This volume is devoted to innovation with a special focus on its two sides, namely creation and destruction, and on its role in the evolution of capitalist economies. The first part of the book looks at innovation and its effects on economic performance, addressing issues of motives, behavioral rules under uncertainty, actor properties, and technology characteristics. The second part concentrates on potential consequences of innovative activities, in particular structural change, the "innovation-mediated" effect of skill-oriented policies on regional performance, the destructive effects of innovation activities, and the question whether novelty is always good. The role of innovation in the evolution of capitalism itself is discussed in the third part.

The outcome of innovation processes are determined by complex, historically grown valuation practices. In this book, a wide range of innovations are taken into consideration, from small inventions like entertainment novelties to large societal changes through new technologies. The chapters observe the particular local or distributed sites in which their episodes of innovation take place, and they identify the initial dissonance among those judging a newly proposed alternative. The emphasis of the inquiry, however, is on the practices of valuation that are at work when something succeeds in being "new". The authors represent a wide variety of sub-disciplines and national backgrounds in the social sciences. They share an interest in social valuation and a pragmatist approach. The differences between their empirical evidence reflect the wide variety of appearances that valuation takes in contemporary society. They are anthropologists, economic or cultural sociologists, organization researchers, historians or political scientists. A number of chapters deals with aesthetic valuation, as in the tasting of a new vintage, or in the socio-technical process that shaped successful synthesizer sounds. Other chapters discuss the judgment processes in organizations, like architect offices or consultancy firms, and processes of evaluation and valorization in larger fields of practice, like accounting or mathematics. The studies are both of interest in their various professional fields, and contribute to a more general understanding of the social and cultural conditions under which innovations fail and succeed.

This book argues for the increasing importance of the arts as a major resource in fuelling growth through the experiential dimension of today's economy. As we move from the knowledge economy to a new stage called the joyful economy, consumers shift their spending from physical objects and technical know-how to experiences of joy and disappointment. This book investigates how artistic ideas are translated into successful commercial production, and how economic growth impacts artistic invention. It examines cases of successful innovation in the creative industries ranging from the Italian Renaissance to the present. The book suggests a framework where social players move in diverse worlds of value, which leads to a stream of controversies and manias that result in the establishment of new joy products. Studies include the effect of linear perspective, as pioneered by Filippo Brunelleschi, the discovery of taste as an argument for consumption, the serial production of Pop Art and the self-commercialization of contemporary works by artists like Takashi Murakami . This theoretical and empirical study brings together the fields of cultural economics, economic sociology, management studies and cultural history. In doing so, it offers a fascinating study of how creativity has shaped and fuelled commerce.

This book constitutes the proceedings of the 9th Workshop on RFID Security and Privacy, RFIDsec 2013, held in Graz, Austria, in July 2013. The 11 papers presented in this volume were carefully reviewed and selected from 23 submissions. RFIDsec deals with topics of importance to improving the security and privacy of RFID, NFC, contactless technologies, and the Internet of Things. RFIDsec bridges the gap between cryptographic researchers and RFID developers.

Much recent discussion surrounding valuation of the arts and culture, particularly in the policy arena, has been dominated by a concern to identify an economic and financial basis for valuation of art works, arts, activities and more general ways in which we express our culture. Whereas a great deal can be gained from a fuller understanding of the economic value of art, there is a real danger that financial considerations will tend to crowd out all other aspects of value. This book moves beyond the limitations implicit in a narrow economic approach, bringing different disciplinary viewpoints together, opening up a dialogue between scholars about the processes of valuation that they use and exploring differences and identifying common ground between the various viewpoints. The book's common theme - the tension between economic and cultural modes of evaluation - unites the chapters, making it a coherent and unified volume that provides a new and unique perspective on how we value art.

This book argues for the increasing importance of the arts as a major resource in fuelling growth through the experiential dimension of today's economy. As we move from the knowledge economy to a new stage called the joyful economy, consumers shift their spending from physical objects and technical know-how to experiences of joy and disappointment. This book investigates how artistic ideas are translated into successful commercial production, and how economic growth impacts artistic invention. It examines cases of successful innovation in the creative industries ranging from the Italian Renaissance to the present. The book suggests a framework where social players move in diverse worlds of value, which leads to a stream of controversies and manias that result in the establishment of new joy products. Studies include the effect of linear perspective, as pioneered by Filippo Brunelleschi, the discovery of taste as an argument for consumption, the serial production of Pop Art and the self-commercialization of contemporary works by artists like Takashi Murakami . This theoretical and empirical study brings together the fields of cultural economics, economic sociology, management studies and cultural history. In doing so, it offers a fascinating study of how creativity has shaped and fuelled commerce.

