The Global Innovation Index 2012

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164 THE GLOBAL INNOVATION INDEX 2012 11: We Are All Content Creators Now thorough research and analysis, and we hope that, by posing these questions, we can contribute to that discussion. We do, however, have one central thesis: it is critical to complement traditional measures with new ones that take into account the full range of creative activity that is taking place online. Robust data are the bedrock of public policy, and we cannot measure the information society by using industrial society metrics. The economic contribution of arts in the digital economy Beyond their social and cultural value, artists and the creative business ecosystem around them contribute to the economy in many ways, both direct and indirect. It is important to understand both types—and how the Internet has been a strong driver of growth across the board. Attempts to estimate direct economic impact look mainly at the contribution of creative industries to GDP and employment. Depending on the sectoral definitions used to delineate ‘creative industries’,8 their contribution to GDP tends to range between 2% and 6%.9 To give but a few recent examples, creative and cultural industries accounted for a share of 2.6% in GDP for Germany (2008) and for 2.89% of gross value-added in the United Kingdom (2009).10 Their contribution amounts to about 3% of GDP in the European Union11—a higher share than sectors such as food and beverages, textiles, chemicals, or rubber and plastics industries.12 The creative and cultural industries are also a significant source of employment. Around 6.4 million people in Europe were employed in companies that belong to creative and cultural industries in 2009.13 Moreover, the creative sector often provides highquality jobs with a high level of fulfilment and personal life satisfaction. Mapping creative services into national accounting and occupational statistics is not a straightforward exercise, however. Besides availability, reliability, and comparability of data,14 organizational and operational peculiarities play a role. Many people work on creative projects on a full-time, parttime, or variable basis and/or are self-employed. These structures are challenging when dealing with national accounting and employment statistics.15 With the Internet empowering anyone to create content at an unprecedented scale and scope, identifying ways to measure their contributions becomes all the more important. Different definitions of creative industries coexist (Table 1; see UNCTAD/UNDP 2010 for an overview). Rather than coming up with yet another alternative definition, we focus on increasing our understanding of the evolution of creative industries today. The Internet has been a strong driver of recent growth. Revenues of the recorded music industry are based on digital sales to a greater extent than the film, magazine, and newspaper industries combined.16 Global digital music revenue grew by estimated 8% to reach US$5.2 billion in 2011, a faster rate than in 2010;17 revenue from Webto-television video content is estimated to grow from US$2 billion to over US$17 billion by 2014 for the USA alone;18 and e-book sales have grown from 3% to 10% of the consumer book market and are forecasted to reach close to US$10 billion by 2016, up from US$3.2 billion globally in 2011.19 It is too often presumed that digital growth is a net negative, ‘cannibalizing’ markets and reducing content creators’ profits. Clearly, some of the revenue growth represents substitution of sales that previously happened offline, and revenues do not equal profits. That said, sales revenues can decrease while both artists’ profit and consumer surplus increase, given changes in technology. This possibility needs to be taken into account when measuring technology’s impact. Consider recorded music, for instance. Approximately half of the cost to the consumer of a typical compact disc (CD) traditionally went to production and distribution costs.20 Today, thanks to online platforms, the cost of an album is less, but this reduction does not necessarily represent lost profits to the producer of the content in all cases. Instead, it may represent cost savings that are being captured by producers and/or consumers. The rapid decline of costs to producers has another important consequence: individual artists have many more opportunities to find an audience and make money. To be sure, the importance of traditional intermediaries such as the record labels and movie studios has not been eliminated. But artists have more choices than ever before: the Internet has created many new ways for artists to produce, distribute, promote, and finance creativity. Consider the following examples: • Falling production and distribution costs: Before the Internet, if you wanted to speak to a large audience, you needed to own a broadcast tower. Now, online services have reduced costs and barriers for everyone. • New funding models: People have successfully used platforms such as crowd-funding websites to raise money. For instance,
Table 1: Models of creative industries: Classification systems uK DcMS model Advertising Architecture Art and antiques market crafts Design fashion film and video Music performing arts publishing Software Television and radio video and computer games Source: Based on UNCTAD/UNDP, 2010. Symbolic texts model Kickstarter has been used for over 20,000 projects, the vast majority coming from content-creating categories: music, film and video, art, theatre, and writing and publishing. About 10% of the films presented at the Sundance Film Festival of independent films received funding this way; by March 2012, successfully funded projects have raised approximately US$175 million.21 • New ways to market: The arrival of the Internet has allowed innovative approaches to market content to consumers. For example, Topspin is a small tech company that offers artists tools and platforms for online marketing, and they have found that fans pay more and artists earn up to US$20 more revenue per transaction when artists use Topspin’s platforms to Core cultural industries Advertising film Internet Music publishing Television and radio video and computer games Peripheral cultural industries creative arts Borderline cultural industries consumer electronics fashion Software Sport concentric circles model Core creative arts Literature Music performing arts visual arts Other core cultural industries film Museums and libraries Wider cultural industries Heritage services publishing Sound recording Television and radio video and computer games related industries Advertising Architecture Design fashion gather data for better-informed decisions about where to invest for the biggest gain. • Social media as promotion: It used to be that creators would need to invest a lot of money in marketing and promotion. Today, fans are increasingly becoming tastemakers via social media. Research by GartnerG2 predicted that in 2010 at least 25% of sales would be attributable to features such as fan-to-fan recommendations.22 Even if the measurement of the arts and entertainment sector fully takes into account these changes to the choices now available to artists and those in the broader industry, these measures would be incomplete. Metrics that capture the direct output—the total production of art online, including sales revenues or profits—only partially explain why WIpO copyright model Core copyright industries Advertising collecting societies film and video Music performing arts publishing Software Television and radio visual and graphic arts Interdependent copyright industries Blank recording material consumer electronics Musical instruments paper photocopiers, photographic equipment Partial copyright industries Architecture clothing, footwear Design fashion Household goods Toys a thriving artistic culture matters to innovation. Art can act as an input for future creativity as well. For example, some of Disney’s best-known works (such as Snow White and Pinocchio) are based on earlier, well-known stories, long out of copyright, that have generated many derivative works. Today professionals and amateurs alike build on one another’s work on a massive scale. A modern example is that of the JK Wedding Dance video,23 which incorporated a popular song by artist Chris Brown, driving sales of the song as well as leading to a parody of the video itself on the television show The Office. Many artists choose to make their works available for others to build upon freely. Creative Commons (CC)—a ‘nonprofit organization that enables the sharing and use of creativity and knowledge through 165 THE GLOBAL INNOVATION INDEX 2012 11: We Are All Content Creators Now
