MAPPING CULTURE

More documents

Recommendations

Info

neighbourhood of Milan. On the design side, he has been involved in a startup as UX/UI designer and has good knowledge of digital prototyping and testing for usability. He has good expertise with CAD and basic knowledge of GIS, familiarity with interface testing tools – as well as Photoshop, InDesign and Illustrator software skills to apply to the final layout and other needs. 139
O 13. APPENDICES Appendix 1 1. City of Melbourne Maps Name of the mapping project City of Melbourne Maps Link http://maps.melbourne.vic.gov.au/ Location Melbourne, Australia Focus on cultural infrastructure No Technology GIS Crowdsourcing No Target user Wider public, businesses Usability Medium Other interesting features Push notifications: eg. left-hand side panel to view your nearest council facilities and services Screenshots 140
Page 2 and 3:
MAPPING CULTURE venues and infrastr
Page 4 and 5:
TABLE OF CONTENTS Acknowledgements
Page 6 and 7:
L ist of Tables Table 1 Layers and
Page 8 and 9:
List of Figures Figure 1 The concen
Page 10 and 11:
NAICS NAVA NCVO SFF SHFA SIC SOC UN
Page 12 and 13:
● A detailed case study of the Re
Page 14 and 15:
1.2 Project phases This project ali
Page 16 and 17:
Cultural mapping has advanced signi
Page 18 and 19:
2.1 The concept of culture 2.1.1 De
Page 20 and 21:
industries fails to recognise the d
Page 22 and 23:
Figure 1 The concentric circles mod
Page 24 and 25:
Hesmondhalgh also incorporates anot
Page 26 and 27:
Cultural mapping enables us to unde
Page 28 and 29:
To address the breadth question, th
Page 30 and 31:
Figure 4. Culture cycle (UNESCO, 20
Page 32 and 33:
Figure 5. Six functions of the valu
Page 34 and 35:
2.4.3 Example 3 2 CANADIAN FRAMEWOR
Page 36 and 37:
The framework is based on the conce
Page 38 and 39:
SGS Economics & Planning (2015/2016
Page 40 and 41:
in relation to those of other gover
Page 42 and 43:
Figure 8. Cultural Venues and Infra
Page 44 and 45:
Performing Art Venues ● Concert h
Page 46 and 47:
iii) Community and Participatory Sp
Page 48 and 49:
intended) use afterwards. The durat
Page 50 and 51:
3.3 Incorporation of the value chai
Page 52 and 53:
3.4 Application to this study (rele
Page 54 and 55:
single piece of information. The ge
Page 56 and 57:
The research team has acknowledged
Page 58 and 59:
Data Source # of venues Approach Cu
Page 60 and 61:
Data Source # of venues Approach Cu
Page 62 and 63:
Cultural industry types Count Count
Page 64 and 65:
Hills (Crown and Baptist Street Vil
Page 66 and 67:
Figure 13. Heat map of all cultural
Page 68 and 69:
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 120 and 121: ● Developing further understandin
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 142 and 143: 141
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
Page 174 and 175: ❏ Commercial ❏ Performance or e
Page 176 and 177: Among the six domains of cultural a
Page 178 and 179: Below we ask you to specify the exa
Page 180 and 181: Please indicate the category of thi
Page 182 and 183: When in the day? (you can choose mo
Page 184 and 185: ❏ Not- for- profit (independent)
Page 186 and 187: Can you tell us more about this pla
Page 188 and 189: World cities cultural report_3 addi
Page 190 and 191:
Biennale of Sydney Website 29 Augus
Page 192 and 193:
Architecture Include architecture d
Page 194 and 195:
Colleges All public or private coll
Page 196:
CHINATOWN RESEARCH REPORT WESTERNSY
show all

MAPPING CULTURE

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?