[11] This echoes the UK Government Department for Culture, Media and Sport (DCMS) definition which describes the creative industries as: As of 2015[update] the DCMS definition recognizes nine creative sectors, namely:[13] To this list Howkins would add toys and games, also including the much broader area of research and development in science and technology.
This was due, probably, to the fact that engineers occupy relevant positions in "non-cultural" corporations, performing activities of project, management, operation, maintenance, risk analysis and supervision, among others.
The Inter-American Development Bank (IDB) has denominated them for Latin America and the Caribbean as the Orange Economy[17] which is defined as the "group of linked activities through which ideas are transformed into cultural goods and services whose value is determined by intellectual property."
Some authors, such as the American urban studies theorist Richard Florida, argue for a wider focus on the products of knowledge workers, and judge the 'creative class' (his own term) to include nearly all those offering professional knowledge-based services.
He seeks to quantitatively establish the importance of diversity and multiculturalism in the cities concerned, for example the existence of a significant public gay community, ethnic and religious variety, and tolerance.
[19] Globally, Creative Industries excluding software and general scientific research and development are said to have accounted for around 4% of the world's economic output in 1999, which is the last year for which comprehensive collated figures are currently available.
Estimates of the output corresponding to scientific Research and Development suggest that an additional 4-9% might be attributable to the sector if its definition is extended to include such activities, though the figures vary significantly between different countries.
The complex supply chains in the creative industries sometimes make it challenging to calculate accurate figures for the gross value added by each sub-sector.
There is also imprecision in nearly all tax code systems that determine a person's profession, since many creative people operate simultaneously in multiple roles and jobs.
In that respect, the newly proposed 'Creative Europe' programme (July 2011)[23] will help preserve cultural heritage while increasing the circulation of creative works inside and outside the EU.
The programme will play a consequential role in stimulating cross border co-operation, promoting peer learning and making these sectors more professional.
The Commission will then propose a financial instrument run by the European Investment Bank to provide debt and equity finance for cultural and creative industries.
Elizabeth Lingo and Steven Tepper cite multiple sources to suggest artists' skill sets allow them to "work beyond existing markets and create entirely new opportunities for themselves and others".
[25] Specifically, Lingo and Tepper suggest artistic workers are "catalysts of change and innovation" because they "face special challenges managing ambiguity, developing and sustaining a relative identity, and forming community in the context of an individually based enterprise economy" (2013).
Because of these adaptive skills, the suggestion is that "studying how artists cope with uncertainty and the factors that influence their success should be relevant for understanding these broader social and economic trends facing today's (and tomorrow's) workforce.
Examples of new questions include: As some first world countries struggle to compete in traditional markets such as manufacturing, many now see the creative industry as a key component in a new knowledge economy, capable perhaps of delivering urban regeneration, often through initiatives linked to exploitation of cultural heritage that leads to increased tourism.
It is often argued that, in future, the ideas and imagination of countries like the United Kingdom will be their greatest asset; in support of this argument, a number of universities in the UK have started to offer creative entrepreneurship as a specific area for study and research.
As Cunningham et al. (2009) put it, 'the harnessing of creativity brings with it the potential of new wealth creation, the cultivation of local talent and the generation of creative capital, the development of new export markets, significant multiplier effects throughout the broader economy, the utilisation of information communication technologies and enhanced competitiveness in an increasingly global economy'.