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Education-to-work transitions in the digital content industries: A Web 2.0 creative ecology
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Education-to-work transitions in the digital content industries: A Web 2.0 creative ecology

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The digital content industries in many countries have seen significant growth over the past decade. This knowledge-intensive sector relies on highly skilled human capital but is often challenged by ...

The digital content industries in many countries have seen significant growth over the past decade. This knowledge-intensive sector relies on highly skilled human capital but is often challenged by skills and labour shortages, in turn exacerbated by a lack of high quality industry-ready graduates. This presentation first foregrounds some of the key challenges associated with education-to-work transitions encountered by emerging creative graduates in the digital content industries. It then proceeds to document the design and implementation of an innovative Web 2.0 creative ecology known as ‘60sox’. The potential and challenges of the '60sox' virtual community of practice for enhancing social capital and enabling successful education-to-work transitions among emerging creatives in the digital content industries are highlighted and discussed.

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  • They are estimated to be worth $21 billion or almost 3.5% of Australia’s GDP and employ 300,000 people. They are driversof the knowledge economy and enablers for other industry sectors. They translate ‘directly into the competitive advantage and innovation capability of other sectors of the economy’ (QUT CIRAC and Cutler&Co, 2004). Software + digital content + design/visual arts/architecture = accounts for largest share of growth
  • Similar trend – software & digital content + architecture, design and visual arts sectors accountfor the largest proportion of jobs.
  • Lucas films, polytechnics, ITE, university == responding to these labour demands, we see an increasing number of programs, courses, units that provide education and training in the creative industries.
  • Table: Employment using creative talents by State and territory (excluding NT and Tasmania)Security of employmentOut of the 166 respondents who were graduates, 105 respondents were currently working and 67 of these respondents indicated their employment type. Respondents employed to use their creative talents were more likely to work full-time, casually, or through freelance/project work (Figure 6). Respondents not currently employed to use their creative talents were significantly more likely to work casually. These findings confirm that many CI graduates lack job security.
  • Table: Difficulty/ease in finding work in chosen creative fieldBarriers to successful transitionsResponses = 31261.5% RR1 Very hard = 96 (18.9%)2 Difficult = 143 (28.2%)3 Undecided = 50 (9.9%)4 Easy = 18 (3.6%)5 Very easy = 5 (1%)Almost half of all respondents indicated that finding work was either ‘very hard’ or ‘difficult’ (Table 12). The project team performed a number of cross tabs to determine whether there were any differences between the views of CI graduates and CI students about the difficulty/ease in finding work, and between the views of respondents employed to use their creative talents and those not employed to use their creative talents. This analysis found no significant differences in the views of these different groups in finding work.
  • Table: Difficulty/ease in finding work in chosen creative fieldBarriers to successful transitionsResponses = 31261.5% RR1 Very hard = 96 (18.9%)2 Difficult = 143 (28.2%)3 Undecided = 50 (9.9%)4 Easy = 18 (3.6%)5 Very easy = 5 (1%)Almost half of all respondents indicated that finding work was either ‘very hard’ or ‘difficult’ (Table 12). The project team performed a number of cross tabs to determine whether there were any differences between the views of CI graduates and CI students about the difficulty/ease in finding work, and between the views of respondents employed to use their creative talents and those not employed to use their creative talents. This analysis found no significant differences in the views of these different groups in finding work.
  • People can set-up WatchLists of other creators they reckon are cool, they can nominate Favourites so can easily refer to items on the site they find inspirational, they can communicate to each other and use other people’s work as the basis of new creative content. We have written-in Creative Commons licensing so people can choose how they want their work used. Industry can upload available positions such as paid work, apprenticeships and interested folk can apply with the click of a button.
  • Green = soxtersOrange = 2 bobmobPurple = industrybodYellow = admin

Education-to-work transitions in the digital content industries: A Web 2.0 creative ecology Presentation Transcript

