Creative Destruction

In this paper, we experiment and adopt „new‟ economic approaches to interrogate some of the fundamental changes and continuities in the music industry „system‟ that have been produced as a result of digitalisation. In this experiment, we also include established techniques of media industries‟ analysis like a value-chain analysis (e.g. Küng, Picard and Towse 2008) and the distinction between audience and users markets, following the seminal work by Picard (1989). However, not only we consider the music industry as composed by three segments: (1) the digitalisation of content production in the music industry stage; (2) the distribution and marketing stage; (3) the delivery and exhibition stage, but we also attempt to provide a map of the increasing variety of activities in each segment. Moreover, we embrace a service activity perspective and pay particular attention to changing relationships between these activities. Our account of the main changes to the music industry relies on evidence derived from the findings of a recent empirical research study of the music industry in Ireland, and in the conclusions we discuss the significance of the effects of unauthorised downloads of music and provide arguments on how the industry could deal with this issue.
http://obs.obercom.pt/index.php/obs/article/view/514/471

Designers self-identify as creatives, but as Tony Fry insists with regard to sustainability, all acts of creation involve destruction. This chapter interrogates different ways in which this destructiveness can be embraced by designers to rid the world of stuff, a project that Tony Fry has called 'elimination design.' To do so, designers need to acknowledge the extent of their destructive powers, the ways in which good design always involves replacing existing things and focusing the habits of users on some activities at the expense of other existing ones.

publiziert in:

Global Research, 13.05.2020

https://www.globalresearch.ca/author/aidan-obrien

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Liebe Mitbürger,

damit das mal klar ist: das Merkel-Regime ist eine kriminelle Organisation, um die BRD als (noch) funktionierenden Staat zu zerstören und in eine kapitalistengesteuerte 'Gesundheits'-Diktatur zu überführen. Ihr werdet dann zu Schäfchen werden, oder anders ausgedrückt, zu Sklaven!
Ihr könnt gerne weiterschlafen, aber beschwert Euch dann später nicht, niemand hätte Euch gewarnt!

Alex
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On March 30 Germany declared the important Lebanese political group, Hezbollah, to be a “terrorist” organization and banned it from German soil. By doing so it gratuitously increased the tension in the eastern Mediterranean and exposed Berlin’s lack of credibility on the world stage.
Is it really in Germany’s interest to destabilize a region that has already been crippled by multiple wars? On the surface Germany doesn’t appear to have a stake in the politics of Lebanon. Indeed, from whatever angle the situation is viewed from, Germany qua Germany doesn’t have a meaningful stake in Lebanon. Yet Berlin is assaulting the sovereignty of this small Mediterranean nation that means no harm.

This paper shows how the concept of the 'Gesamtkunstwerk' (total or universal work of art), which originated as 'Artwork of the Future' in Richard Wagner's 'Zurich Writings', is rooted in Wagner's reading of Hegel's 'Phenomenology of Spirit', particularly of the section on 'Das geistige Kunstwerk' (The Spiritual Work of Art). Wagner's conceptions of a 'Kunstwerk der Zukunft' and a universal 'Kunstgenossenschaft' must be interpreted as a failed attempt to provide a solution for the negative deadlock of modernity and thus an alternative to today's total work of art: capitalism.

Despite the dire implications of anthropogenic climate change, societies have failed to take comprehensive action to reduce greenhouse gas emissions. A major reason for the lack of social and political engagement on this issue is the way in which political myths function to overcome the contradiction of environmental degradation and endless economic growth. Through a qualitative analysis of Australian business responses to climate change, we outline how the myths of corporate environmentalism, corporate citizenship and corporate omnipotence absorb and adapt the critique of corporate capitalism, while enabling ever more imaginative ways of exploiting nature – a process of ‘creative self-destruction’. Rather than seeking to falsify these myths, we explore how they are supported and what they seek to achieve – the work of myths. Revealing the nature of current political myths in relation to climate change is, we argue, a necessary first step to constructing alternative imaginaries.

