- 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
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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
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● Developing further understandin
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of models, spanning, ‘collectives
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5) Sharing knowledge This priority
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● Identifying and examining ‘un
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promising areas for deepening and w
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City of Sydney (2012a) Creative Ind
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Cunningham, S. and Higgs, P. (2008)
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Mateos-Garcia, J. and Bakhshi, H. (
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Taylor, A. (13 March 2016) Carriage
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12. THE PROJECT TEAM Lead consultan
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neighbourhood of Milan. On the desi
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141
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3. Seattle Cultural Space Inventory
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4. Culture Map Malta Name of the ma
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None, it is a simple excel file upl
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Technology Google Maps Crowdsourcin
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151
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10. Where Creative Professionals Li
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Appendix 2 The full list of ANZSIC
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Music retailing Audio cassette reta
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Motion picture and video production
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Cable and broadcasting Cable and br
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Professional photographic services
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Museum of applied art and science M
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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