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transmitted to it’, through ‘cross-disciplinary and cross-sectoral interactions’, and the<br />

creative industries are unusually people-centred. Thus it is the character of the<br />

industries <strong>knowledge</strong> base that shapes the business model characteristic of the<br />

creative industries - networks of small and micro-enterprises and specialist enterprises<br />

congregating in urban space.<br />

Despite Crossick’s focus on the creative industries, we found similar dynamics in the<br />

accounts of our expert witnesses from technology fields – in all cases, a recurrent<br />

theme is the importance of interpersonal relations to the emergence of new forms of<br />

<strong>knowledge</strong>. Jeremy Baumberg’s 24 description of <strong>knowledge</strong> practices in<br />

nanotechnology raises some interesting questions about the specificity of the<br />

processes that Crossick argues are generative of <strong>knowledge</strong> in the creative sector.<br />

Baumberg notes that nanotech is an experimentally led field in which theory is<br />

underdeveloped. While the patents spun off from research might be described as part<br />

of the ‘widget economy’, a problem-led approach in an emerging and unbounded field<br />

demands a disregard for disciplinary <strong>boundaries</strong>. Nanotechnology can be seen to be<br />

an environment where <strong>knowledge</strong> has yet to mature and become more closely<br />

imbricated <strong>with</strong> power in the form of disciplinary structures.<br />

Knowledge in such a rapidly changing field is constantly in flux, and the distinctions<br />

between ‘blue skies’ and applied research are harder to make in an emerging field.<br />

Analogously, one might see the interpersonal constitution of <strong>knowledge</strong> in the<br />

creative sector being related to factors such as the maturity of <strong>knowledge</strong>, or indeed<br />

the early stages of a development of a particular mode of <strong>knowledge</strong> production.<br />

Whether or not the particular characteristics of the creative industries are attributable<br />

to the bloom of youth is moot. Crossick’s admonition to avoid the use of conventional<br />

<strong>knowledge</strong> transfer instruments in <strong>innovation</strong> policy and to focus instead on the<br />

provision of ‘creative spaces’ to foster interpersonal interaction echoes the calls for<br />

capacity building expressed by our expert witnesses or implicit in their accounts of<br />

interdisciplinary engagement.<br />

It would then seem that an emphasis on product over process in research policy often<br />

fails to account for the ways in which <strong>knowledge</strong> is generated through interpersonal<br />

relations. A utility model of <strong>knowledge</strong>, its value being derived from its use,<br />

underpins the depersonalisation of <strong>knowledge</strong> evident in technology transfer models.<br />

This conception of <strong>knowledge</strong> discounts the generative potential of social<br />

relationships through which dispersed creativity and divergent practices might result<br />

in new forms of <strong>knowledge</strong> or <strong>knowledge</strong> practices. This insight would seem to be<br />

more widely applicable to innovative research beyond the creative industries 25 .<br />

24 Expert witness report<br />

25 Interestingly, the blurring of the <strong>boundaries</strong> between <strong>knowledge</strong>, objects and persons is<br />

commonplace in industries such as marketing that rely heavily on metonymy and metaphor to<br />

link values and personal attributes to products and brands. In this respect marketing practices<br />

are able to commercially operationalise the conflation of value and use.<br />

Innovation and Interdisciplinarity 41

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