Creative Economies took place at the Camden Centre and was hosted by Arts Development UK in partnership with Arts Council England.
The seminar explored three main themes:
- the role of arts and culture as economic anchors and drivers in cultural regeneration
- how the wider business sector values and uses the role of arts and culture
- practical ways of measuring and capturing the economic value of the arts and culture
These three integrated themes are designed to provide topical examples and case studies, suggest ways of understanding and communicating directly with the business sector about the economic importance of arts and culture, suggest tools to provide evidence of impact and value.
Speakers were Jane Wilson, Chair, Arts Development UK and Director of Arts Development in East Cambridgeshire, Tom Fleming, Director, Tom Fleming Creative Consultancy, Alex Homfray, Senior Consultant, BOP Consulting, Paul Bristow, Acting Director, Strategic Partnerships, Arts Council England, Ali Robertson, Director, Tobacco Factory Theatre, Lyndsey Swift, Head of Partnerships, Visit England, Gail Schock, Arts Manager, Kent County Council, Roxie Curry, Arts Development Officer, Rochford District Council, Mary-Alice Stack, Director of ArtCo projects, Arts Council England, Tim Joss, The Rayne Foundation, Ruth Jarratt, Trustee, MeWe360, Andrea Stark, Executive Director, East and South East, Arts Council England, Geoff Rowe and Chris Maughan, Dave’s Leicester Comedy Festival, Rob Wadsworth, SW4 Limited, Jayne Knight, Arts Development Manager, Suffolk County Council, Mari Martin, Head of Arts and Events, Norfolk County Council, Patrick Hussey, Arts & Business, Laura Sillars, Artistic Director, The Site Gallery, Symon Easton, Deputy Head of Culture Commissioning, Birmingham City Council, Debbie Kermode, Deputy Director, IKON Gallery.
A CIDA International Publication, commissioned as part of the EU Interreg IVB project ECCE Innovation. Author Graham Devlin explores the way in which arts research is currently undertaken; considers what circumstances are most propitious for its success; identifies the likely obstacles; and examines some examples of successful practice.
The document summarizes a presentation about opportunities in the pet treats category for grocery stores Roundy's and Del Monte. It provides an industry overview, discusses macro trends, assesses Roundy's current performance and market share in pet treats, and recommends reorganizing the planogram to focus on top-selling brands and products to drive more sales.
This document provides guidelines for drilling and well operations in 3 sections. Section 1 discusses drilling programme approval, including wellsite surveys, well positioning, notices of operations, and variations. Section 2 covers recording and reporting requirements such as daily drilling reports and final drilling reports. Section 3 addresses drilling quality assurance and control. Key areas like well design, casing and cementing, blowout preventers, and formation evaluation are outlined. Guidelines are provided for operations including drilling, completions, workovers, and well abandonment. Requirements for onshore drilling are also included.
This document makes the holistic case for supporting arts and culture by providing examples of how it benefits culture, education, society, and the economy. It highlights arts organizations that preserve cultural heritage and provide access to the arts, as well as education programs that teach music, dance, and creative skills. Examples also show how the arts can help former prisoners develop skills and support well-being in healthcare settings. The document argues that arts and culture are not just for the elite but fuel the broader economy, and that cities' innovative potential lies in the creative union of technology, arts and civic life. It invites the reader to consider how these concepts interconnect and which policies should result.
Detailed & comprehensive approach to Pinoy-Estate.com's Business Profile and Strategies concentrating on the Prospecting workflow and Conversion Goals and Matrices
EDITED June 12, 2012
This document provides information about Arts Council England's Grants for the Arts Libraries Fund. The £6 million fund is exclusively for projects led by public libraries in partnership with arts organizations. It aims to stimulate innovative partnerships between libraries and artists/arts groups and encourage community participation in arts activities. Libraries can apply for funding to support a wide range of arts projects and events in their communities. The assessment criteria focus on the quality of the artistic experience, public engagement, project management, and financial feasibility. Support is available to help libraries develop ambitious applications that deliver high-quality arts experiences.
A CIDA International Publication, commissioned as part of the EU Interreg IVB project ECCE Innovation. Author Graham Devlin explores the way in which arts research is currently undertaken; considers what circumstances are most propitious for its success; identifies the likely obstacles; and examines some examples of successful practice.
The document summarizes a presentation about opportunities in the pet treats category for grocery stores Roundy's and Del Monte. It provides an industry overview, discusses macro trends, assesses Roundy's current performance and market share in pet treats, and recommends reorganizing the planogram to focus on top-selling brands and products to drive more sales.
This document provides guidelines for drilling and well operations in 3 sections. Section 1 discusses drilling programme approval, including wellsite surveys, well positioning, notices of operations, and variations. Section 2 covers recording and reporting requirements such as daily drilling reports and final drilling reports. Section 3 addresses drilling quality assurance and control. Key areas like well design, casing and cementing, blowout preventers, and formation evaluation are outlined. Guidelines are provided for operations including drilling, completions, workovers, and well abandonment. Requirements for onshore drilling are also included.
This document makes the holistic case for supporting arts and culture by providing examples of how it benefits culture, education, society, and the economy. It highlights arts organizations that preserve cultural heritage and provide access to the arts, as well as education programs that teach music, dance, and creative skills. Examples also show how the arts can help former prisoners develop skills and support well-being in healthcare settings. The document argues that arts and culture are not just for the elite but fuel the broader economy, and that cities' innovative potential lies in the creative union of technology, arts and civic life. It invites the reader to consider how these concepts interconnect and which policies should result.
Detailed & comprehensive approach to Pinoy-Estate.com's Business Profile and Strategies concentrating on the Prospecting workflow and Conversion Goals and Matrices
EDITED June 12, 2012
This document provides information about Arts Council England's Grants for the Arts Libraries Fund. The £6 million fund is exclusively for projects led by public libraries in partnership with arts organizations. It aims to stimulate innovative partnerships between libraries and artists/arts groups and encourage community participation in arts activities. Libraries can apply for funding to support a wide range of arts projects and events in their communities. The assessment criteria focus on the quality of the artistic experience, public engagement, project management, and financial feasibility. Support is available to help libraries develop ambitious applications that deliver high-quality arts experiences.
The £7 million Digital R&D Fund for the Arts is a partnership between the Arts Council, the Arts and Humanities Research Council (AHRC) and Nesta.
It will support research and development projects that use digital technology to enhance audience reach and/or explore new business models for organisations with arts projects.
The fund is open for application 2012-15, Organisations with arts projects, Technology providers and Researchers or research teams are invited to form collaborative relationships and make joint funding applications.
For further information visit: http://www.artsdigitalrnd.org.uk/
Meltek infosystems is established by a term of experienced engineers in the year of 2000. The company provided complete technical solution for any type of satellite communication application. The services provided by the company include supply, installation and commissioning of Earth Station Antenna. The company also takes up services like installation, servicing and maintenance of satellite-based equipment of any make. A cluster of well-trained experienced and highly qualified team of engineers manages the total activity in above fields. Meltek infosystems has its hub station positioned at Pune for providing the test facilities for inspection and training towards operations, repairs and maintenance of entire earth station electronics.
The document provides information on upcoming books, movies based on books, recent book releases, and reviews. It lists titles of books being adapted to films opening in October, new book releases, recently published books, and books scheduled to be released in the future. It also includes summaries of five mean book reviews and recommendations from library staff.
This document provides a summary of upcoming book releases, movies based on books, and e-reader devices. It highlights several new book releases across genres like fiction, non-fiction, thrillers and children's books. It also lists movie adaptations of books like The Help and Harry Potter 7 part 1. Finally, it provides details on popular e-readers like Kindle, Nook, iPad and Sony Reader along with their specifications.
The document outlines the duties, responsibilities, and expectations of HRCA Delegates and Directors, including representing owners, approving budgets and assessments, enforcing governing documents, appointing committees, and managing the community while avoiding conflicts of interest or personal liability. Delegates elect Directors, approve major expenditures and amendments, and serve on advisory committees, while Directors oversee finances, architectural matters, rules and contracts within the community.
Taskit is a business that helps connect people who need tasks completed with "seekers" who can perform those tasks. Seekers find clients and complete everyday tasks for them like posting online, writing articles, errands, shopping, and other jobs. Once a task is complete, the client pays the seeker through the Taskit system. A portion of the payment goes to the nonprofit or person in need that the seeker chooses. Taskit provides business credit cards for seekers to purchase items for clients and links to affiliate websites to help seekers find work. The goal is to help others through small tasks while also benefiting charities.
Case study: ArtFinder - Building digital capacity for the artsArts Council England
Building digital capacity for the arts - seminar 1
Case study: ArtFinder, Chris Thorpe,
exploring the recently launched ArtFinder website and the two new associated Apps being launched in April 2011. Delegates will hear about the processes involved in creating an arts-related App, and will be given an insight into technical and rights issues
For more information visit http://www.artscouncil.org.uk/digitalcapacity
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document provides an orientation for delegates of the Highlands Ranch Community Association (HRCA). It outlines the mission, vision, governance structure, roles and responsibilities of delegates. Key points include:
- The HRCA aims to enhance property values and quality of life through recreation, events and leadership.
- Delegates represent members in their district and vote on their behalf on issues like budgets and common assessment increases.
- Delegates have duties like attending meetings, overseeing recreation facility expenditures, and representing member interests.
- The HRCA provides recreation amenities and programming through its four community centers and various committees.
The document outlines the duties, responsibilities, and expectations of HRCA Delegates and Directors. Key points include:
- Delegates elect Directors, approve property conveyances and assessment increases over 120%, and may amend governing documents.
- Directors' duties include maintaining insurance, collecting assessments, enforcing rules and declarations. They have powers to acquire property, adopt regulations, and manage community affairs.
- Directors are responsible for finances like budgets, assessments, and collections. They oversee architectural matters and appoint related committees.
- Both Delegates and Directors are expected to attend meetings, understand their roles, and can face liabilities like fiduciary duty and conflicts of interest.
A review of our ten-year mission, the current political environment, the upcoming spending review, and advice on how to advocate to local and national politicians. Presented to delegates from the Arts Council's National Portfolio Organisations in July 2015.
This is the presentation delivered on 6 - 13 November 2014 by the Arts Council to funded organisations. Find out more here: http://www.artscouncil.org.uk/jobs-and-conferences/conferences/briefing-events-november-2014/
2010 Toyota Tundra brochure provided by Heyward Allen Toyota located in Athens, GA. Find the 2010 Toyota Tundra for sale in Georgia; call about our current sales and incentives at (888)777-0611. http://www.heywardallentoyota.com/
The document outlines the charter and bylaws for the Backcountry Planning Areas Advisory Committee. The committee serves as an advisory body to the HRCA Board of Directors on projects related to backcountry planning areas. It has responsibilities related to understanding governing documents, becoming familiar with planning areas, communicating with the community, and assisting the board with tasks. The committee consists of 5-7 homeowners and may have non-voting experts. It elects officers annually and meets regularly to discuss planning areas and make recommendations to the board.
