Referencing Styles : Harvard The licensing of intellectual property affects not only individual acts of creation but also the very organization of creative industries enterprises. According to Davies and Sigthorsson (Chapter 3), the institutional landscape of the contemporary creative industries is made up of three types of organizational structure: freelance workers, small-to-medium-sized enterprises (SMEs) and large, often multinational, corporations that function through consolidation, conglomeration, oligopogy, and in contemporary business practice, after the break-up of the integrated factory of the 19th century and its division between manufacturers, sometimes in separate countries (47), outsourcing, project-based work, freelancing, microbusinesses, and the casualization of work has resulted in a “media ecology in which a few large multinational companies tend to control the distribution of products,” while “the majority of freelancers and small companies who are supplying products and services to the larger ones, find themselves in a buyer’s market and in a fierce competition with each other” (52). Within this organizational context, the “art of rent” flourishes (see David Harvey). What are the important effects of these global economic processes of copyright, licensing (rent), consolidation, corporatization, and cartelization on creatives’ work patterns? Using Andy Pratt’s case study of Hoxton’s creative industries and Richard Florida’s Rise of the Creative Class, explore this question while defining clearly and critically the role of outsourcing, project-based work, freelancing, microbusinesses, and the casualization of creative work. • Chapter 3 of Introducing the Creative Industries: From Theory to Practice. • David Harvey, The Art of Rent in Harvey, D. (2001). Spaces of capital: towards a critical geography. New York: Routledge. • Richard Florida, The Rise of the Creative Class Revisited, Part Two: Work. • David Hesmondhalgh, “Creative Labour as a Basis for a Critique of Creative Industries Policy” in Lovink and Rossitter, eds. (2007) My creativity Reader: A Critique of Creative Industries. Institute of Network Cultures: Amsterdam. • David Hesmondhalgh, The digitalisation of music, in Creativity, innovation and the cultural economy, edited by Andy C. Pratt and Paul Jeffcutt (Milton Park, UK: Routledge) Make relevant observations concerning the relevant policies, organisational behaviour, labour patterns, and management strategies used in the creative industries based on a familiarity on themes and forming persuasive arguments * Highlight discourses (legal & policy frameworks) * Address complexities * Informal Knowledge (Implicit Knowledge) not written knowledge (takes time) - Great deal of importance & force in creative industries - a long time of development