MAPPING CULTURE

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Hesmondhalgh also incorporates another set of ‘peripheral’ cultural industries in his model. Whilst acknowledging the importance of and creativity involved in these industries, he differentiates the peripheral from the core cultural industries on the grounds that they either reach fewer people or have less social and cultural influence because their (re)production of ‘text’/symbols’ is based on semi- or non-industrial method. Examples of these ‘peripheral’ cultural industries include theatre, making, exhibition and sale of art etc, which are similar to the ‘core creative industries’ in Throsby’s model, as well as sport, electronic hard- and software, and fashion. The latter he classifies as a third layer of borderline or problem cases that provide hardware for the reproduction and transmission of texts and rely on the cultural input of designers. But they are not centred on the production of symbolic goods and/or their functional dimension is more important than their aesthetic dimension. Examples of this layer include manufacturing of consumer electronics (e.g. TV manufacture), information technology (computer design, programming) and Internet industries. However, web design is classified as a core cultural industry as it is primarily based on cultural content. Fashion and sport are also referred to as borderline/problem cases, as the former he regards as a ‘hybrid’ consumer good with a high level of functionality, whilst the latter does not produce any symbols or texts as such, but is focused on competitive, rule-bound improvisation for entertainment purposes. Core cultural industries ● Broadcasting ● Film industries ● Music industries ● Print and electronic publishing ● Video and computer, games ● Advertising, marketing and public relations ● Web design Peripheral cultural industries ● Theatre ● Making, exhibition, sale of painting ● Sculpture ● Installation Borderline & problem cases ● Consumer electronics/cultural industry hardware ● Information technology ● Internet industries ● Fashion ● Sport Table 2. Hesmondhalgh (2013) ’s classification of cultural industries 23
Figure 2. Graphical illustration of Hesmondhalgh’s classification of cultural industries Whilst there are no absolute criteria to determine which classification model is ‘right’ or ‘wrong’, clearly the choice of model, and the different perspectives and data that flow from it, will have ‘important analytical and policy implications’ (Flew, 2011). In the case of this report, it can be seen that the approach taken was to incorporate elements of both models, with some exclusions ( such as those Hesmondhalgh identifies as 'problem cases': sport, electronics and fashion ) made on the grounds of feasibility and available resources rather than strict classificatory principle. 2.3 Relationship between culture, mapping and infrastructure UNESCO defines the cultural and creative industries as activities ‘whose principal purpose is production or reproduction, promotion, distribution or commercialisation of goods, services and activities of a cultural, artistic or heritage-related nature.’ (CISAC, 2015, p.11). Attempts to explore and analyse these contemporary and complex dynamics of culture are evident in the rapidly growing interest and application of cultural resource mapping processes (see Table 4 below). The knowledge-sharing affordances and communicative power of cultural mapping is central to understanding the burgeoning interest in this process: 24
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 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 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 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
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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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