PENGUIN BOOKS
THE CREATIVE ECONOMY
John Howkins has advised Time Warner, IBM, Sky TV and many other companies on strategy and business development. He has worked for more than thirty governments, including those of the UK, the USA, Japan, China, Canada, Australia and Singapore, helping to formulate policy for their creative industries. He is a board director of Handmade Films plc and Hotbed Media, Deputy Chairman of the British Screen Advisory Council and a Governor of the London Film School. He founded and directed the Adelphi Charter on Creativity, Innovation and Intellectual Property (www.adelphicharter.com). The John Howkins Research Centre on the Creative Economy was opened in Shanghai in 2006. For more information contact www.creativeeconomy.com.
John Howkins
THE CREATIVE ECONOMY
HOW PEOPLE MAKE MONEY FROM IDEAS
PENGUIN BOOKS
PENGUIN BOOKS
Published by the Penguin Group
Published by the Penguin Group
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First published by Allen Lane The Penguin Press 2001
Published by Penguin Press 2002
Reprinted with updated material 2007
Copyright John Howkins, 2001, 2007
All rights reserved
The moral right of the author has been asserted
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser
ISBN: 9780141910239
CONTENTS
INTRODUCTION: THE ART OF THE PATENT
NEWS FROM THE FRONT
Towards the end of the twentieth century, the nature of work changed. In 1997 America produced $414 billion worth of books, films, music, TV and other copyright products. Copyright became its number one export, outselling clothes, chemicals, cars, computers and planes. Fortune magazine said basketball player Michael Jordan's personal economic value, gained through copyrights and merchandising, exceeded the Kingdom of Jordan's gross national product.
In 1998 theatres in the West End and Broadway spent over three times as much on intellectual property as on the bricks-and-mortar kind. In the West End, theatre owners spent 26 million a year on copyright royalties and only 8 million a year on their buildings. Britain's music industry employed more people and made more money than did its car, steel or textile industries.
In 1999, Telecom, the world's biggest communications fair, held in Geneva every four years, attracted so many people that the Swiss Tourist board was obliged to open the city's nuclear shelters for emergency accommodation. The charge was Sw Fr 25 per night including taxes and service (the service, I was told, was minimal). Over 190,000 people wanted to see the latest developments in media, communications and the Internet.
Also in 1999, the US Patent and Trademark Office issued a record number of 169,000 patents. As well as patenting the usual mechanical inventions and gadgets, it gave patents for business methods (which raised some eyebrows). It gave Dell Computers a patent not for the computers it sold but for the way it sold them. It gave Amazon.com a patent for the way people ordered its books and CDs. The Amazon patent contains this phrase: Modifications within the spirit of the invention will be apparent to those skilled in the art. The appeal to a person skilled in the art is a standard tactic in patenting worldwide. I call this the art of the patent.
During the same year, the British Patent Office awarded a patent for the technique of cloning Dolly, a sheep. The patent covers the possible use of the technology in cloning human cells. In Norfolk, a housewife was reprimanded and given a legal notice when she propagated a plant bought at her local garden centre and tried to sell the cuttings. She and her parents have been propagating plants for generations, but new rules made her gardening habits a civil offence.
What is going on?
A NEW ECONOMY
These diverse activities have one thing in common. They are the results of individuals exercising their imagination and exploiting (or preventing others from exploiting) its economic value.
This book is about the relationship between creativity and economics. Creativity is not new and neither is economics, but what is new is the nature and extent of the relationship between them, and how they combine to create extraordinary value and wealth.
There has been a rapid spread of patents, copyright and trademarks. Intellectual property used to be an arcane and boring subject, something for specialists only, but within the past few years it has become a powerful influence on the way everyone has ideas and owns them, as well as on global economic output. Accountants Arthur Andersen say electronics, software, health-care, consumer goods, telecommunications, media and entertainment are substantially dependent upon intellectual property; I would add biology, agriculture and education. When I look at some countries' patenting policies, I am inclined to add everything else.
When he was arguing the case for America's first federal copyright law, President George Washington said it would increase the stock of knowledge, and knowledge in every country is the surest basis of public happiness. Nowadays, a US president would be more likely to say it is the surest basis of business competition.
People with ideas people who own ideas have become more powerful than people who work machines and, in many cases, more powerful than the people who own machines. Yet the relationship between creativity and economics remains almost invisible. I decided to see if I could bring together all these elements creativity, intellectual property, management, capital, wealth into a single comprehensive framework. This book is the result.
First, some definitions. Creativity is the ability to generate something new. It means the production by one or more people of ideas and inventions that are personal, original and meaningful. It is a talent, an aptitude. It occurs whenever a person says, does or makes something that is new, either in the sense of something from nothing or in the sense of giving a new character to something. Creativity occurs whether or not this process leads anywhere; it is present both in the thought and in the action. It is present when we dream of paradise; when we design our garden; and when we start planting. We are being creative when we write something, whether it is published or not; or invent something, whether it is used or not. I use the word
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