The document announces that the Buzzworthy Bistro is free and open to the public. It provides information on upcoming movies based on books, including release dates and cast members. New book releases are promoted, listing the title, author and brief description for each. Upcoming releases and staff picks are also mentioned.
The £7 million Digital R&D Fund for the Arts is a partnership between the Arts Council, the Arts and Humanities Research Council (AHRC) and Nesta.
It will support research and development projects that use digital technology to enhance audience reach and/or explore new business models for organisations with arts projects.
The fund is open for application 2012-15, Organisations with arts projects, Technology providers and Researchers or research teams are invited to form collaborative relationships and make joint funding applications.
For further information visit: http://www.artsdigitalrnd.org.uk/
Taskit is a business that helps connect people who need tasks completed with "seekers" who can perform those tasks. Seekers find clients and complete everyday tasks for them like posting online, writing articles, errands, shopping, and other jobs. Once a task is complete, the client pays the seeker through the Taskit system. A portion of the payment goes to the nonprofit or person in need that the seeker chooses. Taskit provides business credit cards for seekers to purchase items for clients and links to affiliate websites to help seekers find work. The goal is to help others through small tasks while also benefiting charities.
Tom Fleming - director of Tom Fleming Creative Consultancy
Dr Tom Fleming is a leading international thinker and strategist on the creative economy, city-making and arts and cultural policy. As director of Tom Fleming Creative Consultancy, Tom works with national, regional and local governments, plus multiple NGOs, to introduce positive and innovative change.
The key spheres of his professional interests include:
Creative clusters and innovation ecosystems: maximising the economic growth of the creative and knowledge economy; linking creativity to innovation.
Creative city-making: positioning creativity and culture at the heart of planning, social, economic and education policy.
Culture, Arts, Creativity & Innovation Policy: leading thinking on new infrastructure models, fitter for purpose creative and cultural education policy, and social innovation through creative approaches.
Speaking & Persuading: Tom is an active public speaker and writer. He works internationally to develop dialogue and broker partnership. He has spoken at events in over 20 countries. He is also adviser to the Council of Europe, European Commission, Alliance of Civilisations, UNESCO, British Council and Nordic Council of Ministers.
Tom will discuss the rise of the creative industry as well as the creative economy agenda in Europe and internationally. He will describe the key drivers for sector growth, while highlighting the distinctive needs of creative entrepreneurs. He will point out some best practice examples for sector policy and investment as well as identify opportunities for growth and competitiveness in Malaysia. This will include an overview of the Creative Economy Blueprint findings for KL which he has been developing with local partners, plus the new industrial strategy for the UK.
For further information, visit our website at ma2017.mymagic.my.
Facebook - Facebook.com/magic.cyberjaya
Twitter - Twitter.com/MagicCyberjaya
Instagram - Instagram.com/magic_cyberjaya/
LinkedIn - my.linkedin.com/in/magiccyberjaya
YouTube - https://www.youtube.com/channel/UCIT_ihmWh5f3MCobvEwWMaA
Designing south africa’s creative economy finalShahid Solomon
This document discusses the importance of diverse experiences and having a broad perspective for creative design. It notes that creativity comes from connecting different experiences in new ways. However, many people lack diverse experiences and a broad view of problems, leading to more linear solutions. The document calls for maximizing not just the market share but also the "mind and emotions share" of the creative economy. It discusses how brands can build emotional connections and how objects are part of complex social interactions.
Culture-based creativity stems from artistic and cultural productions and activities that nurture innovation beyond just artistic content. It requires personal abilities like lateral thinking, technical skills, and a social environment that encourages creativity. Culture-based creativity impacts economies by generating new visions, differentiation, intangible values, and disruption. It drives innovation in products, services, branding, human resources, and meeting new demands. Europe has significant cultural assets but does not fully harness creativity's potential; a creativity policy is needed to promote culture-based innovation and social progress.
The £7 million Digital R&D Fund for the Arts is a partnership between the Arts Council, the Arts and Humanities Research Council (AHRC) and Nesta.
It will support research and development projects that use digital technology to enhance audience reach and/or explore new business models for organisations with arts projects.
The fund is open for application 2012-15, Organisations with arts projects, Technology providers and Researchers or research teams are invited to form collaborative relationships and make joint funding applications.
For further information visit: http://www.artsdigitalrnd.org.uk/
Meltek infosystems is established by a term of experienced engineers in the year of 2000. The company provided complete technical solution for any type of satellite communication application. The services provided by the company include supply, installation and commissioning of Earth Station Antenna. The company also takes up services like installation, servicing and maintenance of satellite-based equipment of any make. A cluster of well-trained experienced and highly qualified team of engineers manages the total activity in above fields. Meltek infosystems has its hub station positioned at Pune for providing the test facilities for inspection and training towards operations, repairs and maintenance of entire earth station electronics.
The document provides information on upcoming books, movies based on books, recent book releases, and reviews. It lists titles of books being adapted to films opening in October, new book releases, recently published books, and books scheduled to be released in the future. It also includes summaries of five mean book reviews and recommendations from library staff.
This document provides a summary of upcoming book releases, movies based on books, and e-reader devices. It highlights several new book releases across genres like fiction, non-fiction, thrillers and children's books. It also lists movie adaptations of books like The Help and Harry Potter 7 part 1. Finally, it provides details on popular e-readers like Kindle, Nook, iPad and Sony Reader along with their specifications.
The document outlines the duties, responsibilities, and expectations of HRCA Delegates and Directors, including representing owners, approving budgets and assessments, enforcing governing documents, appointing committees, and managing the community while avoiding conflicts of interest or personal liability. Delegates elect Directors, approve major expenditures and amendments, and serve on advisory committees, while Directors oversee finances, architectural matters, rules and contracts within the community.
Taskit is a business that helps connect people who need tasks completed with "seekers" who can perform those tasks. Seekers find clients and complete everyday tasks for them like posting online, writing articles, errands, shopping, and other jobs. Once a task is complete, the client pays the seeker through the Taskit system. A portion of the payment goes to the nonprofit or person in need that the seeker chooses. Taskit provides business credit cards for seekers to purchase items for clients and links to affiliate websites to help seekers find work. The goal is to help others through small tasks while also benefiting charities.
Case study: ArtFinder - Building digital capacity for the artsArts Council England
Building digital capacity for the arts - seminar 1
Case study: ArtFinder, Chris Thorpe,
exploring the recently launched ArtFinder website and the two new associated Apps being launched in April 2011. Delegates will hear about the processes involved in creating an arts-related App, and will be given an insight into technical and rights issues
For more information visit http://www.artscouncil.org.uk/digitalcapacity
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document provides an orientation for delegates of the Highlands Ranch Community Association (HRCA). It outlines the mission, vision, governance structure, roles and responsibilities of delegates. Key points include:
- The HRCA aims to enhance property values and quality of life through recreation, events and leadership.
- Delegates represent members in their district and vote on their behalf on issues like budgets and common assessment increases.
- Delegates have duties like attending meetings, overseeing recreation facility expenditures, and representing member interests.
- The HRCA provides recreation amenities and programming through its four community centers and various committees.
The document outlines the duties, responsibilities, and expectations of HRCA Delegates and Directors. Key points include:
- Delegates elect Directors, approve property conveyances and assessment increases over 120%, and may amend governing documents.
- Directors' duties include maintaining insurance, collecting assessments, enforcing rules and declarations. They have powers to acquire property, adopt regulations, and manage community affairs.
- Directors are responsible for finances like budgets, assessments, and collections. They oversee architectural matters and appoint related committees.
- Both Delegates and Directors are expected to attend meetings, understand their roles, and can face liabilities like fiduciary duty and conflicts of interest.
A review of our ten-year mission, the current political environment, the upcoming spending review, and advice on how to advocate to local and national politicians. Presented to delegates from the Arts Council's National Portfolio Organisations in July 2015.
This is the presentation delivered on 6 - 13 November 2014 by the Arts Council to funded organisations. Find out more here: http://www.artscouncil.org.uk/jobs-and-conferences/conferences/briefing-events-november-2014/
2010 Toyota Tundra brochure provided by Heyward Allen Toyota located in Athens, GA. Find the 2010 Toyota Tundra for sale in Georgia; call about our current sales and incentives at (888)777-0611. http://www.heywardallentoyota.com/
The document outlines the charter and bylaws for the Backcountry Planning Areas Advisory Committee. The committee serves as an advisory body to the HRCA Board of Directors on projects related to backcountry planning areas. It has responsibilities related to understanding governing documents, becoming familiar with planning areas, communicating with the community, and assisting the board with tasks. The committee consists of 5-7 homeowners and may have non-voting experts. It elects officers annually and meets regularly to discuss planning areas and make recommendations to the board.
The document announces that the Buzzworthy Bistro is free and open to the public. It provides information on upcoming movies based on books, including release dates and cast members. New book releases are promoted, listing the title, author and brief description for each. Upcoming releases and staff picks are also mentioned.
The £7 million Digital R&D Fund for the Arts is a partnership between the Arts Council, the Arts and Humanities Research Council (AHRC) and Nesta.
It will support research and development projects that use digital technology to enhance audience reach and/or explore new business models for organisations with arts projects.
The fund is open for application 2012-15, Organisations with arts projects, Technology providers and Researchers or research teams are invited to form collaborative relationships and make joint funding applications.
For further information visit: http://www.artsdigitalrnd.org.uk/
Taskit is a business that helps connect people who need tasks completed with "seekers" who can perform those tasks. Seekers find clients and complete everyday tasks for them like posting online, writing articles, errands, shopping, and other jobs. Once a task is complete, the client pays the seeker through the Taskit system. A portion of the payment goes to the nonprofit or person in need that the seeker chooses. Taskit provides business credit cards for seekers to purchase items for clients and links to affiliate websites to help seekers find work. The goal is to help others through small tasks while also benefiting charities.
Tom Fleming - director of Tom Fleming Creative Consultancy
Dr Tom Fleming is a leading international thinker and strategist on the creative economy, city-making and arts and cultural policy. As director of Tom Fleming Creative Consultancy, Tom works with national, regional and local governments, plus multiple NGOs, to introduce positive and innovative change.
The key spheres of his professional interests include:
Creative clusters and innovation ecosystems: maximising the economic growth of the creative and knowledge economy; linking creativity to innovation.
Creative city-making: positioning creativity and culture at the heart of planning, social, economic and education policy.
