This CICERONE paper (D4.3) is part of series addressing the problem of the lack of data available to describe the Cultural and Creative Sector (CCS) production system. This series explains how and why the currently available data is insufficient in its depth, and breadth of…

This CICERONE paper (D4.2) addresses the problem of the lack of data available to describe the Cultural and Creative Sector (CCS) production system. It explains how and why the currently available data is insufficient in its depth, and breadth of coverage, leading to an appreciation…

CICERONE partner KEA finished the fourth in a series of WP3-related CICERONE papers which explores whether and to what extent the existing European, national and regional policy frameworks concerning cultural industries (and the wider economy) are appropriate for addressing the challenges of new and emergent…

Based upon the project’s qualitative fieldwork data, CICERONE-researchers Prof. Robert Kloosterman and Milja Vriesema, both affiliated to the Center for Urban Studies of the University of Amsterdam, published an open access article in the Creative Industries Journal in which they unraveled, in line with CICERONE’s…

One of the aims of the CICERONE project is to understand the (global) organisation of production in the cultural and creative industries. Due to the pandemic, it has become abundantly clear that this organisation is far from static. In the fashion industry, the COVID-19 crisis…

In February 2020, nobody could possibly imagine how much our lives would change from that point onwards, and in how many different ways. At that time we were travelling to our Horizon2020 CICERONE consortium meeting in Barcelona to meet with our project partners from all…

CICERONE-members Thomas Borén and Dominic Power (both from Stockholm University) have finished the third in a series of WP3-related CICERONE papers which explores whether and to what extent the existing European, national and regional policy frameworks concerning cultural industries (and the wider economy) are appropriate…

Culture and the cultural and creative industries are among the most affected sectors in Bulgaria at the national level in the last months of the crisis caused by COVID-19. As early as March 8, 2020, cultural institutions were closed and cultural events were canceled indefinitely….

Looking into the life-threatening consequences that the virus is having on the cultural sector – on its workers, businesses and cultural diversity ­– it seems impossible to find a possible bright side of the corona pandemic on the European cultural ecosystem. However, in the face…

It’s an ill wind that blows nobody any good as the saying goes. Although the CCIs have been hit very hard on the whole, the Covid-19 situation has benefited some in one way or another, either consciously or accidentally. Simon Uyterlinde just graduated from a…

The details of how the production networks and the related places are affected by the current pandemic will be studied throughout the CICERONE-project. However, we already now know that the different regulations put in place during the pandemic strikes very differently. In the Swedish case…

The pandemic is clearly affecting the way we work or live.  Resilience and adaptation are the new motto these days.  This is true for many creative sectors but specially for architecture as it defines and shapes the cities and places of tomorrow.  Technology and sustainability…

In 2017, Dorota Ilczuk together with the team of the Centre for Creative Economy Research at the University of SWPS published the “Support for artists and creators. International perspective“. It was the first in a series of reports that the experts of the Polish Conference…

Culture is produced, reproduced and consumed in cities. Thanks to the development of dense and diversified (economic and social) networks of relations, cities have always been places where the production of culture concentrates and circulates; the urban experience has always been crucial for the development…

Borders are closed, travel restrictions are issued and unemployment figures are exploding drastically. Particularly the culture and tourism sector were hit hard by the consequences of Covid-19: museums, concert halls, archaeological sites, hotels and gastronomy were closed and were also impacted by the cancellation of…

It once seemed that large-scale firms would eventually be the sole form of capitalist production. Economies of scale would set in motion a race towards ever larger, vertically integrated firms. Ford’s River Rouge plant in Detroit –a  “… flagship of industrial giantism”[1] – was the…

In thinking how to illustrate this blog post on shock and crises in the cultural and creative industries this corona spring, we were thinking of Jackson Pollock’s drip paintings or The Scream, by Edward Munch. The latter captures anxiety on many levels whereas the former…

The oldest proof of figurative paintings by humans was recently found in a cave in Sulawesi, Indonesia. They have been dated some 44,000 years old and people have been painting ever since. Cultural activities are both timeless and resilient: people will keep performing, acting, writing,…

CICERONE-members Clémentine Daubeuf, Elisabetta Airaghi, Teodora Pletosu (KEA) and Andy Pratt (City University London) have finished the second of a series of CICERONE papers which explores whether and to what extent the existing European, national and regional policy frameworks concerning cultural industries (and the wider…

CICERONE partners Diana Andreeva and Bilyana Tomova from the Observatory of Cultural Economic (OCE) recently presented the CICERONE project at the roundtable on the sustainable development of the Bulgarian film industry. The roundtable was hosted by the Center for Audiovisual Policy and Media Studies (UNWE)…

CICERONE-members Andy Pratt (City University), Thomas Borén (Stockholm University), Clémentine Daubeuf and Arthur Le Gall (both from KEA) have finished the first in a series of papers on the trade environment for cultural goods and services. This first paper entitled “A review of tariff barriers and…

During the Annual International Conference of the Royal Geographical Society 2019 at the Society in London from 28 to 30 August 2019, CICERONE members Andy Pratt, Robert Kloosterman and Marianna d’Ovidio organized two sessions on “Exploring the new global geographies of the creative economy: creative economy…

The consortium just published a paper entitled “The CICERONE project methodology”. It serves as the capstone to the methodological approach and initial operationalisation of the concept of the GPN in the field of the creative industries in Europe. The key ideas, approach and principles are…

On June 27th and 28th, 2019, the CICERONE team met in Warsaw at the University of Social Sciences and Humanities (SWPS) for its first plenary meeting. The main focus of the meeting was the kick-starting of the cultural and creative sector studies and, as part…

The CICERONE team has published a third report. Building upon the previous reports (click here to find these) that applied the Global Production Network perspective to the cultural and creative industries and which proposed strategies to overcome anticipated data collection gaps by doing empirical research,…

There is a need for more general contextual data to sketch the backdrop of CCIs in EU members states. As already stated by Allen Scott in his pioneering study The Cultural Economy of Cities, the cultural economy is represented by an extremely wide variety of…

CICERONE has published a report that provides a focused review of the literature on cultural and creative industries since the 1990s, presents the main components of the Global Production Network (GPN) approach and then applies this analytical framework to the cultural and creative industries. Prepared by…

The very long project journey of 48 months has begun in the beautiful city of Bari, Apulia, Italy. On February 15th and 16th 2019, the consortium met for the very first time at the University of Bari to formally launch the CICERONE project. The key…