Research Proposal - Revised v1.4

Creativity, Innovation and Collective Action: The Colombian Creative Industries from their imaginaries and social representations (CCi)

Research Proposal

Objectives:

1. To define the creative sector in Colombia.2. To establish causal relationships between a) the imaginaries and social representations of

creativity, innovation and collective action and b) the development of the CCi in Colombia.3. To study the role of the CCi in the generation of social welfare in Colombia.

Key Questions

What do we understand by creativity? Why is it good and desirable? What do we understand by imaginaries and social representations? How to define a creative process? Study imaginaries and social representations in the creative industries. The importance of the creative industries in peripheral countries. How do consumers understand the CCi and their implications on their daily lives? How do consumers define the CCi? How creative workers imagine, represent and idealize the CCi?

It is assumed that different imaginaries and social representations of creativity, innovation and collective action will determine different structures and logics of operation within the creative industries. Also, these will determine different processes of creativity and innovation.

Literature Review

Human beings have always managed to imagine and create novel ways to supply their needs, represent themselves as a social cohesive group, and to produce and reproduce their own culture, regardless of ethnicity, geographical location, social structure, religion, episteme or activity; with no doubt we can affirm that creativity is inherent to the human condition. The concept of “the creative and cultural industries” (CCi) emerged as the last stage in the historical process of understanding the organization of creativity; nevertheless, as a powerful theoretical category, researchers of the CCi should avoid to fall into a reduction of the idea of creativity that refers only to certain industries operating in certain markets. From a cultural perspective, CCi determine and are determined by several imaginaries and social representations; in other words, CCi in addition to the assets and “tangible” goods and services

that produce and constitute them, are also symbolic processes of imagination and rational thought, which in turn have instituted them as formal organizations (Castoriadis, 1998).

In this regard, what we generally recognize as the CCi corresponds to an idea thought within an specific epistemological framework, in specific geographical locations, under specific cultural, political, economic, technical and historical circumstances (Kong & O’Connor, 2009). This “capitalistic/modern”1 idea of creativity cannot and should not be assumed as the only possible form of creativity. Accordingly, if we are to think CCi in a peripheral country – such as Colombia – we will need to redefine the very notions of creativity, innovation and the creative industry itself. Producing and reproducing a culture to enhance identity, social cohesion and collective action; or coming up with novel, innovative and productive ideas to improve living conditions and social welfare, is a totally different project in a peripheral country than in a “developed” one; diverse cultures, historical trajectories and power structures determine diverse approaches to creativity and intelligence. The needs and resources of a family in Bogotá will determine a form of being “creative” different from the Londoner family; consequently, CCi in Colombia simply could not be thought in the same way they are thought in developed countries (Pratt, 2009).

Defining the creative sector in Colombia requires the de-construction of the CCi concept, as well as a logical categorization for the creative process. With this in mind, firstly, we consider there are two fundamental elements that define the CCi (Pratt, 2009): 1) they serve to understand, produce and re-produce cultural forms to foster social cohesion, inclusion, identity and collective action within a defined group and 2) they constitute a milieu for the mixing of ideas that enhances the production of innovations. Secondly, regarding the logical categorization of the creative process - to be studied from a symbolic perspective -, we assume it can be analyzed in the light of at least three stages: 1) the social abstraction of creativity: that defines what it is and what is not creativity, what forms it can take – in what objects it can be materialized – and through what processes (of collective action) it can be achieved; 2) Innovation: as the resulting object that “embodies” the creativity; and 3) Collective Action: as the different structures and logics of operation (processes) used for the production of innovations in the CCi. These elements provide us with the necessary flexibility to broaden the definition of “the CCi” - without losing our scope -, regardless of the distinctive ways of organization and operation we might encounter in peripheral countries.

Having this in mind, my research proposal addresses the following problems:

1) How to define the CCi in Colombia.

