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

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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

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    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)
      • Education-to-work transition challenges for emerging creatives
      • 60sox: an innovative Web 2.0 creative ecology
      • facilitate industry exposure, social networks, transdisciplinary engagement
      • enable successful education-to-work transitions
    3. digital content industries (DCI)
      • sectors that use digital technologies to create, manage and disseminate their products and services
      • examples:
      • online/digital film, TV, broadcasting
      • online/digital graphic design, media and visual effects (software, music, games, services)
      • online/digital artefacts (museums, galleries, libraries)
      • online/digital education content
      (DCITA, 2006; DCMS, 2001)
    4. 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
      • UK: 1997-2005,6% overall growth of the creative industries’ GVA, ₤14.6 billion exports, 7.3% GDP, 2M jobs
      • USA: 2001, copyright industries worth US$791.2 billion, 7.75% GDP, 8M jobs
    5. 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)
    6. 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)
    7. digital content industries (DCI)
      • Similar trend/focus in emerging economies (e.g. China, Singapore, etc.):
      • key engine of (future) economic growth
      • key competitive advantage in globalised economy
      • For example, Singapore’s Ministry of Information, Communication & The Arts (MICA):
      • Creative Industries Development Strategy (2003)
      • Renaissance City 2.0, DesignSingapore, Media 21
    8. creative human capital in DCI
      on the other…
      on one hand…
      • buoyant industry
      • increased student intake
      • studying creative skills
      • creatively/technically literate
      • skills shortage
      • difficulty finding jobs
      • not industry ready
      • commercially illiterate
      successful education-to-work transitions a key challenge
    9. education-to-work challenges for creatives
      Source: Karmel, Mlotkowski and Awodeyi (2008)
    10. education-to-work challenges for creatives
      Source: Haukka et al. (2009)
    11. education-to-work challenges for creatives
      Source: Haukka et al. (2009)
    12. barriers to successful ed-to-work transitions
      Qs: Difficulty/ease in finding work in chosen creative field?
      Source: Haukka et al. (2009)
    13. 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)
    14. 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)
    15. successful education-to-work transitions: some strategies
      industry exposure
      trans-disciplinary skills (specific + generic)
      social networks
      how can we make this happen in practice?
    20. cool bits
      watchlists
      favourites
      communication between members
      Creative Commons & Copyright
      work opportunities
      GuruVu & trajectory
    21. constructive feedback: peers
    22. 2bobmob
      interactive media
      film & video
      design
      animation
      photography
      visual art
      music & audio
      writing
    23. 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
    24. 60sox social network analysis: what goes on?
    25. 60sox: enabling education-to-work transitions
      social networks
      industry exposure
      trans-disciplinary engagement & skills
    26. 60sox key facts:
      all about bringing together industry and hot new creatives
      • highest usage levels
      • 437 Soxters (May 2008), 68 2bobmob (July 2008)
      • enhance social networks, industry exposure, trans-disciplinary engagement
      • enabled (some) successful education-to-work transitions
      • real world events:
      • portfolio workshops, exhibitions, screenings, awards nights, 60brief, distribution channels
    27. 60sox challenges:
      from novelty to sustainability?
      from community of practice to community of innovation?
      transferable to othereducation-to-work transition contexts?
    28. Questions, comments, feedback…
    29. 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
    SlideShare Zeitgeist 2009

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