Schumpeter understands Creative Destruction as the essential fact about capitalism, i. e., the genuine experience in the capitalist civilization. This is the resulting of the modernization processes, which entail the trend to the radical change in all the socioeconomic dimensions –a trend ties significantly in with entrepreneurship. However, lately, some have understood Creative Destruction in two new ways, both supplementary to what Schumpeter said. On the one hand, as a desire, according to which everyone has to destroy and create the conditions of her or his own life. On the other hand, as a criticism, whereby the aforementioned essential fact is conceived like a postulate for a critical theory of modernity. These two ways involve, thus, their political philosophy. According to this general approach, in this doctoral thesis, I analyse how Creative Destruction is proceed from and spread and where it can be recognised at present.

https://peds-ansichten.de/2019/08/pnac-fpi-kreative-zerstoerung/

Die Geschichte, die wir ob der weltweiten Kriege zu hören bekommen, läuft immer nach dem gleichen Muster ab. Gesellschaften, vor allem "Diktaturen" versinken im Chaos, so dass die freiheitlichen Demokratien gezwungen sind, den bedrängten Menschen zu helfen. Doch ist das nicht die Realität. Ausgehend von den westlichen Machtzentren heraus und nach eigens in mächtigen Denkfabriken entwickelten Rezepten wird Chaos gezielt hervorgerufen. Beklemmend ist das Pathologische der Konzipierung und Umsetzung innerhalb dieser geistigen Schulen des Krieges.

The destruction of images is a process that often produces a new imaginary, a visual spectacle in itself. Even after the original image has been obliterated, its absence can create its own powerful aesthetic that survives centuries. The article focuses on two historical case studies: the iconoclasm in Zurich in the 1520s and the National Socialist attack on so-called degenerate art. Through these, it aims to show how destruction can yield a total work of art through a carefully planned, even scripted, process that is far removed from the «lunatic running around with a sledgehammer» stereotype. It argues that many attacks on images are characterised by transformation, mysticism and performativity, during which a careful oscillation between absence and presence plays an important role. Ultimately, this contribution strives to create a new understanding of destructions of images through the frame of the Gesamtkunstwerk.

KEYWORDS Destruction of Art; Iconoclasm; Degenerate Art; National Socialism; Reformation; Zwingli; Spectacle; Audience Participation

Alex’s actions can be interpreted as actions driven by the will to destroy and harm his surroundings and the people who inhabit them, that is, the society in which he lives. Violence subsequently becomes an instrument of individual expression. Like Morales writes in his brief article, violence as employed by Kubrick in his film “serves a communicative purpose apart from its aesthetic values.” Therefore, it seems as if the instances in which violence metamorphoses into art were those in which violence becomes a means of personal expression and carries within itself a specific message.