1 The category “modern” as referred here, reflects the political, economic and technical circumstances that surged in Europe since the XVI century, in which certain epistemologies (the scientific method), social structures (the democratic nation-state) and economic systems (the market economy of accumulation of capital) were developed and enforced worldwide (Wallerstein, 2006).

2) How to “visualize” and understand the operation of the imaginaries and social representations of creativity, innovation and collective action2 in the development of the CCi in Colombia.

3) How to establish causal relationships between the development of the CCi and the generation of social welfare in Colombia.

A more detailed table containing the proposed logical categorization of the creative process is presented below:

Dimension Imaginary and Social Representation of:

Definition

Potentiality, Social Abstraction, Signifier

Creativity – Idea This is the idea of creativity. It is the abstraction that determines what is and is not creativity; in what objects (material or symbolic) it can be embedded, what forms it can take; how it occurs, through which processes or actions it is achieved.

Object of materialization, Signified

Innovation – Object It is the object in which creativity is embedded. Any new idea, artifact or technology that fulfills a specific function.

The creative process, the structure, the organization.

The Creative Industry - Collective Action

This is how the production of innovations is organized through certain structures (business, organizations, industries, networks, etc) and by certain logics of operation (hierarchy, markets, for or non-for-profit, etc)

To the best of my knowledge, there has not been any research done in the country addressing the CCi from the imaginaries and social representations theory perspective.3 Furthermore, the specific problem of the CCi and their relationship with the generation of social welfare has not been extensively studied in the country. One exception worth mentioning is the compilation book4 titled “¿Para Donde Va

2 By the imaginaries and social representations we refer to the symbolic constructions resulting from social processes of imagination and rational thought that define how people understand certain phenomena and how they relate and interact with these in their daily lives.3 I could not find any research addressing this problem in Colombia. This is my conclusion after a series of bibliographical investigations carried out on Internet and in the main libraries of Bogotá during the first semester of 2012.4 In addition to Gomez Buendia, other twelve recognized Colombian academics and authors contributed to the writing of this book. For more information please refer to the bibliography.

Colombia?” (Where is Colombia Leading to?), in which Gómez Buendía (1999) proposes the theory of the Almendron to explain archetypal Colombian behavior at individual and collective levels of organization and action. Gómez Buendía argues that due to harsh social, economic, political and historical conditions, Colombian people tend to be very creative at individual levels but face serious difficulties to organize effectively and be creative at collective levels. He defines the Colombian as an individual extremely creative, ingenious and recursive that always manages to find a way to achieve his goals, no matter how (legally or illegally); individuality, avidity and perspicacity are the most praised features in the Colombian society (Gómez Buendía, 1999). On the other hand, at collective levels, Colombians typically have found major troubles to organize and act together for a common purpose; be it the consequence (and the reason) of a weak state, low law enforcement and compliance, the strongest drug trafficking cartels and the oldest guerillas in the world, this lack of confidence in “the other” and difficulty to act collectively have led Colombia to have a poor historical sense of “the public”, very weak institutions and a clear tendency to over-value individual wellbeing at the expense of the collective.

In his book, Gomez Buendía makes an initial approach to a hypothesis that has been widely studied in other parts of the world and that argues that collective action enhances social creativity and productivity, which ultimately increases living standards and social welfare in a certain society (Galcerán, 2006) (Kong & O’Connor, 2009) (Rowan, 2010) (Gómez Buendía, 1999); the creative industries theory constitutes an ideal approach to address this problem in Colombia, particularly as it provides an innovative and cutting-edge perspective on how to enhance social bonds, incentive collective action and foster creativity in the contemporary context of globalization, technological change, and social, economic and political uncertainty. Nevertheless, as the entry points of this approach are multiple and varied (e.g. governance, policy, clustering, organizational structure, investment, etc) we believe than in the circumstances of a peripheral country a cultural approach would best suit a project of this nature, as it will build on the local specific conditions. Hence, my research proposal is divided into three stages:

