The$creave$industries:$ the$challenge$of$devising$and ...€¦ · 6530 Retail distribution (5%)...

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The crea(ve industries: the challenge of devising and using indicators Andy C Pratt [email protected] http://web.me.com/andycpratt/andy_c_pratt/Welcome.html

Transcript of The$creave$industries:$ the$challenge$of$devising$and ...€¦ · 6530 Retail distribution (5%)...

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The  crea(ve  industries:  the  challenge  of  devising  and  

using  indicators

Andy  C  [email protected]://web.me.com/andycpratt/andy_c_pratt/Welcome.html

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Evidence Based Policy� Policy making based upon transparency

� Critical in policy process, terms of evaluation considered at the start.

� Possibility of learning

� Key is identification of processes, not indicators� Understand what is happening

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Data for the creative economy� In the past

� Data was collected for advocacy purposes� It was not used for evaluation� Opportunistic measures� Not comparable� Lacked legitimacy

� What we need� Core concepts and theories� Information (quantitative and qualitative)� Comparative information� Policy development

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Creative economy data: characteristics

� What we don’t know� In the dark

� Invisible� We don’t know how much of what� We don’t know what causes what

� What we do know� Data on the sector – external analysis (usually collected for other

purposes)� Data of the sector – internal needs (consumption/participation)� Data for governance of the sector (collected for purpose)

� Why we don’t know� Concepts and definitions

� Unstable, or inappropriate� Rapidity of change� It’s new� It’s in the informal economy� How it’s organised

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Defini(ons:  3  phasesGirard  -­‐  UNESCO

based  in  UNESCO  needs  and  communicationsFocus  on  Artist/Practitioner

Secondary  Impactsstandard  economic  approach:  Myerscough

Primary  data  -­‐  UK  DCMSbuilds  upon  Australian  ‘artist  centred’  measuresreference  to  Canadian  and  New  Zealand  cultural  industries  measuresDCMS  uses  the  term  ‘Creative  industries’

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DCMS – The creative industries

 

DCMS (1980) 4-digit SIC codes (100%, or fractions of employed in these categories: as specified)3246 Process engineering contractors (25%)3276 Printing bookbinding and paper goods machinery3452 Gramophone records4510 Footwear (25%)4751 Printing and publishing newspapers4752 Printing and publishing periodicals4753 Printing and publishing books4930 Photographic processing6530 Retail distribution (5%)6480 Retail distribution (5%)6540 Retail distribution (5%)8370 Professional and technical services not elsewhere specified (25%)8380 Advertising8394 Computer services8490 Hiring out other movables (25%)9711 Film Production9741 Radio and TV services9760 Authors and composers9890 Personal services not elsewhere specified (25%)%)

1 DCMS 13 industry Model

AdvertisingArchitectureArt and antiques marketCraftsDesignFashionFilm and videoMusicPerforming artsPublishingSoftwareTelevision and radioVideo and computer games

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3 other modelsSymbolic Texts Model

Core cultural industriesAdvertisingFilmInternetåMusicPublishingTelevision and radioVideo and computer games

Peripheral cultural industriesCreative arts

Borderline cultural industriesConsumer electronicsFashionSoftwareSport

WIPO Copyright Model

Core copyright industriesAdvertisingCollecting societiesFilm and videoMusicPerforming artsPublishingSoftwareTelevision and radioVisual and graphic art

Interdependent copyright industriesBlank recording materialConsumer electronicsMusical instrumentsPaperPhotocopiers, photographic equipment

Partial copyright industriesArchitectureClothing, footwearDesignFashionHousehold goodsToys

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The  produc(on  Chain  model

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The  produc(on  eco-­‐systemIncludes  both

Domain:  Visual  art,  performance,  audio-­‐visual,  books  and  press,  sport  and  health,  heritage  and  tourismCycle:  creation,  making,  dissemination,  exhibition/reception,  archiving/preservation,  education/critique

Complexity  of  organisational  forms

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Characteris(cs  of  the  CCI� Missing  middle� Ecosystem� Project  based  companies� Overlapping  networks� Winner  takes  all� Rapid  turnover/  innovation/  product  cycle� Massive  market  uncertainty� Regulation

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Operationalisation: 1§ 3  main  taxonomies  of  data

§ Employment§ occupation§ Standard  Occupational  Classifications

§ Industry§ Standard  Industrial  classifications

§ Trade§ imports  and  exports  (product  classification)

§ Time-­‐use§ participation

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UK reports

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UN reports

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Cultural goods: a pragmatic solution

1 - A fine art painting2 - A newspaper or book3 - Designer furniture4 - Designed furniture (high design content, mass produced)5 - Industrial design6 - Mass production of most other products7a/7b - Distribution of cultural products (distinction not possible

7a-7b with current industrial taxonomies)8 - Distribution of all other products

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ChallengesUse  of  secondary  sources  (Population/Industrial  census)-­‐  costs  of  primary  dataCoverage  (sample/  full),  spatial  unitsRegularity  (of  survey  and  taxonomy  review)occupations  or/And  Industries  (c.f.  prod.  chain)‘Invisible’  activities  (eg  Computer  games);  or,  under-­‐represented  detail;  ‘invisible  trade’  (IP)Export  data  (on  weight,  or  value);  Virtual  goods  (or    intellectual  property  e.g.  Music  CDs)

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Opportunities� Role of intelligent agents� Knowledge brokers� Information dissemination� Cultural practice mentors� Management / organisational skills� Strategic development� Third sector (beyond ‘Silo’ mentality)� Governance, not simply regulation nor

policy objectives

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Beyond creative economy audits� Creative economy audits are simply a start

� They must be more differentiated� They must be adaptable to change� They must to comparable� We need to examine process, and context: qualitative

information� The future may not be like the past

� Business models� Policy based on ‘how it is’, not ‘how it should be’, or ‘is

supposed to be’.� Governance actually about governing (and transforming/

developing)