Digitalcrea+vityandnewprofessions: - - PowerPoint PPT Presentation

Digital
crea+vity
and
new
professions:

 biographies
in
ac+on
to
overcome
the
crisis


Ta+ana
Mazali
 Politecnico
di
Torino
/
ISI
Founda+on
/
Torino
Nord
Ovest

European
Sociological
Associa+on
11th
Conference
 Turin,
28‐31
August
2013

Media-oriented digital professions

Videomaking Animation Web/mobile apps Visual and Graphic Design

Field research over a sample group

• f young-adult professionals
• f digital creativity

Knowledge workers in Italy 40% of the workforce. But, in Italy only 12% of the workers hold a degree!

Source: Butera, Bagnara, Cesaria, Di Guardo, Knowledge working. 2008

1995
 2005
 Italy
 29%
 41%
 UK
 34%
 52%
 France
 38%
 43%
 USA
 34%
 38%
 Spain
 23%
 33%
 Germany
 48%


source: UNCTAD, Creative Economy Report 2010

Comparison of four european countries: definitions of the creative/cultural industries

(source: British Council’s Creative And Cultural Economy Series/2, Mapping the Creative Industries: A Toolkit. 2010)

THE ITALIAN MODEL: MiBAC (Italian Ministry of National Heritage and Cultural Activities), Libro Bianco sulla Creatività (White Paper on Creativity) (2007). This model focuses on quality of life and well-being, include among the cultural and creative industries also “Industria del gusto” (wine and fine food industry).

Italian classification of Creative and Cultural Industries Material
culture
(as
defined
by
the
 rela+onship
between
ar+facts
and
 social
rela+ons)
 Fashion
 Industrial
design
and
craX
 Industria
del
gusto
(wine
and
fine
 food
industries)
 Contents,
informa7on
and
 communica7on
produc7on
 SoXware
 Publishing
 TV
–
Radio
 Adver+sing
 Cinema
 Cultural
Heritage
 Cultural
Heritage
 Music
and
Performing
Arts
 Contemporary
Art
 Architecture


METHODOLOGY FIELD RESEARCH PHASE 1: test questionnaire basic sample of Italian key informants

(June 2013)

PHASE 2: in-depth one-on-one interviews to the first sample

• f key informants (starting

September ending November 2013)

PHASE 3: national web based survey

(starting September ending December 2013)

n.
of
professionals
 Employed

 6
 Entrepreneur

 3
 Free
lance

 12
 Atypical
contracts

 7
 Without
pay

 4
 does
not
answer
 1
 total
 33
 Income
(2012).
euros
 n.
of
professionals
 Under
5000
 8
 between
5.000
and
 10.000

 8
 between
10.000
and
 20.000

 11
 between
20.000
and
 30.000

 2
 between
30.000
and
 50.000

 1
 between
50.000
and
 100.000

 0


Four-fold model

• 1. self learning + high education
• 2. Teamwork prevails
• 3. The fundamental

dimension of concrete praxis (and authorship) is a specific hallmark of digital creativity professionals

• 4. All creatives adopt and

maintain self-marketing strategies on the web, BUT contrary to what could be expected, and in contrast with the general mainstream trends, the outcome of such strategies is declared as not satisfactory by many

Follow up – TEAMWORK

Since digital media projects are complex, they demand a high amount of interdisciplinary work, usually delivered through the cooperation of highly specialized

• experts. Also, a confluence and friendly

confrontation of different know-hows and work experiences is needed for higher results.

Follow up – FABLAB CULTURE

"Individuate in your activity the amount of time dedicated to the phase of designing/developing of a work/project and to the subsequent phase of realization” n.
of
professionals
 30%
design
70%
 realiza+on
 15
 50%
design
50%
 realiza+on
 10
 70%
design
30%
 realiza+on
 6
 The
two
phases
are
 indis+nguishable
 2
 total
 33


n.
of
professionals
 social
networks
 crea%ve‐targeted
 behance
 4
 dribbble
 1
 Soundcloud

 1
 social
networks
 person‐centered
 facebook
 12
 twiber
 5
 linkedin
 9
 tumblr
 1
 social
networks

 media‐centered
 youtube
 4
 vimeo
 8
 pinterest
 1
 Total
 Personal
 web
 sites
 6


Follow up – CRITICAL ONLINE SELF- MARKETING Various Social Networks are being used in order to “self-promote”, with recourse to the whole range from person-centered to media-centered. Interestingly, the use of Vimeo prevails with regards to Youtube. Effectiveness of the use of the web in the search for jobs

n.
of
professionals
 Very
much
 10
 Enough
 8
 A
lible
 12
 Not
usefull
at
all
 0
 I
don’t
know
 3
 Total
 33


NEEDS AND EXPECTATIONS / Lights and Shadows

"What do you like about your profession? Which aspects of your work do you treasure most, and would rather not give up?” . The emotional approach . The social-relational approach . The explorative approach . The free style approach . The expressive and creative approach

I wish to underline the fact that while creatives mostly belong within two

• f these five semantic areas, the

explorative approach is an exception since it almost always represents an exclusive choice.

Seman7c
 Areas


Number
of
 professionals
 Of
which
 exclusively


Love


5
 0


Relan+onship
 9


2


Explora+on


12
 10


Freedom


10
 3


Expression‐ Crea+on


12
 5


SHADOWS economical crisis, market crisis lack of available job & currency +

"a chronical lack of acknowledgement from the surrounding world" = discrepancy between the "enacted role" (that is, the way a professional works, maintains social relationships, pursues and achieves results) and the "profession" (the social acknowledgement of an individual's "enacted role”) (Federico Butera, 2009)

ACTIONS TO OVERCOME THE CRISIS

Professionals + Institutions

protectionist measures

versus

provocative statements

ANY
SUGGESTIONS?
 ta+ana.mazali@polito.it





ta+ana.mazali@gmail.com



ACKNOWLEDGEMENT


The research is funded by a research grant from Fondazione CRT, co-funded by Torino Nord Ovest, supported by DIST – Interuniversity Department of Regional and Urban Studies and Planning (Politecnico di Torino – Università degli Studi di Torino)

SOME
REFERENCES


• DCMS (1998), Creative Industries Mapping Document 1998, DCMS, London
• DCMS (2001), Creative Industries Mapping Document 2001, DCMS, London
• KEA European Affairs (2006), The Economy of Culture in Europe, European Commission
• UNCTAD (2008, 2010), Creative Economy Report
• MiBAC (2007), Libro Bianco sulla creatività
• Unioncamere, Fondazione Symbola (2012), L’Italia che verrà
• Butera F., Di Guardo S. (2009), Il modello di analisi e progettazione del lavoro della

conoscenza, WP Fondazione Irso

• Florida, R. (2002), The Rise of the Creative Class, Basic Books, New York
• Howkins, J. (2001-2007-2013 forthcoming), The Creative Economy, Penguin, London
• …