How could one oversee the monumental modern landscape that has been created by continuous technological innovations? Notwithstanding a few students of international relations who have insisted in taking notice, technology has remained an exotic subject matter in International Relations theory (IR). While the interest in technologies is recently growing most IR scholarship remains silent: the fact that we live in a fully integrated and interconnected technological world is largely absent from textbooks and introductions to IR. Neither exist theoretical approaches and paradigmatic debates that are concerned with technologies, nor a specific intra-disciplinary subfield. Against this background, this book explores how technological innovations could be theorized and integrated into IR theories. Revisiting the inroads of theoretical approaches to technologies, it highlights the lightness of IR scholarship. The general framework of IR looks at the world as if there were no materials or rather, as if the pervasive presence of artifacts and infrastructures would have no theoretical relevance for conceptualizing and examining world politics. Drawing on ontological and epistemological understandings from anthropology, innovation economics, and science and technology studies, I take issue with the philosophical foundations of the discipline. The concepts and practices which ultimately sustain this lightness are interrogated: the neglect of technological innovation does not merely result from coincidental intellectual moves. It is rather the result of the “Cartesian complex”—the foundational commitment that renders IR a purely social science that deliberately excludes non-humans and hybrid material modes of agency. A conceptual refashioning is therefore required to the extent to which IR theory aims to accommodate the highly complex and elusive subject matter of technological innovations. This conceptual catharsis does not primarily touch upon epistemological concerns. What is at stake is the limitation of ontological parameters that underpin IR theories. To make sense of the messy technological landscapes, the material agency, and the technologically mediated practices, the prevailing logocentric wisdom needs to be transcended. Against premature metaphysical closure, this book thus contributes to the task of ontological expansion. Firstly, it develops an alternative meta-theoretical foundation coined “explorative realism”. A new meta-theoretical matrix is proposed that renders wider ontological parameters intelligible. Especially, the “double-mixed” zone encourages ontological expansion via notions of heterogeneous agency and process philosophy. This implies that IR scholars avoid treating time, space, knowledge, artificial objects, and built environments as constants but as always croproduced. A coproductive commitment opens up new empirical issues and concerns as well as radically different theoretical puzzles. It also implies overcoming Cartesian dualism, abandoning intentionality-based notions of agency, and forgetting the “level of analysis” assumption. Secondly, this book advances a theoretical toolbox consisting of two interrelated concepts: “assemblages” and “creative destruction”. The former term signifies evolving actor-networks as unit of analysis entailing both humans and non-humans. The latter captures the ways in which technological innovations give rise to, alter or destabilize assemblages across all levels through a process of translation. This theoretical vocabulary also reconceptualizes the meaning of “power”, “authority” with reference to technological innovations. Three models of creative destruction enable the mapping of magnitudes of translations, the changing size and topologies of assemblages and the shifting power and authority. These efforts to theorize technological innovations, then, support empirical research about global transformations as processes of emergence with a set of conceptual tools that allows locating and systematizing cases, puzzles, and scales in relation to assemblages. The study of technological innovations leads to the discovery of novel empirical landscapes and inspires a creative questioning of IR’s foundations. As such, while responding to the dearth of theoretical approaches in IR that make sense of technological innovations, this study contributes to the articulation of both a materialist and a post-Cartesian version of IR.

Small-scale public spaces form an essential part of Barcelona’s urban development. During the beginning of the democratic era, Oriol Bohigas began the reconstruction of the city by creating small-scale public spaces of quality with the purpose of “higienizar el centro y monumentalizar la periferia”. They were applied in all the districts of Barcelona, with the intent of compensating for the loss of open spaces and segregation caused during the dictatorship. Thus, the city gained a series of small public spaces that recovered its urban fabric and provided a better quality of life and coexistence. The means of creating these small-scale public spaces is through the ‘esponjamiento’ of the urban fabric, that involved a selective destruction of specific deteriorated sites and the redevelopment of residual spaces. The study of the historic framework of these operations in Barcelona demonstrates that the creation of small public spaces through ‘esponjamiento’ is attributed to the GATCPAC’s sanitation plan for the old town, and the interventions of Adolf Florensa in the city. This method originated from the concerns of urban hygiene in the 19th century. European industrial cities were suffering from epidemics, overpopulation and insalubrity, and the first measures of urban hygiene were through the ‘eventrement’ of the city, opening it up with large straight axes that crossed though its urban fabric eliminating everything in their path. In Barcelona, the first initiative was by tearing down its walls and expanding into the Plain. Ildefons Cerdà drafted his expansion plan focusing a great deal on hygiene and ventilation and provided the blocks in his grid with small-scale interior courtyards. As for the old town, early measures were taken through the ‘eventrement’ of the old fabric initially proposed by Cerdà and later redeveloped by Àngel Baixeras. Thus, began the opening of the Via Laietana that resulted in the loss of large amounts of historic and monumental buildings. From that moment, the creation of small-scale public spaces through ‘esponjamiento’ was born as an alternative solution to large-scale demolitions and expropriations. And thanks to this procedure Barcelona gained a network of small-scale public spaces that still play an important role in our present day.