  • 1. Enabling successful education-to-work transitions for emerging creatives: A Web 2.0 creative ecology
    Dr Jen Pei-Ling Tan, Dr Sandra Haukka
    Queensland University of Technology
    jen.tan@qut.edu.au
    Other researchers:
    Justin Brow, Prof Greg Hearn,
    Prof Stuart Cunningham
  • 2. synopsis
    • Digital content industries (DCI)
    • 3. Education-to-work transition challenges for emerging creatives
    • 4. 60sox: an innovative Web 2.0 creative ecology
    • 5. facilitate industry exposure, social networks, transdisciplinary engagement
    • 6. enable successful education-to-work transitions
  • digital content industries (DCI)
    • sectors that use digital technologies to create, manage and disseminate their products and services
    • 7. examples:
    • 8. online/digital film, TV, broadcasting
    • 9. online/digital graphic design, media and visual effects (software, music, games, services)
    • 10. online/digital artefacts (museums, galleries, libraries)
    • 11. online/digital education content
    (DCITA, 2006; DCMS, 2001)
  • 12. digital content industries (DCI)
    growing significantly faster than other economic sectors
    • EU: 1999-2003,19.7% overall growth of creative industries’ (CI) GVA, €654 billion turnover, 2.6% GDP, 3.1% employment, 5.8M jobs
    • 13. UK: 1997-2005,6% overall growth of the creative industries’ GVA, ₤14.6 billion exports, 7.3% GDP, 2M jobs
    • 14. USA: 2001, copyright industries worth US$791.2 billion, 7.75% GDP, 8M jobs
  • CI/DCI: Australia
    1996 – 2006,earnings rose by 113.6% to A$27 billion
    Source: Unpublished ABS data provided by the ARC Centre for Creative Industries and Innovation (CCI)
  • 15. CI/DCI: Australia
    1996 – 2006,jobs rose by 34% to ~500,000 jobs
    Source: Unpublished ABS data provided by the ARC Centre for Creative Industries and Innovation (CCI)
  • 16. digital content industries (DCI)
    • Similar trend/focus in emerging economies (e.g. China, Singapore, etc.):
    • 17. key engine of (future) economic growth
    • 18. key competitive advantage in globalised economy
    • 19. For example, Singapore’s Ministry of Information, Communication & The Arts (MICA):
    • 20. Creative Industries Development Strategy (2003)
    • 21. Renaissance City 2.0, DesignSingapore, Media 21
  • creative human capital in DCI
    on the other…
    on one hand…
    • buoyant industry
    • 22. increased student intake
    • 23. studying creative skills
    • 24. creatively/technically literate
    • 25. skills shortage
    • 26. difficulty finding jobs
    • 27. not industry ready
    • 28. commercially illiterate
    successful education-to-work transitions a key challenge
  • 29. education-to-work challenges for creatives
    Source: Karmel, Mlotkowski and Awodeyi (2008)
  • 30. education-to-work challenges for creatives
    Source: Haukka et al. (2009)
  • 31. education-to-work challenges for creatives
    Source: Haukka et al. (2009)
  • 32. barriers to successful ed-to-work transitions
    Qs: Difficulty/ease in finding work in chosen creative field?
    Source: Haukka et al. (2009)
  • 33. barriers to successful ed-to-work transitions
    “Connections, not knowing the right people.”
    “Experience—all jobs these days are looking for current experience in the area, or so they seem to be.”
    “It's hard to get a job without much experience, and it's hard to get experience because no one will give you a job.”
    “I've had a lot of work experience and great references, but it’s a hard industry and there is a lot of competition.”
    Source: Haukka et al. (2009)
  • 34. successful education-to-work transitions: some strategies
    time in industry to acquire industry-specific skills and experience, work habits and culture
    access to mentors with expertise and industry experience
    access to up-to-date resources (facilities, materials, equipment)
    institutions that provide information on skill needs, develop partnerships with industry bodies, facilitate dialogue between creatives/teachers/employers
    (Jung et al. 2004)
  • 35. successful education-to-work transitions: some strategies
    industry exposure
    trans-disciplinary skills (specific + generic)
    social networks
    how can we make this happen in practice?
  • 36.
  • 37.
  • 38.
  • 39.
  • 40. cool bits
    watchlists
    favourites
    communication between members
    Creative Commons & Copyright
    work opportunities
    GuruVu & trajectory
  • 41. constructive feedback: peers
  • 42. 2bobmob
    interactive media
    film & video
    design
    animation
    photography
    visual art
    music & audio
    writing
  • 43. 2bobmob (some of ‘em)
    Karyn Lanthois Kukan Studio
    Jason Stark Krome Studios
    Kid Kenobi Legend DJ
    Gotye Musician Extraordinaire
    Garry Emery emerystudio
    Erik Williamson Photographer
    Simon Cahill Sony/BMG Red Label
    Woody Sneaker Freaker Magazine
    Steve Danzig International Digital Art Projects (iDAP)
    Robert Murray Firemint
    Andrew Apostola Portable Film Festival
    John Birmingham Author / Journo
    Eddie White The People's Republic of Animation
    Tim Parrington MRPPP
    Miles Merrill Performance Poet
  • 44. 60sox social network analysis: what goes on?
  • 45. 60sox: enabling education-to-work transitions
    social networks
    industry exposure
    trans-disciplinary engagement & skills
  • 46. 60sox key facts:
    all about bringing together industry and hot new creatives
    • highest usage levels
    • 47. 437 Soxters (May 2008), 68 2bobmob (July 2008)
    • 48. enhance social networks, industry exposure, trans-disciplinary engagement
    • 49. enabled (some) successful education-to-work transitions
    • 50. real world events:
    • 51. portfolio workshops, exhibitions, screenings, awards nights, 60brief, distribution channels
  • 60sox challenges:
    from novelty to sustainability?
    from community of practice to community of innovation?
    transferable to othereducation-to-work transition contexts?
  • 52. Questions, comments, feedback…
  • 53. Enabling successful education-to-work transitions for emerging creatives: A Web 2.0 creative ecology
    Dr Jen Pei-Ling Tan, Dr Sandra Haukka
    Queensland University of Technology
    jen.tan@qut.edu.au
    Other researchers:
    Justin Brow, Prof Greg Hearn,
    Prof Stuart Cunningham