Culture, Arts, Creativity & Innovation Policy: leading thinking on new infrastructure models, fitter for purpose creative and cultural education policy, and social innovation through creative approaches.
Speaking & Persuading: Tom is an active public speaker and writer. He works internationally to develop dialogue and broker partnership. He has spoken at events in over 20 countries. He is also adviser to the Council of Europe, European Commission, Alliance of Civilisations, UNESCO, British Council and Nordic Council of Ministers.
Tom will discuss the rise of the creative industry as well as the creative economy agenda in Europe and internationally. He will describe the key drivers for sector growth, while highlighting the distinctive needs of creative entrepreneurs. He will point out some best practice examples for sector policy and investment as well as identify opportunities for growth and competitiveness in Malaysia. This will include an overview of the Creative Economy Blueprint findings for KL which he has been developing with local partners, plus the new industrial strategy for the UK.
For further information, visit our website at ma2017.mymagic.my.
Facebook - Facebook.com/magic.cyberjaya
Twitter - Twitter.com/MagicCyberjaya
Instagram - Instagram.com/magic_cyberjaya/
LinkedIn - my.linkedin.com/in/magiccyberjaya
YouTube - https://www.youtube.com/channel/UCIT_ihmWh5f3MCobvEwWMaA
Designing south africa’s creative economy finalShahid Solomon
This document discusses the importance of diverse experiences and having a broad perspective for creative design. It notes that creativity comes from connecting different experiences in new ways. However, many people lack diverse experiences and a broad view of problems, leading to more linear solutions. The document calls for maximizing not just the market share but also the "mind and emotions share" of the creative economy. It discusses how brands can build emotional connections and how objects are part of complex social interactions.
Culture-based creativity stems from artistic and cultural productions and activities that nurture innovation beyond just artistic content. It requires personal abilities like lateral thinking, technical skills, and a social environment that encourages creativity. Culture-based creativity impacts economies by generating new visions, differentiation, intangible values, and disruption. It drives innovation in products, services, branding, human resources, and meeting new demands. Europe has significant cultural assets but does not fully harness creativity's potential; a creativity policy is needed to promote culture-based innovation and social progress.
This document provides an overview of transmedia storytelling and concepts related to exploring stories across multiple platforms. It discusses early narrative films, the definition of "art" and how it varies by culture. It also examines moving beyond traditional theatrical structures like the fourth wall and three unities. Additional topics covered include the relationship between crossmedia and transmedia, audience participation, and new business models in transmedia.
A thought provoking lecture on the parameters in which cultural opportunities are questioned and considered.
Can Art get people back to work? is a good discussion. Thesis: art and creativity positive forces which can be used to boosting morale, self esteem and empower people.
This document summarizes the agenda and topics for a conference on cultural production and economics. The conference will include panels on the value and price of cultural work, creativity as an economic resource, forms of cultural organization, and the identity of cultural enterprises. It will also feature workshops, artworks/presentations, and a partner event on cultural values. Panel discussions will address funding models, measuring artistic value, financial independence, participation, co-working, and defining the identity and branding of cultural groups and enterprises.
My Creativity Final Presentation @ Winter Camp 09gueste213a45d
The document discusses debates around the concept of "creative industries" from 2009-2012. It questions whether identifying with this term plays into the hands of policymakers, and debates strategies for using entrepreneurial models while addressing precarity and other issues. Alternative economic structures and business models were explored through collaborations and a website providing guidelines for working contracts. Challenges included contradictory messages around creative industries and addressing cultural diversity.
The Risky City: 2014 ASEM workshop on creative citiesCallum Lee
Experts from Europe and Asia met to discuss how cities can foster creativity and innovation. They outlined three phases to develop a "Risky City" where people are encouraged to take risks and try new ideas: 1) Identifying and nurturing potential through diversity and creative learning. 2) Growing potential via incubators and removing barriers. 3) Harnessing potential by developing international strategies and using universities to attract talent and investment. The goal is to integrate creativity across all sectors and empower citizens to shape their city.
We extracted the information stored in our head and laid it on papers. 23 slides to grasp the Systemic Economy model with its 2 cornerstones: Stakeholders ecosystem and 7D-Value(c).
Two very powerful concepts (ie. and tools) to create more value in your business or company, to survive or to grow.
Pointless to say that one of the purpose is to expand the company's playfield and place it in best position to cover more grounds than competitors.
1. The document discusses the concepts of creative cities and the role of culture and creativity in urban development. It explores definitions of creative cities and reasons why they have become popular.
2. Key thinkers like Richard Florida, Charles Landry, and others are discussed who have promoted the concepts of the creative city and creative class. Their definitions and theories are summarized.
3. Examples are given of creative cities in Europe like Berlin which has strongly embraced policies to develop its cultural industries and creative economy. Berlin's cultural assets and challenges in maintaining its status as a creative city are outlined.
The document discusses the evolution of branding from opacity to translucency to transparency. It argues that modern consumers seek more engagement and trust from brands. A new approach called "Simplux" is proposed that embraces transparency, addresses ethics, and socializes to build social capital. Simplux rethinks simplicity as craftsmanship, integrity, originality, equity, authenticity and altruism. Bringing it together requires social communication to share rich details and remove barriers.
Roberto Grandi gave a presentation on the role of creativity and the creative industries in smart cities. He discussed how creativity can be an alternative way of thinking and a way to solve problems. He explained that creative environments that are open-minded and interdisciplinary can foster creativity. However, creative cities also face risks like gentrification and social divides if multidimensional strategies are not employed to encourage inclusion and capability building. Grandi argued that creativity needs to be extended beyond just culture to also influence social, political and economic areas, and that civic creativity where everyone contributes is important for sustainable city development.
Slides from Univ of Miami International Legal Symposium Keynote AddressGeorge Howard
Honored to present the keynote for the fantastic International Legal Symposium at the University of Miami. This presentation addresses the perils and opportunities of the Innovator's Dilemma and Moore's Law, and how - given these elements - the music industry is a cautionary tale. Happily, we're seeing a redefinition of the music industry, and recent venture funding for companies such as Music Audience Exchange, Dubset and others potentially represent an innovative way forward.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
The document discusses the complex dynamics of collaboration in creative industries. It examines collaboration from macro-level organizational structures to micro-level individual experiences. While collaboration is touted as essential to creativity, the document notes collaboration takes many forms and does not always benefit all parties equally. It questions whether rhetoric around creativity matches realities, and who gains advantages in new creative economies.
A review of contemporary innovation a schumpeterian perspectiveMahdi Khobreh
The document summarizes three schools of thought on innovation from an economic, social, and cultural perspective:
1. The capability school views innovation from an economic perspective, seeing it as an institutionalized capability within firms characterized by routines like operating, investment, and search routines. Innovation is evaluated based on whether the expected costs are exceeded by the expected revenues.
2. The corporate entrepreneurial school takes a social perspective, seeing grassroots initiatives and an engaging process among many actors as driving innovation within firms. Identity-based relationships and authentic voices from various levels are important.
3. The cultural school focuses on a cultural view of innovation as deep craft, rooted in intergenerational relationships and affective identification. True innovation
A review of contemporary innovation a schumpeterian perspectiveMahdi Khobreh
The document summarizes three schools of thought on innovation from an economic, social, and cultural perspective:
1. The capability school views innovation from an economic perspective, seeing it as an institutionalized capability within firms characterized by routines like operating, investment, and search routines. Innovation is evaluated based on whether the expected costs are exceeded by the expected revenues.
2. The corporate entrepreneurial school takes a social perspective, seeing grassroots initiatives and an engaging process among many actors as driving innovation within firms. Identity-based relationships and authentic voices from various levels are important.
3. The cultural school focuses on a cultural view of innovation as deep craft, rooted in intergenerational relationships, affective identification, and a
The document discusses digital engagement and making museums more relevant and engaging through digital strategies. It provides an introduction to key concepts around understanding an organization's identity and values, engaging audiences both online and offline, and using tools like the Digital Engagement Framework and Social Engagement Tool to create engagement strategies. The document also discusses how museums can act as change agents by embracing new technologies and digital storytelling to have conversations with audiences and become more distributed and connected institutions.
Creative ideas…
are just that unless you can make them happen.
CreativeDynamix @ the intersection of Arts | Enterprise | Community in modern Ireland.
A conversation in cultural enterprise with MA members in Cultural Policy and Arts Management UCD, February 2011
Similar to Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development (20)
This document provides an overview and agenda for an Arts Council briefing on the landscape for arts funding in 2015 and beyond. It discusses the political environment, the upcoming Spending Review, and strategies for making the case for continued public funding of the arts sector. Key points covered include shifting more funding outside of London, pursuing a goal of cultural education for all children, and preparing arts organizations for potential funding cuts of 5-20% in the coming years resulting from the Spending Review. The briefing aims to help arts groups understand the challenges and opportunities in this context.
This is the presentation delivered on 5 - 7 November 2013 by the Arts Council to National portfolio organisations and Major partner museums. Find out more here: http://www.artscouncil.org.uk/jobs-and-conferences/conferences/national-portfolio-briefing-events-november-2013/
Overview of how our Grants for the arts application and grant-making process works.
For more details visit: http://www.artscouncil.org.uk/funding/apply-for-funding/grants-for-the-arts/
View presentation slides from our November 2012 Briefing events for funded organisations.
The briefings aimed to update funded organisations on the changes the Arts Council is going through and discuss how they can help us make a strong case for maintaining public funding of arts and culture in advance of the next Government spending review.
Lighting the cauldron - Young people and cultural organisationsArts Council England
Presentation slides from our 'Lighting the cauldron - Young people and cultural organisations' conference at the Museum of London, Thursday 25 October 2012.
As part of the Cultural Olympiad, Arts Council England's Stories of the World programme transformed the opportunities open to young participants and challenged museums to make lasting change to how they operate by embedding young people at the heart of their decision-making.
The conference brought together project partners, key thinkers and influencers from across the cultural sector to explore what has changed and how to take forward youth engagement and co-production. The conference explored what museums can learn from Stories of the world and how this learning can be applied to the wider cultural sector.
Presentations from the final seminar in our digital training programme for the arts sector, developed in partnership with BBC Academy.
Includes:
- Ben Green, BBC: "Finding the right approach: working your way through the Rights maze…"
Case studies: Contracts and collaboration
- Roxanne Peters, Project Manager and Vicky Panter, Documentation Manager, V&A - V&A online collections
- Jo Higgins, Young People’s Web Content Manager, South London Gallery - RE:creative
Case studies: Innovative approaches to rights clearances
- Carolyn Royston, Head of Digital Media, Imperial War Museums - "Digital collections and cultural change"
- Charlie Gauvain, Managing Director, Eye Film and Television- John Peel archive
The document summarizes research findings from a study on envisioning the future of libraries in the UK. It identifies several key trends that may impact libraries, including an aging population, economic challenges, increasing diversity, and changing consumer behavior driven by new technologies. These trends present both challenges and opportunities for the future delivery of public services and libraries.
