"The Creative Community: Forging the Links Between Art, Culture, Commerce and Community" is one of a series of white papers on Cities of the Future, a project of The California Institute for Smart Communities of San Diego State University. The author, John M. Eger is a Professor of Communication and Public Policy and is Executive Director of the Institute.

A new domain is emerging: information technology and creative practices, or ITCP. This alliance between technology and art/design may yield much in the ways of social and economic good, and should be invested in.

A report on Marylands Heritage Areas Program which was prepared for Maryland's Department of Legislative Services 2004 legislative session.

The author describes the struggle of American cities to reinvent themselves for the post-industrial economy and the pivotal role the arts play in that process.

This volume explores how consumption and entertainment change cities. But it reverses the "normal" causal process. That is, many chapters analyze how consumption and entertainment drive urban development, not vice versa.

"Throughout the U.S. artists and arts organizations working in the folk traditions of various cultures have carried on their work despite often-meager incomes they may earn from it.  Fortunately, its values are increasingly prized in the broader economy, as markets for traditional arts and for travel linked to the cultural uniqueness of particular places have grown substantially over the last several decades."

Drawing on an extended case study of Chicagos Wicker Park neighborhood, this article develops the concept of neo-bohemia that creates the context for the redevelopment of former industrial spaces in Chicago.

This groundbreaking report by the Center details how arts & culture is fueling economic growth in New York City neighborhoods. (Publishers description)

The importance of cultural institutions to contemporary revitalization efforts in U.S. cities is attributed to several factors, including cities' dependence on their consumption economies, cultural institutions' interest in improving their surroundings, and cultural institutions' abilities to draw on serious and popular art forms.

Within the last decade, there has been a surge of scholarship, media commentary and experimentation on what is rather loosely referred to as the “new economy.” In the opening essay of this issue of the Journal of Arts Management, Law, and Society, Kieran Healy describes the major attributes of the “new economy” as the term is being used by philosophers, pundits, and practitioners. He suggests that three defining assumptions drive the “new economy.”