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TRANSCRIPT
The crea(ve industries: the challenge of devising and
using indicators
Andy C [email protected]://web.me.com/andycpratt/andy_c_pratt/Welcome.html
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
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
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
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’
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
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
The produc(on Chain model
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
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
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
UK reports
UN reports
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
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)
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
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)