Leading innovation expert Alec Ross explains what's next for the world, mapping out the advances and stumbling blocks that will emerge in the next ten years—for businesses, governments, and the global community—and how we can navigate them. While Alec Ross was working as Hillary Clinton's Senior Advisor on Innovation, he traveled to forty-one countries. He visited some of the toughest places in the world—from refugee camps of Congo to Syrian war zones. From phone-charger stands in Rwanda to R&D labs in South Korea, Ross has seen what the future holds. Over the past two decades, the Internet has radically changed markets and businesses worldwide. InThe Industries of the Future, Ross shows us what's next, highlighting the best opportunities for progress and explaining why countries thrive or sputter. He examines the specific fields that will most shape our economic future over the next ten years, including cybercrime and cybersecurity, the commercialization of genomics, the next step for big data, and the coming impact of digital technology on money, payments, and markets. And in each of these realms, Ross addresses the toughest questions: How will we have to adapt to the changing nature of work? Is the prospect of cyberwar sparking the next arms race? How can the world's rising nations hope to match Silicon Valley in creating their own innovation hotspots? Ross blends storytelling and economic analysis to give a vivid and informed perspective on how sweeping global trends are affecting the ways we live, incorporating the insights of leaders ranging from the founders of Google and Twitter to defense experts like David Petraeus. The Industries of the Future takes the intimidating, complex topics that many of us know to be important and boils them down into clear, plain-spoken language. This is an essential work for understanding how the world works—now and tomorrow—and a must-read for businesspeople, in every sector, from every country.

A standard-bearer of American design since 1993, House Industries answers the burning question, “Where do you find inspiration?” with this illustrative collection of helpful lessons, stories, and case studies that demonstrate how to transform obsessive curiosity into personally satisfying and successful work. Presented in House’s honest, authentic, and often irreverent style, and covering topics ranging from fonts and fashion to ceramics and space technology, this beautifully useful 400–page volume offers a personal perspective on the origin of ideas for creative people in any field. Most important, this book shows that there’s no sense in waiting for inspiration because inspiration is already waiting for you.

This interdisciplinary volume provides a critical and multi-disciplinary review of current manufacturing processes, practices, and policies, and broadens our understanding of production and innovation in the world economy. Chapters highlight how firms

"Hatcher [posits that] state governments and their private industry partners are profiting from the social safety net, turning America's most vulnerable populations into sources of revenue"--

This volume examines how social media is evolving as an industry—it is an extension of traditional media industries, yet it is distinctly different in its nature and ability to build relationships among users. Examining social media in both descriptive and analytical ways, the chapters included herein present an overview of the social media industries, considering the history, development, and theoretical orientations used to understand social media. Covered are: Business models found among the social media industries and social media as a form of marketing. Social media as a form of entertainment content, both in terms of digital content, and as a tool in the production of news. Discussions of ethics and privacy as applied to the area of social media. An examination of audience uses of social media considering differences among Latinos, African-Americans, and people over the age of 35. Overall, the volume provides a timely and innovative look at the business aspects of social media, and it has much to offer scholars, researchers, and students in media and communication, as well as media practitioners.

The study of media industries has become a thriving subfield of media studies. It already comprises a diverse intellectual history, a range of fascinating questions and topics, and many theoretical and methodological frameworks. Media Industry Studies provides the roadmap to this vibrant area of study. Blending a comprehensive overview of foundational literature with an examination of the varied scales and sites media industry studies have considered, the book explores connections among research questions, topics, and methodologies. It includes examples from many media industries – film, television, journalism, music, games – and incorporates emerging scholarship considering the industrial contexts of social and internet-distributed media. Offering an account of the intellectual traditions and approaches that have defined the subfield to date, Media Industry Studies is an indispensable resource for upper-level undergraduates, postgraduates, and scholars.

This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.