Digital creavity and new professions: biographies in acon...

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


11


2


1


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


10


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

[email protected][email protected]

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 •  …

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