MAPPING CULTURE

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:
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