OECD Culture and Local Development.pdf - PACA
OECD Culture and Local Development.pdf - PACA
OECD Culture and Local Development.pdf - PACA
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INTRODUCTION<br />
Defining cultural resources, activities <strong>and</strong> goods<br />
There is no strict definition of cultural activities <strong>and</strong> goods. New terms crop up<br />
every day to broaden these concepts - they may now being referred to as “creative<br />
industries”, the “new economy”, or even the “cultural economy”.<br />
- If we take the major existing statistical systems as our starting point, the core<br />
of cultural activities consists of a traditional set: the performing arts, the visual<br />
arts, <strong>and</strong> cultural heritage, with perhaps a nod to the cinema. We often hear speak<br />
of works of art rather than cultural goods, in which case two features predominate.<br />
These artworks are generally consumed on the spot, where they are produced<br />
or exhibited forming the nucleus of a tourist attraction. Their contribution to local<br />
development will then be judged on the basis of the money that tourists <strong>and</strong><br />
visitors spend in the territory. Second, these goods are treated as final consumption<br />
goods.<br />
- To this core we may add the now-conventional notion of cultural industries:<br />
audiovisual, records <strong>and</strong> books. These are also final consumption goods, but<br />
they are no longer consumed on the spot, <strong>and</strong> they contribute only in part to<br />
the development of the territory where they are produced.<br />
- Finally, cultural products are taking on growing importance today: arts <strong>and</strong> crafts,<br />
fashion, digital images combine an important aesthetic <strong>and</strong> symbolic value with<br />
their utilitarian nature. <strong>Culture</strong> comes into play here both as a source of intermediate<br />
consumption, since the production process uses cultural resources, <strong>and</strong> as final<br />
consumption, since the dem<strong>and</strong> for these goods reflects in part their cultural<br />
dimension. Like the products of cultural industries, they are consumed everywhere<br />
<strong>and</strong> they contribute to a territory’s development because they are produced there.<br />
This progress is important, for it is common today to roll all these cultural works,<br />
products <strong>and</strong> goods into a single approach.<br />
- For the British government, for example, cultural industries are “those that<br />
combine creation, production <strong>and</strong> marketing of intangible cultural contents. These<br />
contents are subject to intellectual property rights <strong>and</strong> take the form of goods<br />
<strong>and</strong> services. This list generally refers to the production of books, records <strong>and</strong><br />
films, but it can also include audiovisual <strong>and</strong> photographic output. Depending<br />
on the country, we may add the areas of design, fashion, musical instruments,<br />
architecture, advertising, etc. This leads to a much broader notion, that of the<br />
creative industries” 3 . A suggested typology is shown in Table 1.1. <strong>and</strong> 1.2.<br />
- Some analysts, such as Throsby <strong>and</strong> O’Connor, offer broader definitions (Throsby,<br />
2001; 0’Connor, 1998),. For Throsby, cultural activities or products are those that<br />
20 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © <strong>OECD</strong> 2005