arc centre of excellence for creative industries and innovation 2007 ANNUAL REPORT

99 Pages·2008·1.74 MB·English

arc centre of excellence
for creative industries
and innovation
2007 ANNUAL REPORT
ARC Centre of Excellence for Creative Industries and Innovation
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Creative Industries Precinct 7
Z1-515 Musk Avenue A
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KELVIN GROVE QLD 4059 Australia N
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P: [phone] F: [phone] W: www.cci.edu.au AL
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Australian Industry Partners Select International Partners

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Australian Centre for the Moving Image Stanford Law School Centre for Internet and Society o
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Australia Council for the Arts Massachusetts Institute of Technology a
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Australian Film Commission Oxford Internet Institute n
Australian Museum Chinese Academy of Social Science
Department of Communication, Information Technology and the Arts Creative Commons Worldwide
National Museum of Australia
Powerhouse Museum
Queensland Museum New Partners
The Salvation Army
Auran
State Library of Queensland
European Research Centre for Information Systems
(Qld) Department of Tourism, Regional Development and Industry
Front Cover Image by Jeffery Coolidge,
The Image Bank
arc centre of excellence for creative industries and innovation annual report 2007
contents
2 Director’s Report
5 Research Director’s Report
7 Research Programs
8 1 Crisis in Innovation
1.1 Creative Digital Industries Mapping
1.2 Evolutionary Economics of Creative Industries
1.3 Broadband Public Policy in Australia
1.4 Creative Resources as Inputs to the Health Sector
1.5 Creative Industries and Innovation Policy
14 2 Creative Workforce
2.1 New Learning Lab
2.2 Creative Commons Clinic
20 3 Citizen Consumer
3.1 Youthworx
3.2 New Literacies, New Audiences
24 4 Enterprise Formation and Sustainability
4.1 Business of Creativity
4.2 Business Process Management
4.3 Enabling Technologies
4.4 Standards and Metadata
4.5 Firm strategy and innovation in the Creative Industries
30 5 Legal and Regulatory Impasses & Innovations
5.1 Creative Commons and Open Content Licensing
5.2 Digital Liberty
35 6 International Creative Content Cultures and Australian Advantage
6.1 Surveying the Digital Future
6.2 Development of the Creative Industries in China
6.3 IP Law in Asia
6.4 Creative Industries and the Development Agenda
6.5 Cultural Economy
42 Federation Fellowship: John Hartley
46 Investigators, Staff and Students
60 Training for RHDs, ECRs, Industry and Government
61 Centre Structure, Governance and Internal Communication
65 Performance against Key Indicators
72 CCI in the Media
76 Publications and Conference Presentations
84 Seminars
85 Grants
87 International and National Collaborations
93 Financial Summary
1
director’s report
We claimed that, over a fi ve-year period, The programs
we would contribute to a demonstrable
improvement in Australia’s national
We need to develop a better understanding
innovation system. We broke this claim
of the dimensions, trends and dynamics of
down into several outcome areas:
the creative economy (Crisis in Innovation
1. improved understanding and recognition Program). The Centre will address
of the nature and extent of the creative shortcomings in statistical assessments
industries and ‘creative economy’; of the digital content and broader creative
industries; at the same time, it will trace
2. improved understanding and recognition
the way creative inputs (whether human,
of the value of education and training for
economic or technological) are becoming
a ‘creative workforce’;
more deeply embedded in the wider
3. demonstrations of the social, economic economy. There will be focused policy
and cultural value of digital literacy, research around international innovation
digital content innovation, and user-led systems, the policy frameworks that support
innovation in diverse settings; them, and targeted evidence-building to
support advocacy for a more comprehensive
4. improved understanding and
approach to innovation.
demonstrations of models for sustainable
Professor Stuart Cunningham enterprises in the creative sector; A creative workforce is a key longer-term
director investment in a creative economy and
5. infl uence and impact on understanding
society. The Centre will model and test
and policy around digital content and
how both formal education and less formal
In our application for the Centre of the legal and regulatory impediments
learning environments can be assisted to
Excellence in 2004, we argued that to growth;