"The creative destruction of existing industries as a consequence of discontinuous technological change is a central theme in the literature on industrial innovation and technological development. Established  competence-based and market-based explanations of this phenomenon argue that incumbents are seriously
challenged only by ‘competence-destroying’ or ‘disruptive’ innovations, which make their existing knowledge base or business models obsolete and leave them vulnerable to attacks from new entrants. This paper challenges these arguments. With detailed empirical analyses of the automotive and gas turbine
industries, we demonstrate that these explanations overestimate the ability of new entrants to destroy and disrupt established industries and underestimate the capacity of incumbents to perceive the potential of new technologies and integrate them with existing capabilities. Moreover, we show how intense
competition in the wake of technological discontinuities, driven entirely by incumbents, may instead result in late industry shakeouts. We develop and extend the notion of ‘creative accumulation’ as a way of conceptualizing the innovating capacity of the incumbents that appear to master such turbulence.
Specifically, we argue that creative accumulation requires firms to handle a triple challenge of simultaneously (a) fine-tuning and evolving existing technologies at a rapid pace, (b) acquiring and developing new technologies and resources and (c) integrating novel and existing knowledge into superior products and solutions."

Abstract: Individuation as the process of psychological maturation is associated with the way of the spirit, equal to the ‘narrow path’. Social and worldly adaptation as central aspects of individuation are overvalued. It is generally held that symbolic transformation of unconscious images fulfils a therapeutic function. This view is criticized as a way of upholding the stagnant ego. On the contrary, transformation must be authentic. The notion of ego abandonment in spiritual tradition should be taken seriously. Central to psychology is the integration of the unconscious. But equally important is the opposite process of ‘complementation’. Consciousness is not only synthetic; it has also a ‘sympathetic’ function. Consciousness can give life back to the unconscious and not only empty it of its goods. To this end, a creative form of contemplation is recommended, in the manner of painting or writing. The destruction of the stagnant state of personality, and the riddance of aspects of personality, are part and parcel of individuation. Today, adaptation and assimilation are overvalued whereas negation is undervalued. The Self in Jungian psychology is a towering ideal, a conglomerate of contradictory aspects of personality. At a point in time, the spiritual seeker must abandon the ideal of completeness and begin to negate his profane obsessions, which are nothing but meaningless games of life. At this juncture, the passionate game of creativity is ushered in.

Keywords: critique of Jungian psychology, integration, complementation, negation, destruction, spiritual path, art, individuation, apotheosis, alchemy, Gnosticism, Holy Grail, C. G. Jung, Emanuel Swedenborg, Poul Bjerre.

Live Keynote by Johannes Preiser-Kapeller (Austrian Academy of Sciences) for the 4GAMECHANGERS-Festival of the Austrian TV stations Puls24 and ORF, 28 June 2022

Video: https://www.puls24.at/video/4gamechangers/4gamechangers-festival-creative-destruction-die-kosten-der-innovation/v-cl0aknqznp15

Follow up-Interview:  https://www.puls24.at/video/4gamechangers/4gamechangers-festival-johannes-preiser-kapeller-im-interview/v-cl0aknqz6dkp?

Die 10. deutschsprachige Auflage und erste vollständige Übersetzung von Joseph A. Schumpeters "Capitalism, Socialism and Democracy" (Kapitalismus, Sozialismus und Demokratie. Mit einer Einführung von Heinz D. Kurz, übersetzt von Susanne Preiswerk (Teil I-IV) und Theresa Hager, Philipp Kohlgruber und Patrick Mellacher (Teil V). Narr Francke Attempo. Tübingen 2020) ist Anlaß, seine wissenschaftliche Leistung zu würdigen und der Reduktion Schumpeters auf dieses Buch und auf „Creative destruction“ zu widersprechen.
Der in der wirtschaftspolitischen Zeitschrift "Recherche D" erschienene Text (Ausgabe 10 | August 2020, S. 34-38) ist eine Richtigstellung zu der in der 6. Ausgabe der gleichen Zeitschrift (August 2019, S. 48-50) mißglückten Würdigung von Schumpeter unter dem Titel „Schumpeter und die schöpferische Zerstörung“. Für den Druck mußte der Text drastisch gekürzt werden (auch als amazon-Rezension: https://www.amazon.de/gp/customer-reviews/R11UGOY8KZWXO0?ref=pf_ov_at_pdctrvw_srp) sowie in "Philosophischer Literaturanzeiger" 4/2023 S. 364-375 (https://zs.thulb.uni-jena.de/receive/jportal_jparticle_01349979). Der vollständige Text nun hier als PdF.

