'Treasure hunt': Using loose parts media to develop social financial education model for early children.

A globalized world demands every country's citizen to proceed to build a creative economy to adapt to the rapid changes that follow. Therefore, promoting social and financial education should be engaged with children early. However, a learning model available to awaken children's socio-financial capabilities is vividly rare, if not none. Furthermore, the Early Childhood Education Institution is the best place for children to experience social and financial education. This research aims to develop a social financial education model for early childhood. This study employed Research and Development (R&D) in the development process of the educational model. The data were collected through questionnaires and focus group discussions. The data analysis used descriptive quantitative and t-tests to explain the results of field studies, FGD, and trials and to measure the effectiveness of models during experimental and operational trials. In the analysis, the researchers found that the Model Script and Financial Social Education Guide for early childhood using loose parts media were very suitable. Further, the t-test result between the pretest and post-test was 0.924 (92.4%) at α = 0.05. In conclusion, the financial social education model using loose parts of media effectively develops children's social and financial abilities.

Do digital literacy and business sustainability matter for creative economy? The role of entrepreneurial attitude.

In the last decade, the significant of the creative economy has continued to strive in taking part in the momentum of economic revival as the impact of the corona virus disease (Covid-19). This study highlights the factors affecting the creative economy, digital literacy, business sustainability, and entrepreneurial attitudes. In this study, a quantitative approach using structural equation modeling with partial least squares (PLS-SEM) was used to predict and confirm the hypotheses presented. This research was conducted for housewives on the islands of Sumatra, Java, and Bali in Indonesia using a google form questionnaire. The total sample was 500 respondents from these three islands. The findings indicate that digital literacy can explain the creative economy, business sustainability, entrepreneurial attitude. However, the variables of entrepreneurial attitudes need support from digital literacy and business sustainability. This research is a follow-up to the creative economy sector post the Covid-19 pandemic.

A economia criativa enquanto prática de espaço no contexto das cidades criativas do sul global: o caso do Poço da Draga / La economía creativa como práctica espacial en el contexto de las ciudades creativas del sur global: el caso de Poço da Draga / Creative economy as a space practice in the context of creative cities of the global south: the case of Poço da Draga

Resumo Em 2019, Fortaleza, capital do Ceará, recebeu a chancela da Organização das Nações Unidas para a Educação, a Ciência e a Cultura (UNESCO) de cidade criativa do design. Com isso, a prefeitura vem atuando na organização de um distrito criativo entre os espaços de dois bairros contíguos. Nas margens urbanas que circundam esses espaços está situada a comunidade Poço da Draga, que vem organizando um conjunto de ações em prol da economia criativa. Este estudo propõe uma discussão sobre a economia criativa como prática, lançando luzes sobre perspectivas críticas alternativas de análise de políticas públicas relacionadas à organização de distritos criativos em cidades do Sul global. Para isso, considerou-se o conceito de "prática do espaço" como retórica ambulante, um modo de ser e fazer de quem habita a cidade. O objetivo é discutir como a economia criativa pode atuar como prática de espaço. A metodologia de natureza qualitativa envolveu levantamentos bibliográficos e documentais, complementados por entrevistas e procedimentos de observação nos espaços sob estudo. A análise se baseou no exame temático das práticas de espaço identificadas à luz do objetivo da pesquisa. Os principais resultados evidenciam um conjunto de práticas de espaço, emancipatórias e de resistência perpassadas pela criatividade, colocadas em ato pelos habitantes da comunidade do Poço da Draga. Sugere-se que as políticas públicas para as cidades criativas do Sul global considerem os "fazeres" potenciais de seus habitantes, visando à organização das práticas de espaços urbanos marginalizados.