1. Defining the CCi in Colombia5: considering the circumstances of the Colombian apparatus of production – symbolic and material -, in which informality and bottom of the pyramid consumers and workers (Prahalad, 2006) constitute the great majority, CCi will be defined in the light of three “social classes” – high, medium and popular class –, regardless of their level of formal constitution and operation. In turn, these classes will be defined by a matrix of economic capital – such as level of income, value of assets, etc – and cultural capital – such as level of education, activity, place of residency, etc – variables. Once social classes have been determined, an initial field research will be carried out in which a study of the imaginaries and

5 In summary, in this stage of the research we are interested in identifying whether the same CCi operate in all social classes or if there are any distinctions. Do all people in Colombia, regardless of social class, listen to the same music? Do they read the same literature? Do they play the same videogames? Do they watch the same TV programs? Do they experience the same expressions of art? Do they access the same Internet sites? Do they use the same architectural techniques to build? Do all of them require the same kind of “intelligence” and innovations in order to re-produce a desirable way of life? What kind of CCi are institutionalized in each class in order to produce the desired and necessary innovations for life re-production? Which would be an equivalent of a high-tech industry in a marginalized district of Bogotá?

social representations of creativity, innovation and the creative industry will be carried out - the logical categorization proposed above –; this study is intended to provide insight on how people understand what is and is not creativity, innovation and the CCi, and how these elements impact in their daily lives. The study of the imaginaries and social representations will be directed and combined with formal definitions of the CCi literature. The result expected at this stage is the determination of the main CCi by each social class.

2. Imaginaries and social representations of creativity, innovation and collective action in the CCi: Once the CCi have been determined by each social class – as specific objects of study -, a second stage of the research will seek to provide insight on how these CCi in Colombia produce, re-produce and operate by certain imaginaries and social representations of creativity, innovation and collective action that determine their structure, organization and creative processes and practices. In this regard, we will explore 1) how they produce and reproduce an endogenous culture of identity – what is a CCi - social cohesion – who is part of it -, collective action – how it operates -, inclusion – what role it plays in the broader society -, 2) how this culture impacts their structure, practices of production and logics of organization and operation, and 3) how this structure, practices and logics of operation impact the development of the CCi in the country.

3. Establishing relationships between the CCi and social welfare generation: Finally, the third and last stage of the project will seek to establish relationships and causalities between the CCi and the generation of social welfare in each social class.

Methodology

Interviews, Mental Maps and Focus Groups

A set of interviews, mental maps and focus groups sessions will be applied in order to 1) identify the CCi in each social class, 2) to map out the imaginaries and social representations of creativity, innovation and collective within the creative sector, and 3) to establish how these imaginaries and social representations impact the operation and development of the CCi.

Statistical Analysis:

Statistical analysis will be carried out in order to provide an overview of the population of study (social classes) and of the CCi; it will also provide insight on general trends, macro-economic and social conditions of each class - in terms of quantity of jobs, income, location, demography, etc -.

Discourse, Image and Video Analysis

These analyses will be applied to the objects – innovations - produced by the CCi – i.e. the content produced and broadcasted by mass-media and self-mass-media (Castells, 2009) channels (TV programs, literature, radio, social media sites, etc), a book on entrepreneurship, a video game, etc-. Semiotic techniques will be used (Greimas & Schleifer, 1983) (Kintsch & Van Dijk, 1978) (Silva, 2012).

Imaginaries and Social Representations Methodology

Social imaginaries and social representations methodology developed by (Castoriadis, 1998), (Taylor, 2004), (Silva, A., 2006), (Farr & Moscovici, 1984) and (Wagner, Hayes, & Palacios, 2011) will be applied for the purposes of this project.

World System Analysis

In order to provide a solid theoretical basis on the differential historical processes of the periphery and the core, world system and longue durée analysis will be included in the theoretical framework of this work (Wallerstein, 2006), (Braudel, 1992).

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