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The Global Innovation Index 2012 St
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The Global Innovation Index 2012: S
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iv THE GLOBAL INNOVATION INDEX 2012
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vi THE GLOBAL INNOVATION INDEX 2012
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Foreword The Coherence Premium in I
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cONTrIBuTOrS Contributors to the Re
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Rankings
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Global Innovation Index rankings (c
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cHApTEr 1 The Global Innovation Ind
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The GII helps to create an environm
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4. The Innovation Efficiency Index
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Table 1: Global Innovation Index ra
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Table 2: Innovation Input Sub-Index
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Table 3: Innovation Output Sub-Inde
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Box 1: A spotlight on the United St
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Figure 2: Innovation Output Sub-Ind
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Malta is ranked 16th in the GII 201
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Figure 3: Global Innovation Index v
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Table 5a: Innovation Efficiency Ind
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Figure 4: GII scores v. GDP per cap
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Table 5c: Innovation Efficiency Ind
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Figure 5: Average scores for select
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performances on key indicators and
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pillars, however, place it among th
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eflect the situation of the countri
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PPP$ 3,354.8 Viet Nam has a very go
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6. Northern America continues to be
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Freeman, C., and L. Soete. 2007.
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44 THE GLOBAL INNOVATION INDEX 2012
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cHApTEr 3 Academia-Industry Innovat
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Intel, Microsoft, Motorola, Nokia,
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Figure 2: Intermediary university-i
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the best combinations of foreign te
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cHApTEr 5 The Role of Coherent Link
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Figure 1: Innovation policy framewo
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Page 195: Country/Economy Profiles I
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THE GLOBAL INNOVATION INDEX 2012 II
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Index of Data Tables 1 Institutions
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1.1.1 Political stability and absen
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1.1.3 Press freedom Press freedom i
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1.2.2 Rule of law Rule of law index
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1.3.1 Ease of starting a business E
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1.3.3 Ease of paying taxes Ease of
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2.1.2 Public expenditure on educati
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2.1.4 Assessment in reading, mathem
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2.2.1 Tertiary enrolment School enr
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2.2.3 Tertiary inbound mobility Ter
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2.3.1 Researchers Researchers, head
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2.3.3 Quality of scientific researc
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3.1.2 ICT use ICT use index* | 2010
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3.1.4 Online e-participation E-part
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3.2.2 Electricity consumption Elect
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3.2.4 Gross capital formation Gross
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3.3.2 Environmental performance Env
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4.1.1 Ease of getting credit Ease o
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4.1.3 Microfinance institutions’
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4.2.2 Market capitalization Market
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4.2.4 Venture capital deals Venture
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4.3.2 Market access for non-agricul
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4.3.4 Exports of goods and services
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5.1.1 Employment in knowledge-inten
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5.1.3 GERD performed by business en
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5.1.5 GMAT mean score Weighted mean
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5.2.1 University/industry research
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5.2.3 GERD financed by abroad GERD:
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5.2.5 Share of patents with foreign
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5.3.2 High-tech imports High-tech n
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5.3.4 Foreign direct investment net
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6.1.2 Patent Cooperation Treaty app
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6.1.4 Scientific and technical jour
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6.2.2 New business density New busi
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6.2.4 ISO 9001 quality certificates
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6.3.2 High-tech exports High-tech n
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6.3.4 Foreign direct investment net
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7.1.2 Madrid Agreement trademark re
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7.1.4 ICT and organizational models
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7.2.2 National feature films produc
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7.2.4 Creative goods exports Creati
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7.3.1 Generic top-level domains (gT
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7.3.3 Wikipedia monthly edits Wikip
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Sources and Definitions III
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412 1 Institutions THE GLOBAL INNOV
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414 2 Human capital and research TH
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416 3 Infrastructure (continued) TH
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418 4 Market sophistication THE GLO
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420 5 Business sophistication (cont
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422 6 Knowledge and technology outp
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424 7 Creative outputs (continued)
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Technical Notes IV
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About the Authors V
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