The Creative Apprenticeships event looked at how arts and cultural organisations can capture and nuture a new generation of talented individuals through apprenticeships.
This is the keynote presentation from the event by Pauline Tambling, Joint CEO, Creative and Cultural Skills and Managing Director, National Skill Academy for Creative and Cultural
The Ogilvy Digital Lab is a global network of hubs established in 2008 to partner with clients and educate employees on new technologies and media. The London Digital Lab aims to inspire creative solutions through workshops, internal education, client projects, research partnerships, and knowledge sharing. The Labs work across disciplines to enable innovative revenue streams for Ogilvy and address problems such as skills gaps through their Semesters of Learning program.
The £45 million Strategic touring programme is designed to encourage collaboration between organisations, so that more people across England experience and are inspired by the arts, particularly in places which rely on touring for much of their arts provision.
Applications for the first round are now open, and must be submitted online by 5pm on Friday 2 March 2012.
For more information visit http://www.artscouncil.org.uk/touring
Digital R&D Fund for Arts and Culture: Digital Day (Brighton)
Case study: Trial episode of SMS Drama Ivy4Evr commissioned by Channel 4 Education
Julianne Pierce, Executive Producer, Blast Theory
On 7 June 2011 Arts Council England, the Arts and Humanities Research Council (AHRC) and the National Endowment for Science, Technology and the Arts (NESTA) announced a new £500,000 Digital R&D Fund for Arts and Culture, for projects that harness digital technologies to connect with wider audiences and explore new ways of working. Project proposals will focus on six key ares: six areas: user-generated content and social media; distribution; mobile, location and games; data; resources; and education and learning. The Digital days aim to: - encourage new partnerships and collaborations between arts and cultural organisations and technology companies - inform participant about opportunities of using digital technologies - provide information on the Digital R&D Fund for Arts and Culture.
For more information visit http://www.artscouncil.org.uk/funding/digital-rd-fund-arts-culture/
Digital R&D Fund for Arts and Culture: Digital Day (Brighton)
Case study: The Past is Never Dead. It's Not Even Past - An Introduction to the Archives at Getty Images
Matthew Butson, Vice President, Hulton Archive
On 7 June 2011 Arts Council England, the Arts and Humanities Research Council (AHRC) and the National Endowment for Science, Technology and the Arts (NESTA) announced a new £500,000 Digital R&D Fund for Arts and Culture, for projects that harness digital technologies to connect with wider audiences and explore new ways of working. Project proposals will focus on six key ares: six areas: user-generated content and social media; distribution; mobile, location and games; data; resources; and education and learning. The Digital days aim to: - encourage new partnerships and collaborations between arts and cultural organisations and technology companies - inform participant about opportunities of using digital technologies - provide information on the Digital R&D Fund for Arts and Culture.
For more information visit http://www.artscouncil.org.uk/funding/digital-rd-fund-arts-culture/
Digital R&D Fund for Arts and Culture: Digital Day (Bristol)
Case study: artplayer.tv
Roger McKinley, Production Manager, FACT
Dave Moutrey, Director & Chief Executive, Cornerhouse
Preparing for Internet TV and creating opportunities for venues and artists.
On 7 June 2011 Arts Council England, the Arts and Humanities Research Council (AHRC) and the National Endowment for Science, Technology and the Arts (NESTA) announced a new £500,000 Digital R&D Fund for Arts and Culture, for projects that harness digital technologies to connect with wider audiences and explore new ways of working. Project proposals will focus on six key ares: six areas: user-generated content and social media; distribution; mobile, location and games; data; resources; and education and learning. The Digital days aim to: - encourage new partnerships and collaborations between arts and cultural organisations and technology companies - inform participant about opportunities of using digital technologies - provide information on the Digital R&D Fund for Arts and Culture.
For more information visit http://www.artscouncil.org.uk/funding/digital-rd-fund-arts-culture/
Case study: Artfinder
Priscilla Li, Founder, Business Development & Content, Artfinder
Alexandra Jorge, Production Manager, Artfinder
On 7 June 2011 Arts Council England, the Arts and Humanities Research Council (AHRC) and the National Endowment for Science, Technology and the Arts (NESTA) announced a new £500,000 Digital R&D Fund for Arts and Culture, for projects that harness digital technologies to connect with wider audiences and explore new ways of working.
Project proposals will focus on six key ares: six areas: user-generated content and social media; distribution; mobile, location and games; data; resources; and education and learning.
The Digital days aim to:
- encourage new partnerships and collaborations between arts and cultural organisations and technology companies
- inform participant about opportunities of using digital technologies
- provide information on the Digital R&D Fund for Arts and Culture
For more information visit http://www.artscouncil.org.uk/funding/digital-rd-fund-arts-culture/
Digital R&D Fund for Arts and Culture: Digital Day (Bristol)
Hasan Bakhshi, Director, Creative Industries for Policy and Research, NESTA
For more information visit http://www.artscouncil.org.uk/funding/digital-rd-fund-arts-culture/
Peter Knott, Arts Council England introduces the Digital R&D Fund for Arts an...Arts Council England
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Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development
1. tom fleming / creative consultancy /
Supporting
Growth in the
Arts Economy
Creative Economies Seminar, June 2012
www.tfconsultancy.co.uk @tfconsultancy
2. “It is commonly acknowledged
that the arts are the bedrock of
the creative economy, making a
considerable contribution to the
nation’s prosperity and its
international reputation”.
• tom fleming / creative consultancy /
3. “It is commonly acknowledged
that the arts are the bedrock of
the creative economy, making a
considerable contribution to the
nation’s prosperity and its
international reputation…”.
“…But there is a gap here between rhetoric
and reality, with the arts still marginal to
much creative economy policy and examples
of genuinely integrated approaches to the
arts and creative economy the exception
rather than the rule”.
• tom fleming / creative consultancy /
4. So how did
we get
‘here’?
• tom fleming / creative consultancy /
5. Our Recent
History:
An Arts &
Creative
Economy
Timeline
• tom fleming / creative consultancy /
6. ’80s to late ’90s
Special pleading,
marginalisation,
innovation…then celebration,
symbolic capital (cool)…
• tom fleming / creative consultancy /
7. Late ’90s to early ’00s
Development & growth, new
infrastructure & support,
cultural planning, digital…
• tom fleming / creative consultancy /
8. Late ’00s
Crisis, withdrawal,
fragmentation, fear, collision,
more digital disruption
• tom fleming / creative consultancy /
9. Early ’10s
Fragility, some recovery,
celebration, innovation
• tom fleming / creative consultancy /
10. The Scrap for Resources &
Ownership of ‘the Agenda’
tom fleming / creative consultancy /
tom fleming / creative consultancy /
17. Ecology / driven by intrinsic arts and cultural
activities; expressive of a social relationship between
producers and audiences; strongly linked to public
investment and not-for-profit activities…
Economy / driven as much by commercial as artistic
and cultural factors; expressive of an economic and
social transaction producers and markets; operating in a
mixed economy of different types of private investment,
alongside public investment.
• tom fleming / creative consultancy /
18. What do we mean by ‘growth’?
‘Clusters’?
‘Innovation’?
• tom fleming / creative consultancy /
19. Who Benefits?
And How?
And to what end?
• tom fleming / creative consultancy /
20. Dangers of austerity
planning
Piecemeal, risk averse,
pessimistic, closed, devoid of
aspiration.
• tom fleming / creative consultancy /
22. “What is needed are
not new or adapted
instruments for
knowledge transfer,
but something quite
different: the spaces
in which interactions
can take place”
(Geoffrey Crossick, A
lecture to the Royal
Society of Arts).
• tom fleming / creative consultancy /
24. Brokering, lifting,
converging flows of
aspirations, impulses,
ideas, value(s)
tom fleming / creative consultancy /
25. Watershed
“We are most interested in collisions of experience and cultures, to
create something new. A laboratory for experiment, risk and
disruption. We are a router and amplifier of cultural ideas, creativity
and technology” (Dick Penny, Managing Director, Watershed).
tom fleming / creative consultancy /
26. Re-appraisal of the role and value
of the arts to the heart of the
economy and society
tom fleming / creative consultancy /
27. Re-appraisal of the types of skills,
connections and capacities
required for this.
tom fleming / creative consultancy /
28. Some Key Shifts Across the Arts &
Creative Economy: Organisations
- Disruptions – e.g. digital, disinvestment,
audience promiscuity – the ‘war for attention’
- The need / opportunity for deeper and more
diverse relationships with audiences; shift
between ‘audience’ and ‘producer’
- Balancing reach and excellence
- Toward blended business models – e.g. where
the digital enables diverse revenue streams
and the scaling of different types of value
- Service providers for other agendas –
leveraging brand value and expertise – e.g. in
tourism, regeneration, creative industries
- Hubs and brokers of social capital =
embedded innovation capacity
tom fleming / creative consultancy /
tom fleming / creative consultancy /
29. Some Key Shifts Across the Arts &
Creative Economy: Commercial
Creatives
- Recession: where is the market?
- Digital: relocating value, increasing scalability
and collaboration, issues of risk – what are
tomorrow’s business models?
- Hypermobility - but place still matters
- Slowness – the new ‘growth’
- Access to talent and different types of capital
(finance, content, technology)
- Rise of the Creative Ecology
- Death of the creative industries? How to tell
the(ir) story?
tom fleming / creative consultancy /
tom fleming / creative consultancy /
30. Some Key Shifts Across the Arts &
Creative Economy: Public Sector
- Disruptions – disinvestment, withdrawal, reassessment.
- ‘Creative decommissioning’?
- Unemployment, skills/learning, public order, cohesion, re-
balancing the economy
- Local Enterprise Partnerships – opportunities for inter-
sectoral collaboration, place-making, clusters – but teeth?
- Knowledge Exchange Hubs – genuine collaboration, but few
players.
- New ACE interventions – investment, digital, capital, work.
- Fresh new partnerships – e.g. Sheffield Culture Consortium
- The rise of the city region and creative smaller towns? The
renaissance of the high street?
- International opportunities?
tom fleming / creative consultancy /
tom fleming / creative consultancy /
31. Where to locate ‘the arts’
E.g. Regeneration, economy, education everywhere?
• tom fleming / creative consultancy /
32. A way through the dark matter?
tom fleming / creative consultancy /
33. “IF YOU REALLY WANT TO CHANGE THE CITY, OR
want a real struggle, a real fight, then it
would require re-engaging with things like
public planning for example, or re-engaging
with government, or re-engaging with a
large-scale institutionalised developers. I
think that’s where the real struggles lie, that
we re-engage with these structures and
these institutions, this horribly complex
‘dark matter.’ That’s where it becomes
really interesting”.
