CREATIVE INDUSTRIES AS A COMPLEX NETWORKING

Abstract

The creative economy is a one of the postindustrial trends. The grounds of the creative economy are the creative industries. In this article we try to show, that creative industries have potential to existence and developing, if they have a network structure. We advert to the classical graph theory of L. Euler, and try to extend it on such creative industries as television, publishing, music industry. Particularity of network structures in informational, social, biological environments is presented by M. Castells, M. Newman, A. Oleskin, I. Evin. Social networking markets of creative industries are considered in J. Hartley, St. Cunningham, T. Cutler, G. Hearn, M. Ryan, M. Keane. We suggest combining of these two approaches for making a definition of creative industries. The network structure affords an opportunity to predict the behavior of creative industries. It does developing strategies more effective. In fact, the activities of creative industries organized by the universal scheme, which operates in any industry. But stability of creative industries consists in maturity of their network structure. The conclusions of this article are based on network approach, which allows to comprehend the identity and singularity of creative industries. Ontological foundations of the creative industries are based, on the one hand, on the creative work, and, on the other hand, on the ability to build mutually beneficial networking. The study of creative industries in terms of networking helps to formulate certain objective quantitative and qualitative criteria for analysis. The structure of the creative industry demonstrates the group of actors, which involved in the industry. It shows the actors, which produce the creative product directly. And the structure shows the actors, which provide creative industries by the necessary equipment, services, and human capital. In terms of the qualitative side, the ideal model of the creative industries allows to understand the empty parts in the regional creative industries and analyze the reasons for success or failure in an attempt to develop them. It is important to emphasize that regions authorities and art communities declare the need in creative clusters, but most of these projects were not realized. Also, a lot of small creative businesses cannot survive for a long time (co-working, time cafes, souvenir shops, design studios, etc). Probably the reason is that they were unable to engage in any network where they could find a way to grow their business and to keep afloat. On the other hand the inclusion in the network needs to accept the certain network values. Quantitative indicators are about the performance of the network and about ability to calculate how much it is necessary to produce goods and services, to provide residents in the area. Formerly, the main research approaches were interview and statistics. The interview has a risk to be based on a personal opinion of the respondent. The statistics has no essential data on creative industries, because it needs to be upgrade. Especially in Russia statistics had no instruments to collection of statistical data in creative industries sector. Nevertheless, experts commentaries are very considerable for insight in creative industries sector. That's why different approaches should be used to investigating creative industries, which includes interview, statistics, mapping and network approach.