Resumen En 2019, la ciudad de Fortaleza, capital del estado de Ceará, recibió el sello de la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura (UNESCO) como ciudad creativa del diseño. Con eso, la municipalidad de Fortaleza viene trabajando para organizar un distrito creativo en los espacios colindantes de dos barrios. En los márgenes urbanos que rodean estos espacios se ubica la comunidad de Poço da Draga que viene organizando un conjunto de acciones a favor de la economía creativa. Este estudio propone una discusión sobre la economía creativa como práctica, arrojando luz sobre perspectivas críticas alternativas para el análisis de políticas públicas relacionadas con la organización de distritos creativos en las ciudades del sur global. Se consideró el concepto de "práctica de espacio" como retórica ambulante, una forma de ser y hacer de quien vive en la ciudad. El objetivo fue discutir cómo la economía creativa puede actuar como una práctica de espacio. La metodología cualitativa y exploratoria implicó levantamientos bibliográficos y documentales, complementados con entrevistas y procedimientos de observación en los espacios en estudio. El análisis se basó en el examen temático de las prácticas de espacio identificadas a la luz del objetivo de la investigación. Los principales resultados mostraron un conjunto de prácticas de espacio, emancipadoras y de resistencia permeadas por la creatividad, puestas en acción por los habitantes de la comunidad de Poço da Draga. Se sugiere que las políticas públicas para las ciudades creativas del sur global consideren los "haceres" potenciales de sus habitantes, con el objetivo de organizar prácticas en espacios urbanos marginados.

Abstract In 2019, the United Nations Educational, Scientific and Cultural Organization (UNESCO) recognized the capital of the Brazilian state of Ceará, Fortaleza, as a creative city of design. Since then, Fortaleza has been working to organize a Creative District between the spaces of two contiguous neighborhoods. On the urban margins surrounding these spaces is located the Poço da Draga community, which has been organizing a set of actions in favor of the creative economy. This study proposes a discussion about the creative economy as a practice, shedding light on alternative critical perspectives for analyzing public policies related to the organization of creative districts in cities of the global south. The concept of "practice of space" was considered as walking rhetoric, a way of being and doing for those living in the city. The objective was to discuss how the creative economy can act as a practice of space. The qualitative and exploratory methodology involved bibliographical and documentary surveys, complemented by interviews and observation procedures in the spaces under study. The analysis was based on the thematic examination of the identified practices of space, considering the research objective. The main results showed a set of practices of space, emancipatory and resistance permeated by creativity, put into action by the inhabitants of Poço da Draga. It is suggested that public policies for creative cities in the global south consider the potential "doings" of their inhabitants, aiming at organizing practices in marginalized urban spaces.

La Economia Colaborativa: propuesta de bases conceptuales para su estudio / The Sharing Economy: a proposal of conceptual basis for its study / A Economia Colaborativa: uma proposta de base conceptual para o seu estudo

RESUMEN En este documento se presentan las bases conceptuales para el estudio de la Economia Colaborativa. Se plantean las diferencias entre las modalidades de intercambio econômico emergentes a partir de la mediación tecnológica, tales como la economia de conciertos y la economia digital. Para esto, se realizó una búsqueda bibliográfica a partir de la metodologia de revision sistemática de literatura para ciencias sociales y económicas en Scopus, WoS y Redalyc en el periodo 2008-2019. Este ejercicio permitió ubicar a la economia colaborativa como una nueva institución económica que posee cuatro subsectores: consumo, producción, educación y finanzas. La economía colaborativa se distingue por las soluciones particulares, la forma de solucionar las necesidades de las personas y en la creación de comunidad. El documento concluye que a) es importante que la academia y los estados miren con detenimiento las diferencias entre las modalidades estudiadas y b) la economia colaborativa es un mecanismo para el cambio social.

ABSTRACT This paper presents the conceptual bases for the study of the Sharing Economy. The differences between the modalities of economic exchange emerging from technological mediation, such as the gig economy and the digital economy are presented. For this purpose, a literature search was conducted using the systematic literature review methodology for social sciences and economics in Scopus, WoS and Redalyc in the period 2008-2019. This exercise allowed us to locate the Sharing Economy as a new economic institution with four subsectors: consumption, production, education and finance. The Sharing Economy is distinguished by particular solutions, the way of solving people's needs and in the creation of community. The document concludes that a) it is important for academia and states to look carefully at the differences between the modalities studied and b) the collaborative economy is a mechanism for social change.