Wouter Vanstiphout, interviewed by
Rory Hyde, 2010
tom fleming / creative consultancy /
35. We Need Effective
Public Value Narrative
& Tools
Coherent evidence base
Strong & confident leadership / partnership
Coordinated approach across the ‘value chain’
Sharper investment (public and private)
Nationwide
• tom fleming / creative consultancy /
36. Demonstration
and Evaluation
• tom fleming / creative consultancy /
37. Real collaboration:
in co-creation of the
agenda, KPIs, risks
and returns.
• tom fleming / creative consultancy /
39. But that’s not
enough
• tom fleming / creative consultancy /
40. What can we do which
is different and
exceptional?
(local to global)
• tom fleming / creative consultancy /
41. Arts / Economy co-
created for mutual gain
Economy of the arts and art in the economy.
• tom fleming / creative consultancy /
42. “The way to get
people to build a
ship is not to teach
them carpentry,
assign them task,
and give them
schedules to meet:
but to inspire them
to long for the
infinite immensity of
the sea”
Antoine de Saint-Exupery
tom fleming / creative consultancy /
43. The Late ’10s
?
• tom fleming / creative consultancy /
46. Why do it?
• Internal purposes – understanding (and improving)
your impact, benchmarking, thinking about future
choices/projects
• External ones – advocacy with funders such as Arts
Council, local authorities (and within LAs – making the
case for culture with economic development), raising
profile with communities/residents
47. Four methods used in sector
• Measures of spending:
• Economic impact assessment (EIA)
• Economic footprint analysis (also called size analysis or
economic contribution analysis)
• Valuation techniques:
• Contingent valuation (CV)
• Social return on investment (SROI)
49. Contingent valuation
• Aims to estimate extent to which consumers benefit
from a product or service, over and above the price
they pay for it
• Measures three types of value: use, option and
existence. Useful if service or product doesn’t have
market value.
• Favoured by Treasury
50. Social return on investment (SROI)
• Type of ‘social accounting’ which includes non-
economic costs and benefits
• SROI is way of understanding the value of an
organisation’s activities based on their effects on the
organisation’s stakeholders and audiences.
51. Economic footprint analysis/ size analysis
• Focuses on measuring the size of an organisation or sector’s
activities and comparing it with national economy as a whole
• Rarely used in cultural sector for individual organisations – more
common for sectors (e.g. DCMS’s Creative Industries Economic
Estimates) or geographical areas
• Usually measures employment and Gross Value Added
52. Economic impact assessment
• Most commonly used method in sector, arguably best
understood
• Tries to measure the wider economic effects of visitors’ spending:
in restaurants, cafes, pubs, in hotels as well as the effect of the
organisation’s spending on wages, local business suppliers
• Good EIAs take account of additionality effects – some spending
is diverted rather than being genuinely additional to local
economy
• Number of standardised benchmarks available (e.g. multipliers)
53. Toolkits
• Not really viable for contingent valuation, SROI
• More of an option for EIA
• Different options available – depends on the type of
event or activity you are measuring
• West Midlands Cultural Observatory economic impact
• EventIMPACTS
• ALMA-UK
54. Example: Edinburgh Festivals Impact Study
• Commissioned to conduct an impact assessment of the twelve
Festivals represented by Festivals Edinburgh
– Building on a previous study by SQW in 2004/05 on 17 Festivals.
• 51 surveys across the Festivals involving 15,000+ individuals
– Audiences (adults & children), festival management, performers and
delegates, attending journalists, volunteers, temporary staff,
teachers and Festival sponsors
• Main objective:
Update the economic impact while expanding to cover cultural,
social, media and environmental impacts.
55. How we did it
• Gross Economic impact:
– Direct impacts using festival management data
– Indirect impacts from audience expenditure survey
– Induced impacts using government figures
• Additionality:
– Audiences asked what they would have otherwise done (and where)
– Festival management also asked where they sourced their supplies
56. Headline findings: economic impacts (i)
• Festivals are a major contributor to both the local Edinburgh
economy and the national Scottish economy:
– £245m of additional output in Edinburgh
– £261m of additional output in Scotland
– Supported 5,242 new FTE jobs in Edinburgh
• Audience expenditure is dominated by staying visitors
• Economic impact is driven by the large Festivals
57. Headline findings: economic impacts (ii)
• Economic impact spreads far beyond the immediate cultural
economy
– Ticket expenditure only accounts for 13% (=£16m) of net audience
expenditure
• Biggest beneficiary businesses in Edinburgh and Scotland are
those in the tourism, hospitality, and leisure sectors
Shopping 6% =£7m
Transport 9% = £9m
Entertainment 15% = £16m
Food and Drink 34% = £37m
Accommodation 37% = £41m
58. Headline findings: cultural impacts
• Festivals provide enriching, world class cultural experiences
– 78% of audiences rate the quality of the Festival experience better or much
better than other comparable events
How would you rate the quality
of this event against other 3.92
comparable events?
1 2 3 4 5
Much Worse Much Better
– 87% of journalists agreed or strongly agreed that the Festivals had ‘a high-
quality programme of events’
– Social impacts: pride & profile of area increased dramatically by festivals.
59. Conclusions of headline findings
• EIA Methodology allowed us to construct and demonstrate a
powerful narrative about the value and impact of cultural events.
• Festivals have positive impacts spanning cultural, social and
economic areas and show leadership on environmental agenda
• Study has helped drawing down an additional £3.5m from
Scottish government, City of Edinburgh Council & other key
funders for 2012
• Can also be used for local impact, e.g. City of London.
• Can be combined with local case studies.
60. Other case studies
• Anvil Arts: The Anvil concert hall, Haymarket theatre
• AV Festival: biennial NE festival of contemporary art
• Wildscreen Festival: biennial industry-facing festival for wildlife
film industry in Bristol
• St Magnus Festival: Contemporary music (and other arts) festival
in Orkney
97. The Tobacco Factory Theatre is one of the most exciting theatre venues anywhere in
the country. (BBC 2)
The Tobacco Factory is a stunning venue, and produces a rich stream of quality
productions throughout the year. (What’sOnStage)
The West Country's theatrical hot spot. (The Mail)
The West Country’s most enterprising theatre. (The Times)
The exemplary Tobacco Factory. (The Observer)
The Tobacco Factory Theatre is as good an argument as I've ever seen for the
importance of the arts in the regeneration of a particular area. (The Guardian)
98. Why has the Tobacco Factory worked?
1. Mixed-use development
99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110. Why has the Tobacco Factory worked?
2. The building integrates with the local economy
3. The building supports independent initiative
121. Rough Guide
BRISTOL has harmoniously blended its mercantile
roots with an innovative, modern culture, fuelled by
technology-based industries, a large student
population and a lively arts and media community.
122. The Tobacco Factory, and the Tobacco Factory Theatre, are
prime examples of 21st century uses of 19th century industria
buildings and structures. A small body of people working in
harmony with the local community used artistic and cultural
levers and a sustained but comparatively modest level of
financial investment to transform the social, cultural and
economic fortunes of a substantial population and geographic
area. While every area has its own issues and opportunities
suggest that the narrative arc of Bristol is analogous to that o
many mercantile / industrial areas that are seeking new roles
n the 21st century and hence that the Tobacco Factory mode
might usefully be studied and replicated more widely.
126. Our Mission
“To lead and drive forward the
quality, competiveness and
sustainable growth of England’s
Visitor Economy”
127. What VisitEngland does
• Champion the sector and drive forward the
industry’s shared Strategic Framework for Tourism
• Promote England's tourism offer
• Provide official intelligence on tourism and visitor
economy in England
• Support local areas grow their economies through
tourism
• Advise Government on English Tourism issues
128. Cultural Tourism?
• All tourism to a greater or
lesser extent is cultural
• Customers don’t make a
distinction (facilities by
cultural agencies and
promotion by tourism
delivery bodies
• Need to work more closely
with cultural delivery
partners nationally and
locally for mutual benefit
129. So why doesn’t this work better already?
• Some history – different funders, delivery
structures and delivery partners
• Definitions and language (consumer/visitor v
audience)
• Despite much funding coming from central
government – different objectives set by funding
streams with different targets/measures of
success
• There hasn’t always been a spirit of collaboration
e.g. tourists want populist rather then creative
content
• Opportunity to make it work better and some
clear imperatives to make this happen
130. What are our shared aims??
• Stimulating growth –
Government (public investment
targets growth) and industry
(e.g. Arts and Tourism
Strategic Framework’s)
• Tourism is a main plank of
growth:
- Last year 7% growth (£76bn
spent by visitors)
- Increased spending has
supported growth in tourism
jobs up 5% compared to 2010
- Only 1% across all other
sectors
131. Shared objectives
• Attracting customers to our destinations and
venues to spend money which supports those
venues, their wider local economies and their
residents
• Creating reasons for customers to visit in the first
place and keep on visiting
• Creating an excellent experience for those
customers
• Maximising the impact of the public money
invested in our sectors
133. Visitor Economy:
It’s Big Business
● The sector is currently
worth £97bn
● It provides 2m jobs
● Made up of 249,000
businesses
● It benefits every part of
the country
● Projected to be £158bn
(2020)
134. Visitor spend adds local value
It helps protect and preserve our heritage
It can support localism
135. Recent changes
• Financial
- Less public money available
- A difficult trading environment for
businesses
- Consumer spending harder to
attract
• Structural
- Loss of Regional co-ordination
(RDAs and Regional Tourist
Boards)
- Policy of localism
- Creation of Local Enterprise
Partnerships
- Increase in the number and
variety of destination
management organisations
136. What do we need to do
• Nationally
Govt appreciate the connectivity – objectives and
targets
ACE, VE and others – shared strategic planning
Funding programmes aligned at the outset
• Locally
Shared strategic planning – destination management
plans
Sharing of ideas and plans at an early stage
Joined up delivery of the visitor experience – packaging
with the tourism private sector
137. Examples of where it works well
• Iconic attraction led approach - putting the
destination on the map; stimulating wider business
development and entrepreneurship e.g. Margate
• Adding distinctiveness to the local product
• Creative content provides reasons to visit outside
of the main tourism seasons
• Culture regeneration e.g. Liverpool, Newcastle
(music, art)
• An event led approach e.g. Hay on Wye,
Cheltenham Literature Festival, Brighton
138. Summary
● We have a shared
agenda – growth!