In Notzeiten, bei Gefahr erwartet man, daß die Politik dazu beiträgt, die Not zu wenden, aber eben ohne eine noch größere Not zu erzeugen.
Der Staat hätte in der Coronakrise die Kreativität von Unternehmern gut gebrauchen können. Das verordnete wirtschaftliche Koma war allein schon deshalb komplett falsch.
Demokratie und Marktwirtschaft oder Bevormundung und Sozialismus: Sind wir in einer Krise alle Sozialisten?

Mein Artikel ist zuerst am 5. Mai auf der Internetseite von „Recherche D“ erschienen (https://recherche-dresden.de/not-abwenden-ohne-noch-groessere-not-zu-erzeugen/) sowie in "Recherche D" Ausgabe 10 | August 2020, S. 40-43. Und dann noch, wie hier vorliegend, weiter ergänzt worden.
Die Annahme, das Handeln der GroKo-Regierung sei vom Machterhaltungsinteresse geleitet, aus der deduktiv geschlossen wurde, stützt sich auf frühere Meldungen, Frau Merkel lasse sich regelmäßig Meinungsumfragen vorlegen und richte anscheinend daran ihr Auftreten und auch ihre Entscheidungen aus: Ihre 180-Grad-Wenden in der Atomenergiefrage nach der Fukushima-Katastrophe und in der Flüchtlingskrise waren ja auch beifallsheischend und sie will unbedingt „unschöne Bilder“ vermeiden.
Inzwischen gibt es hinreichend Fakten, die die Schlußfolgerungen bestätigen und induktiv folgern lassen: Die Reaktionen der Regierung – sowohl das anfängliche Nicht-Handeln wie die späteren restriktiven Maßnahmen – sind allein machtorientiert. Fakten liefert dazu insbesondere die Analyse des Krisenmanagements von Oberregierungsrat Stephan Kohn, stellvertretender Leiter der Abteilung KM4 im Bundesinnenministerium (PdF: https://www.tichyseinblick.de/wp-content/uploads/2020/05/Corona-Ma%C3%9Fnahmenbewertung.pdf).

Recent literature in the world-systems perspective has refocused attention on questions of 'core' and 'periphery' in historical capitalism, yet rarely critically examines the underlying assumptions regarding these zones. Drawing on a developing dataset on the world's wealthiest individuals (the World-Magnates Database), we trace the development and expansion of sugar circuits across the Atlantic world from the sixteenth through the eighteenth centuries to explain how the sugar commodity chain leads us to rethink some prevailing notions of core and periphery. Namely, we challenge the notion that these zones consist of geographical spaces that, since very early in the development of the world-economy, became permanently specialized in the production of raw materials (periphery) or more sophisticated manufactures (core); and that labor forces have been trans-historically relatively free/better-paid in core activities and coerced/poorly-paid in peripheral ones. We argue that, prior to the nineteenth century, the world-economy is not only characterized by the uneven and combined emergence of various forms of labor exploitation, as usually argued within a world-systems perspective, but also one in which core-like and peripheral activities (that is, those providing access to relatively greater or lesser wealth) were not yet as clearly bounded geographically as they would become in the nineteenth and twentieth centuries. We find that a longue-durée analysis of sugar production by enslaved labor illustrates not merely processes of peripheralization, but of what we call coreification.