RESUMO Este documento apresenta a base conceitual para o estudo da Economia Colaborativa. As diferenças entre os modos emergentes de intercâmbio econômico através da mediação tecnológica, como a economia gig e a economia digital, são discutidas. Para este fim, foi realizada uma pesquisa bibliográfica utilizando a metodologia de revisão sistemática de literatura para ciências sociais e economia em Scopus, WoS e Redalyc no periodo 2008-2019. Este exercício nos permitiu identificar a economia colaborativa como uma nova instituição econômica com quatro sub-setores: consumo, produção, educação e finanças. A economia colaborativa se distingue por soluções particulares na forma como as necessidades das pessoas são resolvidas e na criação de comunidade. O documento conclui que a) é importante para o meio acadêmico e os estados examinar de perto as diferenças entre as modalidades estudadas e b) a economia colaborativa é um mecanismo de mudança social.

Using the D-DANP-mV Model to Explore the Continuous System Improvement Strategy for Sustainable Development of Creative Communities.

With globalization, the notion of "creative city" has become a core concept of many cities in the world development policies, with real properties being upgraded or used to change, renewal is being conducted, and creative industries are emerging. This trend has reached its peak in the past decade, with different forms and scales gathering global development momentum among the creative communities to promote the development of creative economies. In recent years, however, there was still skepticism about the sustainability of the current creative communities. Many scholars have pointed out that signs of unsustainability have begun to appear in many creative communities. To overcome these obstacles, the development of rational and highly effective improvement strategy requires a dynamic thinking process. Therefore, this study employs the DEMATEL-based ANP with modified VIKOR (D-DANP-mV) model in presenting an assessment framework for the sustainability of creative communities. This system is used to assess the sustainability of current creative communities and determine how to solve their problems. Thus, continuous and systemic improvement strategies can be developed to achieve the aim of sustainable development. Two creative communities in Taiwan, Taichung Cultural and Creative Industries Park (TCCIP), and Shen-Ji New Village (SJNV), are used as case studies in this study. Based on the concept of systematic improvement from fundamental issues, the results indicate that the improvement priorities can be determined by applying the D-DANP-mV model. This approach is different from those found by a conventional method with the hypothesis of independent criteria (e.g., diversification of creative talents in TCCIP), and cannot use for performance improvement (e.g., only can be used for ranking and selection among alternatives). Considering these points, unreasonable premises, biased errors, and lack of some real application functions in the process of resource allocation could be more efficient improvement strategies generated in this proposed model.

Comparing the economic effects of climate change and zooanthroponosis in Korea: Prerequisites for the creative economy?

Societies in the 21st century require more proactive management of risks in many areas owing to the complexities people have built into socioeconomic systems, ranging from science and technology, economics, and finance to education, entertainment, and tourism infrastructure. All these systems thrive on stability, which can easily be challenged by unexpected risks. This study compares zooanthroponosis and climate change-induced sea level rise through a cost-benefit analysis in Korea. Borrowing from other methodological approaches, this study shows that the cost-benefit estimation is consistent with the existing macroeconomic speculations, which assume potential loss of GDP due to the two risks. This paper also presents a policy alternative of creating research institutions specializing in the two risks from a cost-benefit perspective as a prerequisite for the "Creative Economy".

Current status and challenges on the big data of public sector in Korea

The ICT (information and communication technology) paradigm shift, including the burgeoning use of mobile, SNS, and smart devices, has resulted in an explosion of data along with lifestyle changes. We have thus arrived at the age of big data. In the meantime, a number of difficulties have arisen in terms of cost or on the technical side with respect to the use of large quantities of data. However, big data has begun to receive attention with the advent of efficient big data technologies such as Hadoop. Big data is recognized as the 21st century digital resource and new driving force. The governments of the United States, Japan, and other countries around the world have already been actively promoting big data in their national policies. Korea is promotingbig data actively in the public and private sectors according to National Issues of the Creative Economy and the Government 3.0. In this respect, the Korean government published the "Big Data Industry Development Strategy" in December 2013 and began supporting the use of big data in earnest. This article introduces the status and policy of international and domestic utilization of big data in the public sector. In addition, it describes the challenges in terms of technology, human resources, and data for the vitalization of big data collection and analysis in Korea.

