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Digitalcrea+vityandnewprofessions:biographiesinac+ontoovercomethecrisis
Ta+anaMazaliPolitecnicodiTorino/ISIFounda+on/TorinoNordOvest
EuropeanSociologicalAssocia+on11thConferenceTurin,28‐31August2013
Media-oriented digital professions
Videomaking Animation Web/mobile apps Visual and Graphic Design
Field research over a sample group of young-adult professionals of 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
Materialculture(asdefinedbytherela+onshipbetweenar+factsandsocialrela+ons)
FashionIndustrialdesignandcraXIndustriadelgusto(wineandfinefoodindustries)
Contents,informa7onandcommunica7onproduc7on
SoXwarePublishingTV–RadioAdver+singCinema
CulturalHeritage CulturalHeritageMusicandPerformingArtsContemporaryArtArchitecture
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 of key informants (starting September ending November 2013)
PHASE 3: national web based survey (starting September ending December 2013)
n.ofprofessionals
Employed 6
Entrepreneur 3
Freelance 12
Atypicalcontracts 7
Withoutpay 4
doesnotanswer 1
total 33
Income(2012).euros n.ofprofessionals
Under5000 8
between5.000and10.000
8
between10.000and20.000
11
between20.000and30.000
2
between30.000and50.000
1
between50.000and100.000
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.ofprofessionals
30%design70%realiza+on
15
50%design50%realiza+on
10
70%design30%realiza+on
6
Thetwophasesareindis+nguishable
2
total 33
n.ofprofessionals
socialnetworkscrea%ve‐targeted
behance 4
dribbble 1
Soundcloud 1
socialnetworksperson‐centered
facebook 12
twiber 5
linkedin 9
tumblr 1
socialnetworksmedia‐centered
youtube 4
vimeo 8
pinterest 1
Total Personal websites
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.ofprofessionals
Verymuch 10
Enough 8
Alible 12
Notusefullatall 0
Idon’tknow 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 of these five semantic areas, the explorative approach is an exception since it almost always represents an exclusive choice.
Seman7cAreas
Numberofprofessionals
Ofwhichexclusively
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
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)
SOMEREFERENCES
• 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 • …