MAPPING CULTURE

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5) Sharing knowledge This priority is focused on the following outcomes: ‘The creative use of existing resources, institutional structures, new technologies, and the skills and experiences of our diverse communities has expanded the community’s access to lifelong learning and knowledge sharing.’ (City of Sydney, 2014a, p.91). The interactive maps, library roadshow and public space projections proposed below correspond to the goal ‘extend and develop access to information and ideas through targeted partnerships, a refreshed focus on user needs and new ways of leveraging the city’s cultural capital’ (City of Sydney, 2014a, p.91). ● Co-designing interactive maps for community members, cultural practitioners and policymakers A series of interactive maps, together with an online, user-friendly interactive mapping platform, could be co-designed with a range of stakeholders to visualise, search and annotate data relating to cultural venues and infrastructure in the city. The interactive mapping platform can be developed to include additional features such as a venue directory and a self-registration system, in order to enable the dissemination and sharing of venue information with the broader community and with cultural professionals. The potential power of maps for knowledge sharing and brokering is significant. For example, in an attempt to protect creative nightlife in Berlin, a ‘group has lobbied to create a map of music venues that developers must consult before breaking ground on new projects, to avoid retroactive noise complaints when new residential buildings bump up against established clubs.’ (Sisson, 2016). By engaging with wider cultural stakeholders and communities in this online platform, this crowd-sourcing initiative could: - Improve understanding of the locations of cultural venues and infrastructure - Update venues and contact details provided voluntarily by stakeholders and community - Assess the current quality of cultural ventures and infrastructure (e.g., by providing user reviews on specific venues). The co-design of interactive maps based on the current Cultural Venues and Infrastructure Database could be the first phase (or modular element) of a longer-term project co-designing a ‘cultural web portal/digital platform’ (see Sections 1) which would require substantive data collection and development resourcing. ● Planning a ‘library roadshow’ to raise community awareness of cultural spaces and activities Libraries are key information intermediaries providing valuable technology access and social support, and are ‘opening up spaces for new community uses’ (City of Sydney, 2014a, p.88). A series of public presentations of this project’s outputs at City of Sydney libraries is a way of sharing knowledge about this its outputs to date with diverse 123
members of the community. If future projects were supported to develop interactive maps and the cultural web portal/digital platform, then these types of community event could also showcase how to visualise, search and annotate the maps. These public presentations would take place in local libraries across the ten village areas, i.e., CBD and Harbour, Chinatown and CBD South, Crown and Baptist Streets, Glebe Point Road, Green Square and City South, Harris Street, King Street, Macleay Street and Woolloomooloo, Oxford Street and Redfern Street. Additional public presentations could take place in public spaces (e.g., Martin Place Amphitheatre). ● Developing academic-artist-government initiatives to co-create public space projections Visual projections have become increasingly common in many public urban spaces during festivals and other events (McQuire, 2014). Visualising and projecting the data from the Cultural Infrastructure Database in new and interesting ways is an exciting opportunity to connect Sydney residents, visitors and practitioners to statistics, stories and simulations of cultural spaces and activities. For example, visualising cultural data about a particular village, or questions asking ‘Did you know …?’ could raise awareness and interest in unexpected ways. Projecting such visualisations onto City of Sydney venues to showcase data in aesthetic and engaging ways could occur during regular festival events (e.g. Sydney Festival, Vivid Festival) or as part of village-specific strategies to promote wayfinding or events (e.g., ‘Pine Street Creative Art Centre is a 2-minute walk this way’; ‘Free drumming workshop this Saturday evening’). 6) Global engagement This priority seeks the following outcomes: ‘A globally connected city that responds and contributes to international cultural practice, welcomes international ideas and networks, and supports opportunities for engagement between local cultural initiatives and international visitors’ (City of Sydney, 2014a, p. 99). Two research avenues aligning with this priority area are described below: ● Identifying culturally and linguistically diverse infrastructure and initiatives so as to leverage links between local and global culturally diverse networks Identified during the data collection process for this project were a number of venues related to multicultural and international cultural activity (eg Chinese language advertising firms). Researching the patterns of culturally diverse infrastructure, as well as the presence of multicultural activities and artists, can help raise awareness of how these existing spaces, initiatives and networks could be leveraged or supported to expand both local and global engagement. This avenue aligns with the goal to ‘develop projects and partnerships that foster international cultural connections with local results.’ (City of Sydney, 2014a, p.99) 124
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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’ (
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creation (22.3%). This finding can
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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 120 and 121: ● Developing further understandin
Page 122 and 123: of models, spanning, ‘collectives
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
Page 152 and 153: 151
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
Page 170 and 171: Consent Do you agree to participate
Page 172 and 173: 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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