This lessons learned report gives an overview of the output and results of the first phase of the REDUCES project. The introduction states the relevance of combining a policy approach with business model analysis, and defines the objectives. Next, an overview is given of circular economy good business practices in the regions involved. Examining these business practices helped to define the regional needs for circular economy policy. This business approach proved to be a solid base for developing regional circular economy action plans, the last chapter of this report.
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The creative economy is described by media entrepreneur and analyst John Howkins as ‘the fastest growing business in the world’ and reflects the growing power of ideas – and how people make money from ideas. It is driven by the view that ‘twenty-first century industries will depend increasingly on the generation of knowledge through creativity and innovation’. The activities concerned with the generation or exploitation of ideas, knowledge and information are seen by global companies and global economies as becoming increasingly important to economic, and societal, well-being – individually, locally and globally.
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The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
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This article investigates the phenomenon of rebound effects in relation to a transition to a Circular Economy (CE) through qualitative inquiry. The aim is to gain insights in manifestations of rebound effects by studying the Dutch textile industry as it transitions to a circular system, and to develop appropriate mitigation strategies that can be applied to ensure an effective transition. The rebound effect, known originally from the energy efficiency literature, occurs when improvements in efficiency or other technological innovations fail to deliver on their environmental promise due to (behavioral) economic mechanisms. The presence of rebound in CE contexts can therefore lead to the structural overstatement of environmental benefits of certain innovations, which can influence reaching emission targets and the preference order of recycling. In this research, the CE rebound effect is investigated in the Dutch textile industry, which is identified as being vulnerable to rebound, yet with a positive potential to avoid it. The main findings include the very low awareness of this effect amongst key stakeholders, and the identification of specific and general instances of rebound effects in the investigated industry. In addition, the relation of these effects to Circular Business Models and CE strategies are investigated, and placed in a larger context in order to gain a more comprehensive understanding about the place and role of this effect in the transition. This concerns the necessity for a new approach to how design has been practiced traditionally, and the need to place transitional developments in a systems perspective. Propositions that serve as theory-building blocks are put forward and include suggestions for further research and recommendations about dealing with rebound effects and shaping an eco-effective transition. Thomas Siderius, Kim Poldner, Reconsidering the Circular Economy Rebound effect: Propositions from a case study of the Dutch Circular Textile Valley, Journal of Cleaner Production, Volume 293, 2021, 125996, ISSN 0959-6526, https://doi.org/10.1016/j.jclepro.2021.125996.
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Het kunstvakonderwijs is onderhevig aan snelle ontwikkelingen binnen het culturele en politieke veld (creative cities, experience economy etc). Hoe moet het kunstvakonderwijs met die veranderingen omgaan? Is er nog plaats voor kritische ruimte?
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SMEs represent a very important part of the European economy today, and within this SME group the creative sector is recently one of the fastest growing sectors. Our paper studies the innovation management of 105 creative SMEs in Flanders and the Netherlands, based on the innovation diagnostic instrument, developed by Mazzarol & Reboud (2006). On the side of the „innovation climate‟ we identified many stimulating factors such as the well developed infrastructure and proximity of logistics and suppliers and an innovative and stimulating life style in the global area of Flanders and the Netherlands. However, we identified many restricting legislations and regulations that seem to hamper seriously most creative SMEs. Above that, many creative SMEs fail to find sufficient access to capital to invest in their growing innovative activities. We observe that the Dutch creative SMEs find more easily access to external financial resources and governmental support and subventions than their Flemish colleagues. Finally, the use of managerial tools like a SWOT analysis or setting up a solid financial or business plan seems very uncommon but required among creative SMEs.
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There is a growing debate about the use of creativity for sustainable development, particularly in terms ofincreasing the creative potential of cities. However, studies based on the experiences and perspectives ofleading authors in this area are limited. Greg Richards is a long-standing researcher on the application ofcreativity in various socio-economic sectors, including creative tourism, creative cities, economy, and creativeindustries. This study, based on a semi-structured interview conducted with Greg Richards, seeks to presentsome reflections and ideas for ways forward, considering the scenario before, during, and after the Covid-19pandemic and its possible effects on the new economy. Particular attention is paid to the emerge of ‘glocal’creativity, especially related to the UNESCO Creative Cities.
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