MAPPING CULTURE

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● Developing further understandings of non-traditional cultural spaces and activities Through the development of our cultural mapping classification framework, we identified ‘Festival, Event and Public Space’ as one of five key domains. This initial mapping provides a foundation for future qualitative and quantitative research to understand better the barriers and constraints for engaging with cultural experiences outside traditional cultural venues. This avenue relates to the goal to ‘ensure initiatives that contribute to unique creative experiences and interventions in the public domain are supported and encouraged’ (City of Sydney, 2014a, p.41) ● Creating a ‘time series analysis’ of infrastructure usage and stakeholder experiences over a 12-month period within a speci 秜ᇘ c village The Cultural Venues and Infrastructure Database provides a snapshot of cultural infrastructure which could be richly augmented by temporal data (e.g., collecting usage and experience patterns of these spaces over a year within a specific village). Temporally mapping such utilisation and experiential aspects could provide richer understandings of these spaces in the City of Sydney. Through identifying patterns related to scheduling, trends and responses, a ‘time series analysis’ (ABS, 2016) can inform more nuanced cultural planning and policymaking. This avenue relates to the goal to ‘support accessible cultural and creative experiences and events through year-round initiatives in partnership with artists, business and community stakeholders’ (City of Sydney, 2014a, p.41) ● Exploring the network of governance and administrative processes which enable and constrain cultural infrastructure and activity (e.g. regulations, event application and approvals) In relation to urban development, ‘creative clusters’ are identified as ‘multiplicities of people, practices, buildings, spaces, networks and forms of governance’ (Wood et al. 2015, p.8). Reflecting the project’s objectives, the Cultural Venues and Infrastructure Database currently integrates data based on particular aspects of creative clusters (i.e. cultural spaces and value chain roles). Research exploring the limitations within the current network of governance and administrative processes, alongside opportunities for change, is required in order to add to a more holistic picture of creative cluster enablers and constraints. Identifying opportunities to partner with cultural organisations to expand the Cultural Venues and Infrastructure Database is another research opportunity to support this priority area. For example, the Live Music Office (2016) ‘ works to increase opportunities for live music in Australia by identifying and advocating for better policy, regulation and strategy’. It has created a user-generated Live Music Map to ‘bring the live music sector closer together’. The map displays music venues, radio stations, recording and rehearsal studios, music education centres, production and backline organisations, agents and promoters, and music organisations. Another potential research partner could be the Australasian Performing Right Association-Australasian 119
Mechanical Copyright Owners Society (APRA-AMCOS). This organisation has investigated how live music making in Australia is related to a range of commercial, civic and individual benefits (APRA-AMCOS, 2014/15). Their report highlights a number of areas for future research, including the ‘benefits non-users of live music might receive from live music activity in their community, and how they value this’ (p.3). These ideas relate to the goal to ‘facilitate public domain events, and continuous improvement of the event application and approvals processes, to enable ongoing opportunities for creative and innovative activity’ (City of Sydney, 2014a, p. 41) 2) New avenues for creative participation This priority focuses on the following outcomes: ‘Activity that supports and encourages individual creative expression by ensuring opportunities are visible, accessible and sustainable’ (City of Sydney, 2014a, p.51). Two research avenues aligned with this priority area are described below: ● Creating a centralised, cultural web portal/digital platform for promoting information, facilities, equipment and events Through the development of our cultural mapping classification framework, we identified ‘Practice, Education and Development Space’ as one of five key domains, mapping related venues across the City of Sydney. Connected to this finding, key challenges identified as part of the ‘new avenues for creative participation’ priority include: a shortfall in programs, facilities and workshop, lack of centralised information and affordable access to equipment, and limited linking between existing activities and community networks; community suggestions that include developing a web portal to communicate what is on offer, as well as linking to existing equipment-share platforms (p.49). A future project which focuses on co-designing cultural web portal/digital platform could centralise and integrate these data in visually appealing and user-friendly ways. This suggestion relates to the following goals: first, to ‘meet latent community demand for consistent, affordable, high-quality skill development and creative participation programs, especially visual arts and craft-based practice’ (City of Sydney, 2014a, p.51); and second, to ‘support access to shared workspace, tools and equipment that support creative expression and experimentation by the public’ (City of Sydney, 2014a, p.51) ● Examining how creative hub models can be sustained, scaled and support creative participation Emerging types of sub-categories identified in the development of the Cultural Venues and Infrastructure Database were co-working spaces, makerspaces and hackerspaces. The ‘Creative HubKit’ (British Council, 2015) highlights how hubs ‘play a huge role in developing our creative economy and use their physical and/or virtual space for networking and organisational development to support individuals, organisations, businesses and projects on a short or long term basis’ (p.7). These hubs have a range 120
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MAPPING CULTURE venues and infrastr
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TABLE OF CONTENTS Acknowledgements
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L ist of Tables Table 1 Layers and
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List of Figures Figure 1 The concen