Venture capitalists find, fund, and assist high-impact entrepreneurs—individuals whose firms are instruments of Schumpeter’s (1939) “creative destruction” and the “creation of new economic spaces” (Acs, 2008). These entrepreneurs form firms characterized by a lack of substantial tangible assets, the expectation of several years of negative earnings, and extremely uncertain prospects. Venture capitalists provide these high-potential ventures with capital, advice, contacts, and experience. They bring to the table a host of financial and organizational “technologies” including screening capabilities, due diligence processes, staged financing, investment syndicates, compensation contracts, and corporate governance practices. Through these activities, venture capitalists help bring unproven, innovative ideas to market, overcoming the uncertainty and risk associated with new business development (Berger & Udell, 1998; Gompers & Lerner, 2001; King & Levine, 1993).

This article argues that Schumpter’s framework of “creative destruction” can, with minor modifications, be used to evaluate and interpret the regeneration and rebuilding process following Hurricane Katrina on the Mississippi Gulf Coast. The end result of this rebuilding has been the exclusion of the working class and poor from the coast, as concurrent agents force delays and erect bureaucratic barriers to rebuilding.

This book offers an interpretation of Italy’s decline, which began two decades before the Great Recession. It argues that its deeper roots lie in the political economy of growth. This interpretation is illustrated through a discussion of Italy’s political and economic history since its unification, in 1861. The emphasis is placed on the country’s convergence to the productivity frontier and TFP performance, and on the evolution of its social order and institutions. The lens through which its history is reviewed, to illuminate the origins and evolution of the current constraints to growth, is drawn from institutional economics and Schumpeterian growth theory. It is exemplified by analysing two alternative reactions to the insufficient provision of public goods: an opportunistic one—employing tax evasion, corruption, or clientelism as means to appropriate private goods—and one based on enforcing political accountability. From the perspective of ordinary citizens and firms such social dilemmas can typically be modelled as coordination games, which have multiple equilibria. Self-interested rationality can thus lead to a spiral, in which several mutually reinforcing vicious circles lead society onto an inefficient equilibrium characterized by low political accountability and weak rule of law. The book follows the gradual setting in of this spiral, despite an ambitious attempt at institutional reform, in 1962–4, and its resumption after a severe endogenous shock, in 1992–4. It concludes that innovative ideas can overcome the constraints posed by that spiral, and ease the country’s shift onto a fairer and more efficient equilibrium.

Economic themes have recently become a conspicuous feature of the Italian novel. Many of these works contrast the present economic order with that of a mostly idealized past. This paper contains a close reading of a selection of such novels analyzed from an economic perspective. It seeks to explain how the authors' criticism of today's economy and the moral stance their stories project relate to a particular interpretation of economic mechanisms. The novels included in the analysis are the following: Come ho perso la guerra, by Filippo Bologna; Dove eravate tutti, by Paolo Di Paolo; La caduta, by Giovanni Cocco; La fine del mondo storto, by Mauro Corona. The study is part of a larger project on the literary representations of contemporary economic issues. The paper is in Italian.

With this paper, I try to concentrate on what creative destruction means, how this conceptualization has emerged throughout exploitive history of the World and what were its impacts on Turkish economy and Turkish society. Creative destruction as a method of neoliberalist policies has been establishing a ground for lots of remarkable debates. However, still, it is considerably difficult to point out its “hidden” destructive feature besides creation dimension. Although, its obvious effects can be observed in our geography, still the question of how we can avoid of its long-term indirect devastation is not certain.

In the light of the after midterm readings offered by Turkish Economy course, I am going to divide my paper into three main parts, respectively how capitalism has coped with endemic crises and how the globalization of economy has facilitated this process, the methods of neoliberal practices with the focus of different aspects such as creative destruction, accumulation by dispossession and privatization. I will also seek to go into detail what might be the effects of creative destruction that we have been experiencing, especially in this last decade. At the end, I will conclude with the current devastation of this phenomenon in Turkey.