DIGITAL IST KULTUR CULTURE IS DIGITAL – DIGITAL IS CULTURE

IMPULSE
DIGITAL INNOVATIONS: A NEW CHALLENGE FOR THE CULTURAL AND CREATIVE INDUSTRIES
Hardly a day goes by without me taking part in an event on the Industry 4.0. But there is still
no definition that would sum up its actual meaning in just one sentence. Or Big Data and the
Internet of Things. As soon as there are attempts to come up with a definition, we will hear
many arguments against it. It is a topic that electrifies politics and the business world, but we
must also consider that this topic still does not play the same role in the minds of many citizens
as it does in the minds of most professionals. If we were to drive two kilometres further north
from this place in this city at precisely this hour, to the district of Altenessen, and if we were
to walk through the streets asking people: ‘What do you think about the digitalisation of the
creative industries and the new disruptive business models?’, it would raise a few eyebrows.
Especially in areas, where these developments are already interfering with professional life,
where technological developments are progressing very fast. It is also clearly perceivable in
large traditional industrial companies, where it is met with some scepticism – or possibly even
fear, because jobs might soon be lost by the rapid progress of digitalisation. Thus, many of these
people do not consider this gain of democratisation of access to cultural goods as the focus
of discussion. We should bear this in mind, and the creative industries should also consider
this in their discussions.
This is vital so as to attract as many people as possible – and politicians always react to majorities
– to consider all these exciting questions, which you have discussed here today: nearly
all industries are changing drastically, value chains are digitised and connected, hierarchies
are replaced by networks, and just overnight, established business models get competition
from innovative revenue models on the web. But which innovations will prevail does not only
depend on scientific and technological progress. More and more often, this decision – as we
have just heard – is made by the consumers. The mass access to products of the Cultural and
Creative Industries therefore also brings about new responsibilities, upheaval even, and crises
as well.
The music industry was the first industry to experience the consequences of digitalisation many
years ago. And this is the first year to record an increase by as much as four percent – however
against the background that total sales have almost halved compared to the previous years.
This is where I draw my second conclusion: because cultural and creative products are true
drivers of digitalisation, their markets and business models are exposed to radical change.
This change is driven by the individualisation of consumption, by globalisation – as we have
just heard –, and by the mobility of customers and the rapid, cost-effective market entry
of entirely new businesses. Who knows, maybe an app will very soon put the distribution
channels of a publishing house into question – or those of a car rental company or of an
electricity producer? These are not theoretical questions in an abstract global world. These
are important questions for the state of North Rhine-Westphalia with around 315,000 jobs in
the Cultural and Creative Industries. North Rhine-Westphalia wants to be at the forefront of
this development. But this does not happen just like that. We, as a federal state, will need to
create the best local framework conditions. For this, however, we must also campaign for the
best framework conditions in Berlin and in Brussels.
Here in North Rhine-Westphalia, we have to face new questions brought up by digitalisation:
What effect will the next wave of digitalisation – including cloud services, mobility, Big
Data, the Internet of Things – have on production and sales? How can we help companies
to integrate these applications of digitalisation in their business models and products? How
can we ensure a head start in terms of knowledge and proximity to the latest digital trends
and make them available for the Cultural and Creative Industries?
Our federal state is host of leading international trade fairs, universities and academies.
But how can we ensure that they will benefit from digitalisation? Will the art academies and
universities in North Rhine-Westphalia need to deal with virtual classrooms as well? Which
legal framework is required in order to continue to earn revenue from culture and creativity
in the digital world?
The contributions and examples from the last panel illustrated these aspects clearly: What
kind of protection do publishers need – be it game, book or music publishers? What kind
of online regulations are necessary in order to make it possible for those who provide this
creative output to come up with a business model and make a living of it?
I am very grateful to Prof Dieter Gorny for his initiative to regularly meet with experts from
all over Germany to discuss these relationships and the relevant tasks for the politics of the
State of North Rhine-Westphalia.
To me, the most important question seems to be about future markets. Five or ten years ago,
only few of us were able to imagine the way we watch movies and read books today.
76