In Australia and internationally, there is strong interest in the role of ‘cultural’ and ‘creative’ activity in the economy, such as highlighted recently by Australia’s National Cultural Policy Creative Australia. These terms are often used to describe activities connected with the arts, media, heritage, design, fashion and information technology.
One-third of the world’s population is online, an increase of 528 percent over the past 10 years*. While Internet penetration rates vary by geographic region; North America (79%), Australia/Oceania (68%), Europe (61%), Latin America (40%), Middle East (36%), Asia (26%) and Africa (14%), they continue to climb steadily— especially in the developing countries of the world.
This manifesto sets out our 10-point plan to bolster the creative industries, one of the UK’s fastest growing sectors.
The UK creative economy provides jobs for 2.5 million people, more than financial services, advanced manufacturing or construction.
The creative economy is one of the few industrial areas where the UK has a credible claim to be world–leading, but history shows this position of leadership position cannot be taken for granted.
Our 10 recommendations include incentivising experimentation with digital technologies by arts and cultural organisations, developing local creative clusters, adopting our new definitions of the creative industries and economy – which are simple, robust and recognise the central role of digital technologies – and ensuring government funding schemes do not discriminate against creative businesses.
This document is an output from an Arcadia funded research project. It draws evidence from a wide range of sources to provide a compelling account of the means of measuring the impact of digital resources and using evidence to advocate how change benefits people. The aim is to provide key information and a strong model for the following primary communities of use: the cultural, heritage, academic or creative industries.
The term ‘two cultures’ was coined more than 50 years ago by scientist and novelist C.P. Snow to describe the divergence in the world views and methods of scientists and the creative sector. This divergence has meant that innovation systems and policies have focussed for decades on science, engineering, technology and medicine and the industries that depend on them. The humanities, arts and social sciences have been bit players at best; their contributions hidden from research agendas, policy and program initiatives, and the public mind.
The CCI Creative City Index (CCI-CCI) is a new approach to the measurement and ranking of creative global cities. It is constructed over eight principal dimensions, each with multiple distinct elements. Some of these dimensions are familiar from other global city indexes, such as the MORI or GaWC indexes, which account for the size of creative industries, the scale of cultural amenities, or the flows of creative people and global connectedness. In addition to these indicators, the CCI-CCI contributes several new dimensions. These measure the demand side of creative participation, the attention economy, user-created content, and the productivity of socially networked consumers.
Innovation is vital to European competitiveness in the global economy. The EU is implementing policies and programmes that support the development of innovation to increase investment in research and development, and to better convert research into improved goods, services, or processes for the market.
The creative industries and creative work in other industries have emerged as one of the Australia’s strongest performers, with employment growing by a steady 2.8 per cent a year from 2006 to 2011 – 40 per cent faster than in the economy as a whole – based on the latest Census data. The growth is attributed largely to the digital revolution, and the rising demand for digital and design services across the whole economy.