The book offers new theoretical perspectives on innovation, analyzes innovation processes in diverse innovation fields, and presents case studies that reflect the diversity of innovations fields. To what extent and in what sense does innovation characterize our societies today? Innovations are no longer limited to the economic sphere; we find them in almost all areas of society today. Diverse actors generate innovations in different, increasingly reflexive ways. New concepts, practices, and institutional forms such as open source, crowdfunding, or citizen panels expand the spectrum.

This volume is devoted to innovation with a special focus on its two sides, namely creation and destruction, and on its role in the evolution of capitalist economies. The first part of the book looks at innovation and its effects on economic performance, addressing issues of motives, behavioral rules under uncertainty, actor properties, and technology characteristics. The second part concentrates on potential consequences of innovative activities, in particular structural change, the "innovation-mediated" effect of skill-oriented policies on regional performance, the destructive effects of innovation activities, and the question whether novelty is always good. The role of innovation in the evolution of capitalism itself is discussed in the third part.

Much recent discussion surrounding valuation of the arts and culture, particularly in the policy arena, has been dominated by a concern to identify an economic and financial basis for valuation of art works, arts, activities and more general ways in which we express our culture. Whereas a great deal can be gained from a fuller understanding of the economic value of art, there is a real danger that financial considerations will tend to crowd out all other aspects of value. This book moves beyond the limitations implicit in a narrow economic approach, bringing different disciplinary viewpoints together, opening up a dialogue between scholars about the processes of valuation that they use and exploring differences and identifying common ground between the various viewpoints. The book's common theme - the tension between economic and cultural modes of evaluation - unites the chapters, making it a coherent and unified volume that provides a new and unique perspective on how we value art.

Innovation als dauerhafte kreative Anstrengung und systematische Durchsetzung des Neuen gilt als Kerninstitution moderner Wirtschaft. Gegenwartig beobachten wir eine Ausweitung auf alle Felder, Arten und Phasen der Innovation: Innovationsprozesse - so die These - werden zunehmend reflexiv im Lichte von Informationen uber Innovationen gesehen, breiter verteilt von mehr Akteuren und heterogenen Instanzen gestaltet und situativ orientiert an wechselnden und gemischten Leitreferenzen vollzogen. Reflexive Innovation in diesem Sinne wird zur treibenden Kraft der Innovationsgesellschaft. Die Beitrage wurden von Antragstellern, Gasten und Gutachtern des DFG-Graduiertenkollegs "Innovationsgesellschaft heute: Die reflexive Herstellung des Neuen" verfasst.

Studienarbeit aus dem Jahr 2014 im Fachbereich Politik - Sonstige Themen, Note: 1, Sprache: Deutsch, Abstract: 4. August 2011, London: Einheiten der Londoner Polizei bewegen sich im Problemviertel Tottenham. Es handelt sich um einen Einsatz im Rahmen der organisierten Bandenkriminalitat, welche in diesem Stadtteil seit Jahrzehnten floriert. Kriminelle Gruppierungen aus Kulturen aus aller Welt treffen hier aufeinander, weshalb Tottenham als eines der Zentren der Bandenkriminalitat Londons gilt. Kurz darauf liegt ein 29-jahriger blutuberstromt am Boden - getroffen von der Kugel aus der Waffe eines Polizisten. Die anfangliche Argumentation der Londoner Polizei, der Schutze habe aus Notwehr gehandelt, wird kurz darauf widerlegt. Der Tod von Mark Duggan ist der Ausgangspunkt fur eine Serie von gewalttatigen Ausschreitungen in ganz Grossbritannien, welche auf der ganzen Welt erhebliche mediale Aufmerksamkeit erreichte und den Tod von funf Menschen zur Folge hatte. Da die Beteiligten an den tagelangen teils burgerkriegsahnlichen Zustanden zumeist weder einen politischen noch einen ideologischen Hintergrund hatten, versuche ich zu Beginn der Arbeit die gesellschaftlichen Rahmenbedingungen fur junge Migranten in Grossbritannien sowie den Einfluss der organisierten Bandenkriminalitat auf die Unruhen zu erortern. Nur so ist es moglich zu verstehen, wie es zu einer derart gewalttatigen Eskalation wie im August 2011 kommen konnte."