● We must share targets
● Align funding streams
nationally and locally
● Partnership dynamic is
critical
139. Lyndsey Swift, Head of Partnerships
lyndsey.swift@visitengland.org
0207 578 1456
www.visitengland.org
140. Essex Summer of Art
Roxie Curry - Arts Development, Rochford District Council
Lindsey Strange – Arts Development, Essex County Council
141. Art Trails Everywhere, for
Everyone
How to turn grass
roots will into a
cohesive, annual
tourist event
142. In this presentation, we will:
Look at how Essex Summer of Art
developed
How we made it work
Examples of how you could make it
work in your area
143. Essex Summer of Art
20 Art Trails
4th Annual Event
2011: £1.3m to Essex
economy
180,000 visitors
144. Essex Summer of Art
Development
Grass roots network
Shifting perceptions
Efficiency
145. Making it happen - Partners
Essex County Council Visit Essex
Districts & Boroughs Firstsite
Participating Art Trails BBC Essex
147. The offer to tourists
1. Free or low cost
Burnham Art Trail
2. Collateral spend
Leigh Art Trail
3. Locally distinct
Rochford Art Trail
4. Programming for a
local audience
148.
149. The offer to tourists
5. Links to other Essex Craft & Design
attractions and Trails Show
6. Artistic Diversity Jaywick Open
150.
151. The offer to tourists
7. Regeneration = Gatehouse in Harlow
Rediscovery
Hadleigh Old Fire
Station & 2012
152.
153. Essex Summer of Art model
Destination tourism
Regional Media
Campaign
High level political
support
Steering Group
Credibility
158. Spend Table
SPENDING £1-£10 £11-£30 Over £31
Art and Crafts 49.6% 28.5% 22.0%
Food and Drink 72.7% 23.0% 4.3%
Transport 84.2% 14.2% 1.8%
Shopping 39.2% 45.6% 15.2%
Accommodation 28.6% 9.5% 61.9%
159. How you can make it work
Create a network / ‘club’
Involve Open Studios, galleries
Emphasis on ‘county-wide’
PRIME Report
160. Follow up
Essex Summer of Art Report:
Joanne Thain Arts Development Officer
(Essex County Council)
joanne.thain@essex.gov.uk
PRIME Economic Impacts Assessment:
Sergi Jarques – Tourism South East
sjarques@tourismse.com
161. Arts Development UK Seminar:
Creative Economies
20 June 2012
Breakout Session #4: New Business Models
162. New Business Models
Mary-Alice Stack, Director ArtCo Projects
Arts Council England
Tim Joss, Director
Rayne Foundation
Ruth Jarratt, Trustee
MeWe360
163.
164. 1 Introduction
• In October 2011, Arts Council England approved a
budget for the development and delivery of a new pilot
programme to provide micro-loans of £5,000 - £25,000
for small and medium scale enterprises operating within
the creative industries
• This investment supports the Arts Council’s current
priority for strengthening and exploring new business
models in the arts as part of its 10 year strategic plan for
ensuring that the arts are sustainable, resilient and
innovative.
165. 2 Programme aims
The principal aims of the Creative Industry Finance
programme are to:
• provide access to finance for small and medium
enterprises (SMEs) operating within the cultural/creative
industries, enabling business growth and supporting
talent development
• improve the business skills and commercial experience
of SMEs operating within the cultural/creative industries
166. 3 Programme objectives
The primary objectives of the programme are to:
• improve the financial profile/lending history of creative
industry SMEs with growth potential, enabling them to
attract further investment from the private sector, thereby
becoming more sustainable as independent enterprises
• provide an evidence base for the demand and
effectiveness of loan finance as an alternative to grant
funding for commercially viable cultural and creative
industry enterprises
167. 4 Geographic focus
• Due to the high concentration of Creative Industry
enterprises in the London region it has been agreed that,
initially, the programme will be piloted in the London
area.
• The London pilot launched on 29 May 2012, and is open
to Creative Industry enterprises located across all 33
boroughs
• Extension of the pilot to a second Arts Council region or
LEP area is planned for early autumn 2012
168. 5 Key features of the programme
The programme comprises two key components:
• Training and support
Up to 12 hours one-to-one business development
support with a specialist business adviser
• Access to finance
Opportunity to apply for a loan of £5,000 to £25,000 to
help develop and grow a business
The London pilot will be delivered by East London Small
Business Centre in partnership with Arts Council England’s
trading subsidiary, ArtCo Trading Ltd.
169. 6 London Pilot Programme - who can apply?
Applicants must be able to demonstrate that their business
meets the following key criteria:
• located in one of London’s 33 boroughs
• trading for a minimum of 6 months
• business activity qualifies under one or more of the
following creative industry classifiers:
architecture; crafts; computer games; design;
designer fashion; film and video; music; performing
arts; publishing/literature; software; TV & radio; visual
arts
• creative content is at the heart of their business
170. 7 London Pilot Programme - who can apply?
• We will consider applications from sole traders
(individual artists) as well as limited companies,
partnerships and not-for-profit/social enterprises
• Applicants must be able to demonstrate that they have
been “trading” (ie set up in business) for at least six
months;
• Organisations that receive regular funding from Arts
Council England as part of the National Portfolio are not
eligible to apply for support under this programme
171. 8 How will applications be assessed?
An initial “expression of interest” application will be
assessed by Arts Council England using the following
criteria:
• Relevance of creative content to the core business
activity
• Quality of the creative content
• Potential of the business to benefit with regard to the
aims of the programme
172. 9 Range and diversity of applications
• We are hoping that the programme will attract a broad
and diverse range of applications from companies
operating across the Creative Industries
• We will work in partnership with other agencies and
organisations to publicise the opportunity as widely as
possible across the sector
• Quality of content is important, but entry to the
programme will ultimately be judged by our delivery
partners on the strength/viability of the business plan
and the commitment, focus and aspiration of the
company directors
173. 10 Investment Panel Decisions
• Proposals from businesses that have completed the
Business Support Package will be considered by our
delivery partners’ investment panels at regular intervals
(normally every 6 – 8 weeks)
• The panels will be convened by our delivery partners
and include representation from Arts Council England
(ArtCo Trading Ltd)
• For the Arts Council fund, lending decisions will take into
account both the strength of individual applications as
well as the overall balance and range of applications
from across the 12 creative industry segments
174. 11 Interest rates
Loans issued under this programme will carry interest
charges of 10% APR. The total amount of interest that the
borrower will pay depends on the total amount borrowed
and length of time over which it is repaid.
Example:
Amount Repayment APR Monthly Total Total
Borrowed term Payment Repayments interest
paid*
£5,000.00 12 months 10% £439.58 £5,274.95 £274.95
£7,500.00 24 months 10% £346.09 £8,306.09 £806.09
£10,000.00 36 months 10% £322.67 £11,616.12 £1,616,12
*Interest charges will be paid into the fund and used to off-set loan write-offs (estimated at 30%)
175. 12 Target outputs 2012/13
A £200,000 loan fund has been set aside to support
businesses in the London region during 2012/13.
Target outputs (London pilot)
• 150 businesses to receive 1 hour business consultation
• 75 companies to be offered the business support
package (average10 hours per client)
• Up to 35 ‘investment ready’ referrals to loan fund panel
• 15 – 25 creative sector businesses supported with
access to finance (total £200,000)
176. 13 Target outcomes 2012/13
• 75 London based creative sector businesses have
increased financial awareness and confidence
• Up to 25 London based creative sector businesses have
increased gross value added (GVA) after 12 months
• Arts Council England have an increased understanding
and evidence base of the business development needs
and opportunities for Creative Industry enterprises in the
London region
177. Further information about the Creative Industry Finance
programme through the following channels:
Web: www.creativeindustryfinance.org.uk
Twitter: @cifinance
Facebook: facebook/CreativeIndustryFinance
Email: cifinance@artscouncil.org.uk
www.artscouncil.org.uk
178. Thank you
Mary-Alice Stack
Director, ArtCo Projects
Arts Council England
14 Great Peter Street
London SW1P 3NQ
020 7973 6503
07947 451355
mary-alice.stack@artscouncil.org.uk
www.artscouncil.org.uk
181. • Development of social investment in the
charity sector as a means to grow
• Growing pressure for outcomes measurement
• Shrinking grant pot
• Current low returns for investors
MOTIVATION
182. • STEP 1 Build a longlist of arts organisations
for the model portfolio
• STEP 2 Survey Monkey
• STEP 3 Survey analysis
• STEP 4 Shortlisting by Social Investment
Business + Mission Models Money
• STEP 5 Create a model portfolio
DEVELOPING THE FUND
184. The purpose
MeWe is…….
• A new financial model for the creative industries
• A new approach to talent development
• The brain child of Kevin Osborne who founded Tribal Tree
MeWe’s mission
• To identify, develop and invest in untapped talent
• Particularly in communities under-represented in the creative industries
MeWe’s objective
• To support talent in achieving investment readiness
• To match that talent with appropriate investors
185. The model
MeWe House
• Club, hub and talent incubator
• Social enterprise
MeWe Money
• Venture Capital Fund (£1m invested)
• Purely commercial
• Will provide future financing route to MeWe House
Cross-sector support
• Public: Arts Council
• Private: Esmee Fairbairn Foundation
• Commercial: Ingenious Media
186. The features
Special features of MeWe
• Input from top industry players: management consultants, entrepreneurs,
and investors
• Creation of networks and onsite collaboration
• Bespoke/tailored support
• Long-term support from concept to launch: typically 4-7 years
• Programme developed by continuous feedback and adjustment
187. Progress
Feedback so far
• “Inspiring, insightful, affirming, accessible, constructive, informative,
generous, great vibe, great interaction”
• Constructive ideas to shape MeWe offering: event programme, online
support
Success for MeWe
• Launch of successful businesses
• MeWe’s stake in those businesses delivering investment back into the
social enterprise
• Timeframe of years not months
188. Significance
MeWe is action research
• A 3 year strategic research project exploring new models and approaches
to developing entrepreneurial and leadership talent supported by Arts
Council England.
• Capturing whole process from all sides in real time
• Learning to be distilled and shared across the sector
Reaching parts others haven’t
• This talent has not been tapped, despite a range or previous interventions
• MeWe is honest, open and brave exploration
• Of what works …. and what doesn’t
189. Join us
MeWe event: Connection, Collaboration & Competition
Date: Tomorrow 21st June, 6.30-8.30
Venue: MeWe 360, 15 Golden Square, London W1F 9JG
Guest speakers:
• Farooq Chaudry, Producer and co-founder of Akram Khan Dance Company
• Sarah Elenany, Creative Entrepreneur of the Year finalist, designer and
founder or clothing label Elenany
See website
www.mewe360.com
191. Presentation will cover:
‐ Festival overview ‐ How it works
‐ Leicester’s economy ‐ Business partnerships
‐ Business Partners Club ‐ Dave
‐ What is economic impact of DLCF? ‐ Why bother?!
