Edited by David Emanuel Andersson, Åke E. Andersson and Charlotta Mellander
Chapter 5: Clusters, Networks and Creativity
Charlie Karlsson In the last decade we have seen a rapidly increasing interest in creativity among researchers. A search using Google Scholar for the concept creativity for 1990 generates about 20 000 hits, while a similar search for 2008 generates more than three times as many hits. For the disciplines of business administration, finance and economics the number of hits increases about four times during the same period. There are strong reasons to assume that the publications on the emergence, importance and behaviour of the creative class by Richard Florida have substantially contributed to this increased interest.1 However, it is important to remember that creativity has always been an important human activity in all fields of human activity, stretching from the generation of new knowledge, new inventions, innovations and new enterprises to the generation of new artistic expressions. Today, creativity is more than ever before looked upon as a crucial resource not only for the cultural sector, but also for contemporary economic development and indeed, for personal growth (O’Connor, 2007). Hence creativity does not only reside in the arts, the cultural industries and/or the media industries, but it has become a central and increasingly important input into all sectors where design and content form the basis for competitive advantage (Flew, 2002). Creativity is critical for research. The production of new knowledge implies that creative processes must take place somewhere in the research process. In particular, creativity is related to innovation, which increasingly is seen as the key to economic competitiveness....
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