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
Field research over a sample group of young-adult professionals of digital creativity Media-oriented digital professions Videomaking Animation Web/mobile apps Visual and Graphic Design
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)
T HE I TALIAN 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 Fashion rela+onship between ar+facts and Industrial design and craX social rela+ons) Industria del gusto (wine and fine food industries) Contents, informa7on and SoXware communica7on produc7on Publishing TV – Radio Adver+sing Cinema Cultural Heritage Cultural Heritage Music and Performing Arts Contemporary Art Architecture
METHODOLOGY F IELD RESEARCH P HASE 1: test questionnaire basic sample of Italian key informants (June 2013) P HASE 2: in-depth one-on-one interviews to the first sample of key informants (starting September ending November 2013) P HASE 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 8 10.000 between 10.000 and 11 20.000 between 20.000 and 2 30.000 between 30.000 and 1 50.000 between 50.000 and 0 100.000
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% 15 realiza+on 50% design 50% 10 realiza+on 70% design 30% 6 realiza+on The two phases are 2 indis+nguishable total 33
n. of professionals Follow up – CRITICAL ONLINE SELF- MARKETING social networks crea%ve‐targeted Various Social Networks are being behance 4 used in order to “self-promote”, with dribbble 1 recourse to the whole range from person-centered to media-centered. Soundcloud 1 social networks Interestingly, the use of Vimeo prevails person‐centered with regards to Youtube. facebook 12 Effectiveness of the use of the web twiber 5 in the search for jobs linkedin 9 n. of professionals tumblr 1 Very much 10 Enough 8 social networks media‐centered A lible 12 youtube 4 Not usefull at all 0 vimeo 8 pinterest 1 I don’t know 3 Total Personal web 6 Total 33 sites
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
Seman7c Number of Of which professionals exclusively Areas Love 5 0 Relan+onship 9 2 Explora+on 12 10 10 3 Freedom Expression‐ 12 5 Crea+on I wish to underline the fact that while creatives mostly belong within two of these five semantic areas, the explorative approach is an exception since it almost always represents an exclusive choice.
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
A CKNOWLEDGEMENT 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) S OME 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 • …
Recommend
More recommend