192. Festival overview:
Started in 1994 5000 people attended
Range of performances Not just stand‐up
2012: over 400 events in 17 days
Developed over 19 years; 20th birthday in 2013
194. Leicester’s economy:
• Just under one million people live in the Leicester & Leicestershire sub‐
region, with about a third living within the Leicester City boundary.
• House prices are sufficiently high to contribute to economic buoyancy,
and relatively affordable compared to household income and many
other areas of the country.
• Local GVA in 2007 was £18.5 billion, the area has a strong tradition in
the field of business. It is home to major brands including Next,
Walkers, Triumph, Caterpillar, Samworth Brothers, Wal‐Mart, DHL, 3M
and AstraZeneca. (GVA = Gross Value Added (GVA) is the principal
measure of the total value of goods and services that a geographical
area produces.)
• Over 40,000 students study at the three universities in the City and
County – University of Leicester, De Montfort University and
Loughborough University.
195. Leicester’s economy:
• Poverty is the root cause of many of the difficulties facing some residents.
Average male resident earnings in Leicester are the lowest in the East
Midlands.
• 1 in 5 City residents are claiming benefits and 21% are without formal
qualifications. The 2007 Index of Multiple Deprivation suggests that Leicester
is the 20th most deprived local authority in the country.
• 20,000 manufacturing jobs have gone from Leicester and 23,500 from
Leicestershire in the last decade.
• High proportion of public sector employment in Leicester City (one in three
jobs) is a potential concern in the light of potential cuts in public expenditure.
• 96% of local businesses employ less than 50 people.
197. Business Partners Club
‐ Low level sponsorship
‐ Special events
‐ Active involvement
‐ Benefits linked to association with festival
‐ Membership increased since Dave
‐ Merchandise to extend reach of festival
198. Dave
‐ Title sponsor in 2012
‐ Partnership linked to off‐air coverage
‐ Extending Dave brand
‐ Creation of new projects/shows
‐ On‐line presence important
‐ Deal secured due to evidence base
200. Why bother?!
‐ Argue for public funding
‐ Strengthen links with business
‐ Demonstrate national reach
‐ Part of the “story”
‐ KPI’s
‐ Benchmark festival nationally
203. Local Derbyshire Context
• Geographically central
• Cultural and lifestyle context
• Economic structure
• Creative economy context
• Technology
• Spearhead for labour market change
• Low barriers to entry
• Engaging young people
204. Developing the Programme
• Workshops for businesses
• Networking and major events
• Young people and new talent
• Evidence base and economic value
• Impact of interventions
• State of the sector
• Impact of businesses
205. Demonstrating Improvement
Press & PR for the
Confidence after
Creative Sector
Confidence before
Preparing Your Marketing
Confidence after
Approach
Confidence before
0 1 2 3 4 5
207. Meet the Curator
• All the festivals/galleries said sourcing new talent was
critical to their business model
• All the festivals/galleries had leads they wish to follow
up
• Selling to Galleries was seen as critical or very important
to their business by over two-thirds of artists
• Over two thirds of artists where very or fairly
unsuccessful in selling their work to galleries
• All the artists that attended had leads they wish to follow
up
208. Evidence Generated by the Programme
• Around 70% of all businesses we worked with were
sole traders (55% in wider economy)
• In a recession, 30% of businesses were expanding or
ready to expand
• Creative businesses spend 43% of their turnover
within Derbyshire
• Over half of creative businesses are active in
business to business markets
217. What is a LEP?
The Department for Communities and Local
Government define Local Enterprise
Partnerships as locally-owned partnerships
between local authorities and businesses
formed to play a central role in determining
local economic priorities and undertaking
activities to drive economic growth and the
creation of local jobs.
218. Cultural Tourism Brief
• The New Anglia LEP Cultural Board is seeking to identify
the potential for cultural tourism and develop a cultural
tourism action plan to deliver growth, which will:
• Enable the New Anglia LEP to fully appreciate and value
the potential of its cultural leaders to drive a significant
growth in cultural tourism.
• Act as a robust advocacy tool for investment in an
ambitious cultural tourism programme.
• Create growth in the visitor economy; establishing East
Anglia as a significant cultural tourism destination.
220. Nine Growth Sectors
• Advanced Manufacturing
• Energy
• ICT
• Ports and Logistics
• Life Sciences and Biotechnology
• Digital and Cultural Creative Industries
• Food, Drink and Agriculture
• Financial Services
• Tourism
221. Local Enterprise Partnership Priorities
Note: this is a piece of desk research, based on
current information on LEP websites.
Coast to Capital (Arun District Council, West Sussex County Council)
http://www.coast2capital.org.uk/
Priorities
Increasing the proportion of businesses which are internationalised
Increasing the level of entrepreneurship and business start-up rate
Stimulating business growth, innovation, productivity and employment
across a range of key sectors
Generating the required investment to bring about major catalytic
investments in key business locations
Creating a planning environment which supports business development
and growth
Pressing for and helping to secure investment in transport infrastructure,
business premises and other infrastructure
West of England LEP (Bristol City Council)
http://www.westofenglandlep.co.uk/
Immediate Priorities
LEP (and Board) culture: ensuring a commitment to working in an
entrepreneurial way.
Tackle barriers to business growth
Supporting ‘anchor’ businesses
Putting West of England on the map
Growing the green economy
Successful Enterprise Zone/Enterprise Areas
Long-term Priorities
One of Europe’s fastest growing and most prosperous sub regions which
has closed the gap between disadvantaged and other communities
A buoyant economy competing internationally, based on investment by
innovative, knowledge‐based businesses and a high level of graduate and
vocational skills.
222. A rising quality of life for all, achieved by the promotion of healthy
lifestyles, access to better quality healthcare, an upturn in the supply of
affordable housing of all types and the development of sustainable
communities.
Easier local, national and international travel,
Cultural attractions that are the envy of competitor city regions across
Europe.
Success secured in ways that are energy efficient, protect air quality,
minimise and manage waste and protect and enhance the natural and built
environment.
Built upon the benefits of its distinctive mix of urban and rural areas.
Real influence with regional and national government, by demonstrating
vision and leadership and delivering these achievements.
Sector Groups
Advanced engineering, aerospace & defence
Construction & development
Creative
Distribution
Finance, insurance & professional services
Low carbon industries
Microelectronics
Retail
Rural economy
Social enterprise
Tourism
Humber LEP (East Riding Yorkshire council)
http://humberlep.org/
Priorities
Co-ordinate public and private sector activity that is targeted at growing
our three key growth sectors (renewable energy, ports and logistics,
and chemicals);
Lead on 16-19 and adult skills strategy, particularly in relation to the
key sectors listed above;
Take responsibility for the 'Humber business brand'.
223. York, North Yorkshire & East Riding LEP (East Riding of Yorkshire
Council)
http://www.businessinspiredgrowth.com/
Priorities
Agri-Food;
Tourism;
High Speed Broadband;
Business Support;
Business Networks;
Coastal Regeneration; and
Skills and Training.
South East Midlands LEP (Milton Keynes Council, Northamptonshire County
Council)
http://www.semlep.com/
Enabling Activities
Enterprise Zone
Broadband
Transport
Inward Investment
Skills
Key Sectors
Advanced Technology Manufacturing
Creative Industries
Green Economy
High Performance Engineering
Visit Economies
Logistics
Northamptonshire LEP (Northamptonshire County Council)
http://www.northamptonshireep.co.uk/
Priorities
A newer and more commercial approach to returning to growth sees
Northamptonshire Enterprise Partnership (NEP) becoming as
enterprising as the people it supports.
Support and investment from both the private and public sector is
required to generate the levels of return NEP aims to achieve.
224. NEP will be performance based; delivering activities that make a
measurable difference to the local economy, making Northamptonshire
the place for Enterprise.
In the first operating year, NEP aims to have supported the creation of
800 new jobs, the attraction of 15 new companies and in doing so
attract at least £4m of leverage.
Key sectors
High Performance Technologies
Logistics
Food and Drink
Creative and Cultural Industries
Financial Services
Contact Centres
Enterprise M3 LEP (Woking Borough Council)
http://www.enterprisem3.org.uk/
Priorities
Skills
Enterprise Support
Infastructure
Red Tape Planning
Derby, Derbyshire, Nottingham and Nottinghamshire LEP
(Derbyshire County Council)
http://www.d2n2lep.org/
Priorities
Build on the area's reputation for internationally competitive science,
manufacturing, engineering and creative industries, driving better
productivity and growth as we develop a low carbon economy.
Develop our distinctive cultural, sport and tourism offer to world class
standards.
Secure investment in regeneration and infrastructure projects that
stimulate private sector growth.
Share the benefits of our economic growth across our cities, towns and
rural communities.
Meet employers' current and future skills demands through our highly
rated and ambitious education partners.
225. Worcestershire County Council LEP (Worcestershire County
Council)
http://www.worcestershirelep.org/default.aspx
Deliver the strategic employment sites and related infrastructure
(services, highways access utilities etc) needed to secure sustainable
economic growth and a low carbon economy.
Ensure we have the right support for business start up, business
growth, business retention – focussing on meeting the needs of our
strategic businesses, ‘high growth’ SMEs and the social enterprise
sector.
Deliver the right infrastructure for business, including improved high
speed broadband availability, improving access from the M5 to the
Malvern Hills Science Park and QinetiQ, improving the by-pass leading
to the Hereford and Bromyard roads to Herefordshire and creating
better access for our strategic businesses and their supply chains in
the north of the county to the motorway network through improvements
to east-west links and the A449.
Invest in the skills of our workforce ensuring that provision is
responsive to business needs, and relevant to future growth and
business opportunities.
Hertfordshire LEP (Three Rivers District Council)
http://www.hertfordshirelep.co.uk/
Priorities
Help existing businesses to grow and bring new businesses into the
county
Ensure skills provision meets the needs of business
Secure investment for key infrastructure
Promote Hertfordshire as a place of prosperity to business and visitors
226. South East LEP (Medway Council)
http://southeastlep.com/
Priorities
Secure the growth of the Thames Gateway
Promote investment in our coastal communities
Strengthen our rural economy
Strengthen the competitive advantage of strategic growth locations
Delivered through activities below
Strategic Transport Infrastructure
Universal Super Fast Broadband
Skills
New Financial Instruments
Sheffield City Region LEP (Chesterfield Borough Council)
http://www.sheffieldcityregion.org.uk/
Priorities
Establishing a national growth hub for advanced manufacturing and
materials.
Delivering a new, employer-led approach to improving workforce skills.
Improving support for strategically important companies and potential
inward investors.
Setting up a private sector-led business support service, focusing on
improving innovation.
Securing new forms of finance for businesses and infrastructure
projects.