O talento jovem, a internet e o mercado de trabalho da "economia criativa" / Young talent, the internet and the labour market of the "creative economy"

Cada vez mais jovens fazem sucesso no mundo "real" a partir da exposição de seus talentos na Internet. Este é um fenômeno inédito do qual o presente artigo oferece uma análise inicial. Tendo em vista que encarar tais sucessos exclusivamente como iniciativas individuais bem-sucedidas não é suficiente para explicar seu crescente número, torna-se necessária outra abordagem. Neste artigo é proposto o esboço de uma integração teórica que envolve áreas tradicionalmente distintas em cuja interseção o novo fenômeno se insere: as da economia de mercado, da criatividade e das tecnologias digitais. Nesse esboço, a concepção de economia criativa atua como o elemento articulador dessas três áreas, dado que atribui à criatividade o papel de sua força motriz e às tecnologias digitais, principalmente à Internet, o status de sua condição de emergência bem como de sua infraestrutura. Alguns casos de sucesso são apresentados e interpretados à luz dessa integração teórica preliminar.(AU)

Increasing numbers of young people achieve success in the "real world" through the online exposition of their talents. This is an unprecedented phenomenon which the present paper submits to a preliminary analysis. Consideration of these achievements solely as the result of successful individual initiatives is not enough to explain their numbers, , therefore another approach becomes necessary. The present paper presents an initial sketch of a theoretical integration which involves traditionally distinct areas in whose intersection the new phenomenon is situated: those of market economy, creativity and digital technologies. In this sketch, the concept of creative economy plays a central role insofar as it articulates these three areas. And it does so because it sees creativity as its driving force and digital technologies, mainly the Internet, as both its condition of possibility and infrastructure. A few cases of success are presented and interpreted under the light of this theoretical framework.(AU)

O talento jovem, a internet e o mercado de trabalho da "economia criativa" / Young talent, the internet and the labour market of the "creative economy"

Cada vez mais jovens fazem sucesso no mundo "real" a partir da exposição de seus talentos na Internet. Este é um fenômeno inédito do qual o presente artigo oferece uma análise inicial. Tendo em vista que encarar tais sucessos exclusivamente como iniciativas individuais bem-sucedidas não é suficiente para explicar seu crescente número, torna-se necessária outra abordagem. Neste artigo é proposto o esboço de uma integração teórica que envolve áreas tradicionalmente distintas em cuja interseção o novo fenômeno se insere: as da economia de mercado, da criatividade e das tecnologias digitais. Nesse esboço, a concepção de economia criativa atua como o elemento articulador dessas três áreas, dado que atribui à criatividade o papel de sua força motriz e às tecnologias digitais, principalmente à Internet, o status de sua condição de emergência bem como de sua infraestrutura. Alguns casos de sucesso são apresentados e interpretados à luz dessa integração teórica preliminar.

Increasing numbers of young people achieve success in the "real world" through the online exposition of their talents. This is an unprecedented phenomenon which the present paper submits to a preliminary analysis. Consideration of these achievements solely as the result of successful individual initiatives is not enough to explain their numbers, , therefore another approach becomes necessary. The present paper presents an initial sketch of a theoretical integration which involves traditionally distinct areas in whose intersection the new phenomenon is situated: those of market economy, creativity and digital technologies. In this sketch, the concept of creative economy plays a central role insofar as it articulates these three areas. And it does so because it sees creativity as its driving force and digital technologies, mainly the Internet, as both its condition of possibility and infrastructure. A few cases of success are presented and interpreted under the light of this theoretical framework.

To Discuss the Training of Culture Creative Talents in Universities and Colleges in the Period of Creative Economy / 浙江中医药大学学报

The creative period is coming with the capital period passing away.To match with the development of creative economy,there are still some problems in the talents training in higher education.The purpose of the paper is to discuss the culture innovative talents training in universities and colleges in the creative economy period.