Bruno Lefèvre

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux.

The first part of the paper uses GMICP data to measure the degree of concentration in the various telecommunications, Internet services, and media markets, as well as changes in the relative sizes of these markets. Concentration levels and trends in market size are highly differentiated from one market to another, while the finesse of the data collected using the GMICP methodology makes it possible to analyze problematic situations while overall market concentration levels remain moderate. The second part, dedicated to discussion, identifies how the data collected within GMICP can contribute both to understanding the industrial, cultural, ethical, and political developments of these activities and to the contentious public debates in France on concentration, its challenges, and the necessary transformations in regulation. The theoretical framework is that of cultural industry theory, which is closely aligned with GMICP's objectives and methodology.

Artificial Intelligence (AI) has significantly reshaped the news media landscape in the fast evolving‎ digital ecosystem. While recent legislative measures and industry self-regulation initiatives have‎ emerged to address AI’s implications, the ethical challenges associated with its adoption in European‎ Union (EU) newsrooms and the ways news media organisations navigate regulatory frameworks and ‎internal initiatives remain underexplored. This study aims to bridge this gap by examining the conditions‎ under which AI tools are integrated into media organisations from both organisational and regulatory‎ perspectives. Drawing on an analysis of 30 key documents and 41 in-depth interviews with media‎ professionals and regulatory experts across three EU markets, the study uncovers key findings: a limited ‎discourse on AI use in media organisations, significant disparities in AI implementation practices, and an ‎absence of clear, actionable regulatory guidelines for addressing considerations in AI-driven news content.‎

Since the 2000s, particularly in most Western European metropolises including France, there has been an increase in the territorialisation of players in the cultural, creative and digital industries, jointly supported by public institutions and these industrial players, sometimes with the legitimising support of recognised experts and consultants. Over the past ten years, a movement has been gaining strength of mobilising actors described in the discourse as representatives of 'civil society' and 'citizens' groups', associated with militant associative networks. This paper presents the results of a research project started in 2020 which aims to characterise such mobilisations of local actors critical of territorial planning and economic development projects in the creative economy in France. The field study focuses on a dozen projects (e-commerce logistics centres, leisure parks with a cultural theme, creative neighbourhoods) that are being contested by local civil society and activist networks. Our methodology articulates the semio-discursive analysis of a corpus of 300 press articles and institutional communications related to these local projects, and about twenty interviews conducted with representatives of the main networks of local actors concerned by these projects. From a political economy perspective, the contrastive analysis of heterogeneous values and representations of the territory shows that these conflicts are part of a local geopolitics, governed by power relations between actors. By opposing these industrial projects in their own way, the collectives we observed are structuring and qualifying themselves to enable the ermergence of new forms of organisation, production and governance of the general interest. These mobilisations are thus part of a reticular and global process of construction of new forms of public spaces and seeking to integrate locally the major contemporary societal issues. These mobilisations of civil society aim at building conflicting public spaces that question both the status of the territory, notably between private and common good, and the modalities of its governance, which is judged unsuited to contemporary societal issues.

Depuis les années 2000, des clusters culturels, ou grappes d’entreprises du secteur culturel, se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement, ces territoires urbains se transforment, s’aménagent, se construisent, tant dans le cadre de politiques de renouvellement urbain que de projets de quartiers culturels créatifs. La rencontre de ces deux dynamiques sur les territoires induit d’importantes reconfigurations des représentations, des discours, des modes d’organisation et des modalités d’action des réseaux locaux d’acteurs culturels. Cet article caractérise, sur la base de trois clusters musicaux français, l’importance des rapports de force et des objets frontières dans ces processus d’émergence et de conduite de clusters culturels. Lorsqu’il devient majoritairement une ressource pour le développement territorial et la valorisation des espaces urbains, le développement du cluster apparaît déstructurant pour les réseaux d’acteurs culturels, notamment en accroissant l’invisibilité des pratiques et acteurs émergents.