MAPPING CULTURE

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Consent Do you agree to participate in this study? * ❏ Yes, I agree (continue to next section) ❏ No (select next to submit form) Your Details What is the name of your organisation? (Give us your name if individual artist) * _______________________________________________________________________________________ Please provide the postcode where you or your organisation are based. * _______________________________________________________________________________________ What is the primary cultural activity of your organisation or project? * ❏ Creative businesses (e.g. architecture, design, commercial photography) ❏ Creative media (e.g. film, television, radio, newspaper) ❏ Performing arts (e.g. opera, theatre, music, dance, circus) 169
❏ Visual art or heritage (e.g. painting, sculpture, gallery, museum) ❏ Applied arts and crafts (e.g. ceramic, knitting, jewellery) ❏ Literary arts (e.g. poetry, fiction, literature) ❏ Community (e.g. market, family/kids’ events, Taichi in the park) ❏ Education or training (e.g. art school, workshop) ❏ Multi media (e.g. digital media) ❏ Other (specify) _______________________________________________________________________________________ Cultural activities in the City of Sydney 170
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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
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Figure 15. Spatial categories for C
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Cultural space category Count Count
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5.4.4 A brief comparison of the thr
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6.2 Cultural venues by spatial type
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With regard to ‘practice, educati
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There are also 7 drama and dance th
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6.3 Cultural venues by value chain
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Table 29 shows the distribution of
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Figure 19. Space for ‘creation’
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Figure 21. Space for ‘disseminati
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Figure 23. Space for ‘education
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iii) Commercially-led developments
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7. MAPPING OF CULTURAL VENUES BY SE
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Figure 24. Venues in the music sect
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7.1.1 Mapping of the contemporary m
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7.2 Mapping of the visual art secto
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Table 35 shows the breakdown of the
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7.3 Mapping of the architecture and
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Figure 29. Distribution of the arch
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8. EVALUATION OF METHODOLOGY 8.1 Ra
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‘system’ or ‘ecology’ of mu
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its extensive coverage of all busin
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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 140 and 141: neighbourhood of Milan. On the desi
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 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
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MAPPING CULTURE

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