Developing a Digital Hub to get the best out of existing assets
Key Sectors
Advanced manufacturing activities such as research and development,
product design, bespoke manufacturing, and the provision of related
services
Low carbon industries (particularly the opportunities for our
manufacturing sector)
Creative and Digital
Healthcare (including medical technologies)
In addition, there are other sectors that are of importance to job creation:
Aviation
Tourism
Retail
Construction
227. Culture, leisure and sport
Buckinghamshire LEP (Chiltern District Council)
http://www.buckinghamshire-lep.com/home
Priorities
Innovation, Enterprise and Skills
Inward Investment
International Trade
Infrastructure
New Anglia LEP
http://www.newanglia.co.uk/
Priorities
Tourism
Visit East Anglia is a new organisation being developed to provide powerful
marketing operations for the Suffolk and Norfolk tourism brands.
Energy
East Anglia is looking to become the UK’s Energy Coast. We intend to secure
investment in major renewable energy programmes along the coastline, and
provide the support services/businesses that a successful energy sector
needs.
Business Support
New Anglia will act as a co-ordinator and ‘enabler’ of business support across
Norfolk and Suffolk and will create a business support website
Green Economy
New Anglia is a Green Economy Pathfinder. What this means is that New
Anglia is the national leader on promoting, showcasing and recommending to
government and businesses the work that is underway across Suffolk and
Norfolk that can be implemented across the rest of the UK.
Key Sectors
Energy
Tourism
Advanced Manufacturing and Engineering
Food, Drink and Agriculture
Creative and Cultural industries
ICT
Financial Services
Ports and Logistics
Life Sciences
Construction
228. Great Cambridge and Peterborough LEP
http://www.yourlocalenterprisepartnership.co.uk/
Priorities
Skills and employment
Strategic economic vision, infrastructure, housing and planning
Economic development and support for high growth business
Funding, including EU funding, regional growth funding and private
sector funding.
237. What is it all about?
‘One of the best things about
Happenstance is that we get to put
six great digital thinkers and
makers in close proximity to three
inspiring teams of arts leaders.’
Rachel Coldicutt, Caper
Presentation Title 8
240. No Fear.
"It speaks of a deep fear of the
future, the idea that an authenticity
that can only be authenticated in
the past, that we've lost faith in a
kind a kind of sight for the future, is
deeply worrying," explains Bridle
earnestly.
Huff Post interview with J.Bridle.
Presentation Title 11
241. So what is this digital made of?
Data
Open Data
Big Data
Linked Data
APIs / Interfaces like Kinect
Internet of Things (Smart Planet IBM)
Algorithms
Robotics and Ai (Microcontrollers)
GPS triggered content
Cloud
Face recog
Crowdfunding (Spacehive & Kickstarter)
Community curation
Tagging
Generative
AR (sonic and visual)
Open movement
GAMING! (the art from for the 21st Century?)
etc etc etc
You will need… 12
249. Stop me if you’ve heard these…
1) Find Start Up culture, real geeks.
2) Find your internal geeks.
3) Access a hub.
4) Read Mashable everyday.
5) Think realistic – will your project
‘scale’?
6) Think off screen - Kinect.
7) Think small screen – mobile.
Presentation Title 20
254. What is happenstance?
• Investing in people
• Allowing ideas to grow from need
• Creating open collaboration
• Building networks between arts and
technology specialists
257. Who is involved?
• Site Gallery, Sheffield
• Lighthouse, Brighton
• Spike Island, Bristol
• Caper, London
258.
259.
260. How does it work?
• Establish areas of interest of the orgs.
• Get the word out
• Advertise (traditional & accelerating WOM)
• Recruit (v. carefully!)
• Appoint and induct
• Sprint 1. – Explore/Challenge
• OPEN HOUSE
• Sprint 2. – Focus
• OPEN HOUSE
• Evaluate
• All the way through – communicate!
261. What are the key elements?
• Agile project management
• Openness
• Investment of people time
• Open‐ended research
• R&D – up to proof of concept and not beyond
• The whole team is engaged
264. Examples of Outcomes
• Time management tools ‐ Trello
• Hardware re‐development
• Audience Engagement ‐ digitally
• Towards a new website – new processes
• Advocacy and relationship building
(b2b/internal comms)
• Training and staff development (coding to
wiring)
267. What the technology community is
saying (to us!)
• ‘I had no idea that arts organisations could be
so transformational’
• ‘How are you going to sustain this work?’
• ‘I can’t wait to see what Leila and James do
next.’
• ‘How can I get involved?’
270. Breakout Session 4
Creative & Future Cities
Initiatives
Symon Easton
Deputy Head of Culture Commissioning
Birmingham City Council
271.
272. Contents
• Introduction / Background
• What is Creative City in Birmingham?
• Aims
• Who is involved?
• Key Issues
• Objectives / work programme
• Intended outcomes
• Relationship with central Government
273. Birmingham - Creative City
Background
• Creative City Initiative was announced by Ed Vaizey, Minister for
Culture, Communications and Creative Industries in Birmingham on
25 October 2011
• Developed in response to his twin aims of sustaining the cultural
sector (particularly through philanthropy) and supporting economic
growth
• A partnership between the Greater Birmingham and Solihull Local
Enterprise Partnership and Birmingham Cultural Partnership
274. Birmingham - Creative City
What is Creative City?
• A partnership between public sector agencies, the cultural sector,
creative businesses, industry and private individuals, focussed
around three areas of innovation – Business, Place, People
• The initiative is to bring together public and private sector
investment in a new fund for Birmingham and the LEP area, to
support activities and projects linked to the economic strategy, so
that culture and creativity are harnessed as a force to drive recovery
275. Birmingham - Creative City
Aims
• To test new ways of working in partnership with central government,
private sector companies, philanthropic individuals, public sector
agencies and local government to attract additional public, private
and individual investment through new mechanisms, partnerships
and incentives to support a portfolio of key projects
• To integrate support for the growth of creative sector businesses
across the partnership with investment programmes based on clear
evidence of needs and impact, in order to increase their contribution
to the local economy
276. Birmingham - Creative City
Aims
• To create a step change in recognition of Birmingham as a centre of
innovation and excellence for culture and creativity
• To increase participation in culture by local people through improved
local cultural provision.
277. Birmingham - Creative City
• Provides an investment programme to support cultural and creative
development from grant funding to business loans, incentivised
philanthropic giving and reward-based contracts
• Challenges partners across the public, commercial and cultural
sectors and private individuals to unite in placing cultural and
creative development at the heart of our economic regeneration,
advancing our reputation as a great place to live, work and visit.
278. Birmingham - Creative City
Who is involved?
The key partners are Arts Council England, Birmingham, Arts
Partnership and Independent Arts Sector Group, Birmingham City
Council, Birmingham City University, The BBC, Creative England, Digital
Business Cluster, Greater Birmingham & Solihull Enterprise Partnership,
Marketing Birmingham, University of Birmingham.
The project is supported by the DCMS.
The partnership will consult with other organisations and bodies across
the LEP including cultural partnerships at county/district level, Digital
Birmingham, Science City and Finance Birmingham, and Heritage
Lottery Fund
279. Birmingham - Creative City
Key issues
• Securing engagement from the relevant private / public sector
partners and representatives of the creative industries and cultural
sector
• Recognising that different approaches will be needed to achieve the
objectives under a single Creative City theme
• A risk that the breadth of the creative city concept could lack focus –
a need to clarify scope of activity and agree clear work plan
• New (governance) structures need to be developed to support the
programme – build on existing framework to be ‘fit for purpose’
• Lack of local control over DCMS / agency match funding to target
LEP priorities - need to align existing funding streams under a clear
investment plan in order to create an effective and coherent
approach
280. Birmingham - Creative City
Policy linkages
• Creative City programmes will need to integrate with the existing
economic strategy themes of Business, Place and People to support
the delivery of targets for inward investment, skills, access to
finance, infrastructure and quality of life
• The partnership with DCMS also requires us to progress existing
strategic work on the alignment / integration of public sector
planning and resources and the development of new and innovative
models of resourcing
281. Birmingham - Creative City
To deliver against the GBSLEP’s objectives, the Creative City
programme will focus on;
• The cultural infrastructure including assets and programmes
and, in particular, the proposal for Curzon Square ‘Museum
Quarter’ in Eastside
• Creative sector businesses
• Promotion of cultural and creative assets and programmes
282. Birmingham - Creative City
The intended outcomes will be;
• to improve the cultural offer for residents thereby contributing to
inward investment and to the growth and retention of a skilled
workforce by making Greater Birmingham and Solihull a better place
to live, work and study
• to improve the capacity of high growth sectors and the supporting
infrastructure (e.g. access to 4G and superfast Broadband
technology) thereby contributing to increasing GVA and employment
and attracting new investment
• to improve the perception of Greater Birmingham and Solihull
thereby contributing to inward investment and the growth of the
visitor economy
283. Birmingham - Creative City
Initial actions include;
• Mapping gaps in existing provision including hard and soft infrastructure
• Progressing the Museum Quarter project
• Identifying target high growth sectors in the creative industries
• Sharing research intelligence and analyse barriers to growth e.g.
venues/skills/partnerships/investment required to support the GBSLEP
objectives
• Identifying points of synergy and engage in objective based local and
national partnership working
• Establishing appropriate structures to progress the programme
• Identifying potential sources of investment to support the programme and
develop innovative approaches to funding
284. Birmingham - Creative City
Developing a direct relationship with central government
• DCMS to support the GBSLEP in terms of developing contacts with
national philanthropists, hosting cultivation round-tables and
providing support from international philanthropy specialists to
assist local cultural companies in developing their strategies.
• Further commitment has been made to profile our cultural and
creative success stories and support us in improving perceptions at
a national level (through increased ministerial presence etc).
285. Birmingham - Creative City
Developing a direct relationship with central government
• Birmingham City Council will continue to work with Cabinet Office
in the development of innovative finance models to support
improvements to local cultural provision as part of the social
impact bond programme.
• Further discussion of the potential to utilise national funding
streams in support of local priorities (under the Localism Bill),
further incentives for corporate giving to culture, thematic business
improvement districts, influence over “national” assets including
national art collections which could form part of the proposed
Museum Quarter in Eastside.
286.
287.
288.
289. • Free admission.
• Ikon is a limited company registered as an
educational charity.
• From its beginnings in a small kiosk in
Birmingham’s Bullring, Ikon’s reputation for
innovation, internationalism and excellence
has developed over 48 years.
• 24 staff – many part‐time and artists
• Rolling programme – no collection
292. General Earned Income:
‐ Donations and gifts
‐ Corporate Patrons/ Individual Patrons
‐ Gallery Hire
‐ Interest in banking
‐ Café
‐ Bookshop
‐ Sales of art work
In 2011/12 Ikon raised £130K