4 ECTS; 3º Ano, 1º Semestre, 42,0 PL + 14,0 TP + 14,0 OT , Cód. 820735.
Lecturer
- João Pedro Tomaz Simões (1)(2)
(1) Lead Professor
(2) Teaching Professor
Prerequisites
N/A
Objectives
Upon completion of the curricular unit, the student should be able to:
A. Explain the origins and theoretical foundations of the concepts of cultural industry, cultural and creative industries (CCIs), and creative economy, comparing definitions and classifications and their implications for measurement and public policies;
B. Analyse the economic, labour, legal, and institutional specificities of the cultural and creative sectors;
C. Critically relate CCIs, cultural heritage, and tourism, assessing the benefits, risks, and distributive effects of heritagisation and cultural and creative tourism;
D. Collect, code, validate, and interpret information on cultural and creative resources, stakeholders, and networks, according to a standardised protocol, in order to analyse their contribution to territorial development;
E. Design and substantiate a proposal for the activation of cultural and creative resources, consistent with the diagnosis and supported by verifiable evidence.
Program
1. Culture, creativity and industry: origins, concepts and classifications of CCIs
1. 1. Culture, creativity and industry: concepts, uses and ambiguities
1. 2. From technical reproduction and the critique of the cultural industry to creative industries and the creative economy
1. 3. Models for defining and classifying CCIs and implications for measurement and public policies
2. Economics, labour, regulation and public policies of CCIs
2. 1. Cultural, symbolic, social and economic value; specificities of cultural markets
2. 2. Creative work: professionalisation, careers, precariousness and inequalities
2. 3. Intellectual property, copyright and the legal framework of cultural activity
2. 4. Institutions, public policies and funding at municipal, national and European levels
2. 5. Digital transformation: platforms, the attention economy and artificial intelligence
3. CCIs, cultural heritage and tourism
3. 1. Tangible and intangible cultural heritage: heritagisation, authenticity, interpretation and commodification
3. 2. Cultural tourism, creative tourism and the experience economy
3. 3. Events, festivities and re-enactments: value creation, risks and governance
4. Cultural and creative territories
4. 1. Agglomeration, clusters, milieus and cultural and creative ecosystems
4. 2. Creative city and creative class: proposals, evidence and critiques; UNESCO Creative Cities Network
4. 3. CCIs in medium-sized cities, rural areas and low-density territories
4. 4. Mapping and measurement of cultural and creative ecosystems: sources, indicators and protocols
5. Activation of cultural and creative resources
5. 1. From territorial diagnosis to the value proposition: criteria, alternatives and trade-offs
5. 2. Evidence-based interpretation, narrative and communication
5. 3. Monitoring and evaluation: outputs, outcomes and impacts
Evaluation Methodology
Exam: individual written test (50 per cent) and individual assignment based on the L-TOUR protocol, with an oral discussion (50 per cent). The group mark obtained for continuous assessment (C2C4 and presentation), if at least 9.5, may replace the individual assignment.
Exemption from examination: Assessment based on attendance
Attendance: group project in groups of up to 3 students, on a weekly basis (TP: content and mission; PL: execution of the mission, in the laboratory or in the field, with a set submission date:
. C1 Individual mini-tests (2) on concepts and the L-TOUR protocol (20%)
. C2 Weekly group assignments, graded 03; the 10 best count (25%)
. C3 Data set in accordance with the L-TOUR protocol, with validation and cross-checking (15%)
. C4 Territorial report and activation proposal (20 per cent)
. C5 Group presentation and individual oral defence (20 per cent)
Criteria: conceptual rigour; data quality and traceability; compliance with the protocol; methodological consistency; application of theory; justification of the proposal; clarity of communication; individual mastery during the defence. Assessment criteria in the marking scheme.
Pass mark: a final mark of at least 9.5 and a minimum weighted average of 8.0 across the individual components (C1 and oral defence).
* Submission rules, use of AI, academic integrity and data protection: assessment gui
Bibliography
- Adorno, T. e Horkheimer, M. (2002). Dialectic of enlightenment: Philosophical fragments (G. S. Noerr, Ed.; E. Jephcott, Trans.). Stanford: Stanford University Press
- Cunningham, J. e Collins, P. (2017). Creative economies in peripheral regions. Cham: Palgrave Macmillan
- Florida, R. (2002). The rise of the creative class: And how it's transforming work, leisure, community and everyday life. New York: Basic Books
- Florida, R. (2008). Who's your city?. New York: Basic Books
- Mateus, A. (2010). O sector cultural e criativo em Portugal (estudo coordenado; Augusto Mateus & Associados). Lisboa: Ministério da Cultura, GPEARI
- Taylor, M. e Brook, O. e OBrien, D. (2020). Culture is bad for you: Inequality in the cultural and creative industries. Manchester: Manchester University Press
Teaching Method
1. Lectures and interactive discussions
2. Case studies and document analysis
3. Weekly missions in PL (laboratory or fieldwork), with debriefing
4. Project with real data collection, linked to L-TOUR
5. Staged tutorial guidance
Software used in class
Microsoft Forms and Microsoft Excel
Mendeley
Gephi
Microsoft PowerPoint
Generative artificial intelligence tools, in accordance with the assessment guidelines
