MAPPING CULTURE

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single piece of information. The geospatial data also included in the final collection allows future visualisations of the cultural infrastructure. According to the five spatial categories described in the previous sections, the wide and holistic definition of cultural infrastructure encompasses venues that are not usually categorised as strictly cultural, like public parks and the various spaces of the creative industries. As for public spaces like parks, public art locations, community and neighbourhood facilities, education facilities and major cultural venues, the City provided GIS shapefiles that have been included in the database and categorised through a simple manual process. Each entry has been assigned a category, a sub-category, and related attributes. LGA GIS FILES > categorisation > database > 秜ᇘ nal map Similarly, to map cultural venues that belong to the creative industries, the team used the 2012 City of Sydney Floorspace and Employment Survey (FES) as the major data source. This research was conducted by the City of Sydney in 2012, part of the data have been used in the Creative Industries Sector Report to identify creative industries locations and hubs. The FES database—which was coded according to Australian and New Zealand Standard Industrial Classification (ANZSIC)—was much larger than that needed for the sectoral industries. Therefore, the team manually selected each code containing relevant information, and assigned categories and attributes to the original data, and then added them to the final database (the full list of ANZSIC codes used in the project can be found in Appendix 2). FES DATABASE > selection of ANZSICs > categorisation > database > 秜ᇘ nal map The team was also provided with other sources of information, including previous research by the City, official reports like the World Cities Culture Report Sydney. Informal ad-hoc yellow pages searches were also conducted. These databases are very different from the previous ones, not only regarding file format, but also in that they do not contain geocoded attributes for data entries. If they contain spatial information, this is limited to the address of the venue, which is not a format that can be immediately translated into a GIS map. For this reason, these data have been processed in a more complex way. First, the data have been exported to a single file format (that chosen for the database). Second, the entries have been compared to those already existing in the database, in order not to have duplicates. Third, each entry has been categorised. Fourth, each entry has been endowed with the missing geocoded information, using a bulk geoencoding service called BatchGeo. Other sources > export to single 秜ᇘ le > categorisation > geo codi 秜ᇘ cation > database > 秜ᇘ nal map The last source of information has been the survey data, which is based on the responses to the questionnaire, and is aimed at mapping more informal and ancillary cultural activities in the LGA. The questions have been designed to produce the key attributes for the database: category, sub-category, size, 53
government/non-government, and location. Thanks to a user-friendly form builder (JotForm), a mapping tool has been added to the questionnaire in order to engineer the attribution of geocoded information to the crowdsourced data (the discussion and evaluation of the crowdsourcing survey are outlined in Section 8). Questionnaire responses > database > 秜ᇘ nal map The final database, comprising FES data along with lists of venues compiled from other surveys, is essential for export to a consolidated ArcGIS file. The database allows for other kinds of data manipulation and analysis, including the brief summaries by spatial and value chain categories outlined in Section 5 and more detailed case study exemplified in Section 6. The full list of data sources used for the compilation of the master database is provided in Appendix 4. 4.3 From GIS to GeoViz Geographic Information Systems (GIS) are software that allow researchers to manage geographic data and display results on a map. From its inception in the late 1960s in Canada (Foresman, 1998), GIS science has become a widely used epistemic tool to research and understand territorial patterns and connections. Various proprietary and open-source devices are now available, and it is common for local administrations to use such tools for urban planning purposes, as well as for other functions that require us to visualise data on a map. However, from the very beginning many pointed out the limits of purely quantitative research and visualisations based on GIS (Goodchild, 1988; Couclelis, 2003). In more recent years, GIS experts have addressed this drawback in various ways, conceiving research practices based on a mix of qualitative and quantitative geographic information, or based on forms of engagement, like the participatory GIS (Rambaldi et al., 2005) that allow a wider variety of data to be represented on the same platform. Despite these advancements, research still shows that GIS tools are based on very specific forms of software expertise that make it difficult to communicate geographic information, both internally for policy making purposes, and externally as a tool of public engagement (Elwood, 2006). On the other hand, the liberalisation of GPS technology (satellite geopositioning system), the birth of Yahoo! Maps, Google Maps, and the phenomenon of Volunteer Geographic Information (VGI) (Goodchild, 2007) highlight an increasing public familiarity with mapping devices and maps themselves that goes far beyond the domain of professional cartographic expertise. For these reasons, researchers like Jacques Bertin (1983) and Alan MacEachren (MacEachren and Kraak, 2001) have suggested that the concept of Geographic Visualisation might advance the possibilities of GIS itself, by combining it with more interactive, user-friendly maps and other visualisations and trends in the field of VGI. 54
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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 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
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Table 35 shows the breakdown of the
Page 108 and 109:
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
Page 170 and 171:
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
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