As a board member of the Symphony and a member of its Strategy Committee, I gave this presentation to a board awayday, to help us develop a wider understanding of the value of investment in culture

1. It’s not a horseless carriage
it’s a car
Public culture in the age of the internet

2. •Software, fashion, advertising, architecture
•Not your ‘usual’ art
•Drivers of growth
•Integral to the new economy of art
•The problem is to see new things as they are,
not as we would like them to be
•A new industry has been born
•The creative economy
‘Arts and culture’: the missing industries

3. Creative labour as a productive resource
[1] [2] [1]/[2]
Group' (creative sector)
Creative Jobs
in this group
Total jobs in
this group
Creative
Intensity
Growth
2011-
2013
Architecture 65 94 69% 9%
Music, performing and visual arts 167 243 69% 16%
Design: product, graphic and fashion design 75 122 61% 9%
Film, TV, video, radio and photography 141 231 61% 12%
Crafts 4 7 57% -2%
Advertising and marketing 83 153 54% 3%
Publishing 102 198 52% 12%
IT, software and computer services 236 576 41% -3%
Museums, galleries and libraries 17 85 20% -9%
Total Creative Industries 890 1,708 52% 18%
Non-creative industries 907 28,027 3% 0%
Source: DCMS January creative industry estimates table 3 and figure 1, pages 9-10, author calculations
All job numbers in thousands
Year: 2013

4. What is a creative industry?
Creative workers in the
creative industries
Non-creative
workers in the
creative industries
Creative workers
outside the
creative industries
Creative Intensity = 2/(1+2) = 52%
DEFINITION:
A creative industry is an industry that
employs creative workers….
¿how many?
REDEFINITION
…A creative industry is one whose main
human resource is its creative workers
Source: DCMS January 2015 Creative Industry Estimates, Figure 1 (page 3)

5. •From 1997 to 2013, UK Creative
Economy jobs rose from 1.8 to 2.6
million - 2.3% per year, four times the
UK Economy as a whole.
•Creative Industries GVA was £76.9bn in
2013 - 5 per cent of UK output.
•Creative Industries GVA grew 10 per
cent in 2012, the last year we have data
for. This is more than any other
industrial sector.
•The value of services exported by the
Creative Industries was £17.3bn in 2012,
8.8 per cent of total UK service exports
•In 2011, the last year we have data for,
Creative Industry service exports grew
by 11.3%. This compares with 2.8% for
total UK service exports.
0 1000 2000 3000 4000 5000
Health and Social Work
Education
Manufacturing
Construction
Creative Industries
Transport and storage
Financial and insurance
Real estate
Projected 2030 2013 jobsSource: DCMS January 2015 estimates

6. Source: DCMS January 2015 estimates, figure 5 and table 6
The engine of
creation
The rise of creative employment

7. What do creatives make?
… à suivre

8. Aesthetics become affordable
0%
5%
10%
15%
20%
25%
30%
1976 1980 1984 1988 1992 1996 2000 2004 2008
Leisure goods and
services
Food and Non-alcoholic
drinks
Services
Share of UK family
spending on:
Source: UK Family Expenditure Survey, author calculations. Reproduced from Freeman, A. 2014. Twilight of the Machinocrats: Non-substitutable labour and
the future of production. In van der Pijl (ed). The International Political Economy of Production. Routledge

9. Revenue from recorded music
Revenue from Live music
Music as share of consumer spending
The paradox of live performance
Source: Page, W.; Carey, Chris; Haskel, Jonathan, and Goodridge, Peter. 2011. ‘Wallet Share’. Economic Insight 22, 18 April .
http://prsformusic.com/creators/news/research/Documents/Economic%20Insight%2022%20Wallet%20Share.pdf

10. What do creatives produce?
Who buys it?
Why?
• The rise of design
• The manufacture of distinction
•The aestheticisation of manufacture
•The unexpected growth of live performance

11. •ICT: not what we expected
• A revolution in service delivery
• Where you want, when you want, as much as you want
•Why does art not die?
• Because creation isn’t a horseless carriage
• Service is a relation between humans
•An every increasing demand for human interaction
•Stratified by the ‘quality’ of the interation
•With participatory, live culture counted the highest
The strange non-death of public art

12. Art as a public service
an end to the begging bowl
•The arts are indispensable to the creative economy
• We can no more do without them than snowploughs
•Not an alternative to infrastructure
• They are infrastructure
•Not a cost
• They are an investment
•New dialogue needed
• Not ‘art for art’s sake’
• But art for everyone
• A human basis for a human economy

13. So how do we pay for it?
• Externality: a benefit that people don’t pay for directly
• Classic example of the clover field and the bees
• Cultural institutions create benefits for the whole community which they
don’t realise in gate revenue
• Usual solution: capture the income somewhere else (tax, royalty,
philanthropy, etc)
• Including ingenious solutions
• Billboard tax
• Cellphone tariff
• Penny for the arts
• We can explore: the first step is to understand this is real value added

14. Benefits type 1: what people want
• Contingent valuation (Throsby and Hutter, etc)
• What would you pay to have an orchestra in your city?
• Surprisingly, quite a lot
• ‘Option’ benefit – I’d like to be able to go, even if I don’t
• ‘Heritage’ benefit – I’d like my children to be able to go
• ‘Choice’ benefit – I like being able to choose between the orchestra and the
theatre

15. Benefits type 2: social benefits
• Mark Stern studies of Philadelphia
• Provable causal improvement in social indicators in the presence of
cultural institutions
• Crime
• Health
• Poverty
• Etc
• Winnipeg example: Art City
• Note that this results in a direct reduction in welfare costs so it is
monetary as well as ‘social’

16. Benefits type 3: wealth generation
• Moretti and ‘Smart Cities’
• If you don’t have a smart city, you don’t just stay where you are
• Cincinatti versus Portland
• Cincinatti lost more people after the crash than New Orleans after Katrina

17. So why don’t people ‘vote for the
arts’?
• Lack of understanding? Maybe they do understand something that we don’t
• Lack of universality
• If some people have access to the arts and others don’t
- It is regarded as an elite privilege
- It is seen as a luxury
- It doesn’t actually produce the benefits
- Contrast with roads: a necessity in a culture where everyone has a car
- If everyone had a piano, culture would be seen as a necessity
- Note (nearly) everyone DOES have a cellphone
- Nearly Everyone DOES have internet and television
- But NOT everyone goes to live performance
- NOT everyone is a performer
- Conclusion: public culture as an agent of change

18. Art as infrastructure
•Feed it, and you won’t regret it
•Starve it, and it won’t come back
•Our infrastructure is human creativity
•You can’t manufacture creativity
•You can’t manufacture people
•All you can do is give them wings
•Public culture is the core of the solution