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One significant change that is taking place is the shift towards more private sector participation in creative developments relative to their ‘traditional’ cultural counterparts. Because the creative industries are more readily viewed as ‘commercial’, there is a much greater expectation that creative enterprises will generate their own income and be less dependent on subsidy than other forms of culture. In fact, as Bayliss (2004) points out, cultural industries developments that have relied too heavily on public funding (such as Sheffield’s Cultural Industries Quarter) may be perceived as failures because they cannot sustain themselves without public funds.

Nevertheless, it is arguably better to be aspirational in one’s approach to regeneration, albeit keeping a realistic eye on what is actually achievable. The authors in this volume outline some examples of positive and innovative practice, which suggest that the future potential of cultural regeneration is truly inspirational. References Augé, M. (1995) Non-Places: Introduction to an Anthropology of Supermodernity. London, Verso. Bauman, Z. (2001) Community: Seeking Safety in an Insecure World. Cambridge, Polity.

80 90 100 20 Greg Richards and Julie Wilson have therefore arguably been even more important in generating tourism. The city embarked on a policy of developing arts festivals and leisure events in the 1990s, which was subsequently supported by the development of new creative spaces, including the expansion of the Boijmans Museum, a new National Architecture Museum and the Kunsthal art gallery (McCarthy, 1998). Such developments were marked by an entrepreneurial approach to the arts and leisure, which included the establishment of a ‘leisure industries’ department of the city government and the staging of privately managed publicly funded events.