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NAICS NAVA NCVO SFF SHFA SIC SOC UN
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● A detailed case study of the Re
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1.2 Project phases This project ali
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Cultural mapping has advanced signi
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2.1 The concept of culture 2.1.1 De
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industries fails to recognise the d
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Figure 1 The concentric circles mod
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Hesmondhalgh also incorporates anot
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Cultural mapping enables us to unde
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To address the breadth question, th
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Figure 4. Culture cycle (UNESCO, 20
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Figure 5. Six functions of the valu
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2.4.3 Example 3 2 CANADIAN FRAMEWOR
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The framework is based on the conce
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SGS Economics & Planning (2015/2016
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in relation to those of other gover
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Figure 8. Cultural Venues and Infra
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Performing Art Venues ● Concert h
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iii) Community and Participatory Sp
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intended) use afterwards. The durat
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3.3 Incorporation of the value chai
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3.4 Application to this study (rele
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single piece of information. The ge
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The research team has acknowledged
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Data Source # of venues Approach Cu
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Data Source # of venues Approach Cu
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Cultural industry types Count Count
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Hills (Crown and Baptist Street Vil
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Figure 13. Heat map of all cultural
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venues engage in ‘production’ (
Page 70 and 71: creation (22.3%). This finding can
Page 72 and 73: 5.4.2 Chinatown and CBD South Villa
Page 74 and 75: Figure 15. Spatial categories for C
Page 76 and 77: Cultural space category Count Count
Page 78 and 79: 5.4.4 A brief comparison of the thr
Page 80 and 81: 6.2 Cultural venues by spatial type
Page 82 and 83: With regard to ‘practice, educati
Page 84 and 85: There are also 7 drama and dance th
Page 86 and 87: 6.3 Cultural venues by value chain
Page 88 and 89: Table 29 shows the distribution of
Page 90 and 91: Figure 19. Space for ‘creation’
Page 92 and 93: Figure 21. Space for ‘disseminati
Page 94 and 95: Figure 23. Space for ‘education
Page 96 and 97: iii) Commercially-led developments
Page 98 and 99: 7. MAPPING OF CULTURAL VENUES BY SE
Page 100 and 101: Figure 24. Venues in the music sect
Page 102 and 103: 7.1.1 Mapping of the contemporary m
Page 104 and 105: 7.2 Mapping of the visual art secto
Page 106 and 107: Table 35 shows the breakdown of the
Page 108 and 109: 7.3 Mapping of the architecture and
Page 110 and 111: Figure 29. Distribution of the arch
Page 112 and 113: 8. EVALUATION OF METHODOLOGY 8.1 Ra
Page 114 and 115: ‘system’ or ‘ecology’ of mu
Page 116 and 117: its extensive coverage of all busin
Page 118 and 119: noticed that some participants foun
Page 122 and 123: of models, spanning, ‘collectives
Page 124 and 125: 5) Sharing knowledge This priority
Page 126 and 127: ● Identifying and examining ‘un
Page 128 and 129: promising areas for deepening and w
Page 130 and 131: City of Sydney (2012a) Creative Ind
Page 132 and 133: Cunningham, S. and Higgs, P. (2008)
Page 134 and 135: Mateos-Garcia, J. and Bakhshi, H. (
Page 136 and 137: Taylor, A. (13 March 2016) Carriage
Page 138 and 139: 12. THE PROJECT TEAM Lead consultan
Page 140 and 141: neighbourhood of Milan. On the desi
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Page 144 and 145: 3. Seattle Cultural Space Inventory
Page 146 and 147: 4. Culture Map Malta Name of the ma
Page 148 and 149: None, it is a simple excel file upl
Page 150 and 151: Technology Google Maps Crowdsourcin
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Page 154 and 155: 10. Where Creative Professionals Li
Page 156 and 157: Appendix 2 The full list of ANZSIC
Page 158 and 159: Music retailing Audio cassette reta
Page 160 and 161: Motion picture and video production
Page 162 and 163: Cable and broadcasting Cable and br
Page 164 and 165: Professional photographic services
Page 166 and 167: Museum of applied art and science M
Page 168 and 169: Religious organisation Bible societ
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Consent Do you agree to participate
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Have you ever been involved in cult
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❏ Commercial ❏ Performance or e
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Among the six domains of cultural a
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Below we ask you to specify the exa
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Please indicate the category of thi
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When in the day? (you can choose mo
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❏ Not- for- profit (independent)
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Can you tell us more about this pla
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World cities cultural report_3 addi
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Biennale of Sydney Website 29 Augus
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Architecture Include architecture d
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Colleges All public or private coll
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CHINATOWN RESEARCH REPORT WESTERNSY
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MAPPING CULTURE

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