respond to challenges of rapid innovation
Australia is well known for cultural
6. international leadership in broadening and risk. These arise in particular from
inventiveness and creative talent, and
and extending the innovation system the increasing impact of knowledge and
for being a fast follower or early adopter
and the place within it of digital content creativity on the economy, together with
of new technologies. It has upgraded
and the creative industries. the infl uence of globalisation and new
its national policy commitment to
technologies across key areas of work
research and development in science, These outcome areas map to the Centre’s and experience (Creative Workforce
engineering and technology, and its links program areas, which are structured as a Program).
to international research networks in set of activities that address key bottlenecks
those areas. It has had export success in or gaps in the national innovation system. Over the coming years, the conditions
global cultural and education markets. The Centre’s research for content creation and dissemination
encountered by the creative workforce
Despite these many positive characteristics, (cid:2) identifi es the dimensions and dynamics will continue to undergo profound changes.
we claimed that serious problems are of the creative economy; Distinctions between consumption and
emerging in securing for Australia the
maximum benefi t from innovation in both (cid:2) promotes workforce education and production, labour and citizenship have
blurred, allowing new commercial and public
the creative economy and the broader training suitable for a creative economy;
opportunities in such areas as user-led and
service economy. Obstacles to creative (cid:2) theorises and demonstrates ways of ‘pro-am’ (professional-amateur) innovation,
innovation may handicap Australia’s future
addressing bottlenecks in content open source, and broad-based consumer
development as a knowledge economy. We
generation and dissemination; creativity as a basis for lower-cost content
identifi ed several bottlenecks and missing
generation and dissemination. The Citizen
links in the innovation ‘chain’ in Australia. (cid:2) assists in improving the business
Consumer Program addresses this issue.
Our empirical knowledge of the creative structures and practices of creative
sector is substantially defi cient. There are enterprises; Content and communication with impact
major gaps in our policy frameworks. There and lasting signifi cance will not form simply
(cid:2) examines policy settings and regulatory
are costly market and planning failures, from a Procrustean bed of generic human
regimes and advocates better outcomes
such as skill mismatches in the creative creativity. Mechanisms to improve the
for creators and consumers; and
industries’ labour market. The legal and formation and sustainability of creative
regulatory structures controlling cultural and (cid:2) engages at depth with Australia’s place enterprises and the business and regulatory
informational products embody conceptual in the region and with crucial export environment in which they work are crucial
obstacles to innovation. markets and cultural partners. to an effective innovation system. A vast
amount of content is locked up in legacy
formats and content management systems,
or sequestered by copyright regimes
skewed toward powerful aggregators rather
than creators, or stored in ‘silos’ because
2 arc centre of excellence for creative industries and innovation annual report 2007
of a lack of interoperability between data Progress toward relied extensively on CCI’s creative economy
and metadata systems. The Centre will work to defi ne and map the dynamics of
outcomes
research and assist the wider adoption of ‘Building a Creative Innovation Economy’.
common suites of metadata standards that The current Commonwealth Government’s
enable discovery, licensing and delivery of Some three-and-a-half years on from our arts policy shows the impact of CCI’s
material which is so critical to lowering the original application, and coming into the work in defi ning the extent, dynamism and
infrastructure costs of the sector. This is third year of the centre’s operation, we are relevance of the creative economy, and
captured in the Enterprise Formation in a position to indicate progress toward explicitly models its proposed Creative
and Sustainability Program. meeting our objectives. For the purposes of Industries Innovation Centre on what in
this ‘interim’ report, I will focus only on some China is known as the ‘Queensland model’.
The Legal and Regulatory Impasses
headline advances.
and Innovations Program explores a This refers to our vision for integrated
legal and technological environment that is education, R&D, enterprise and digital
increasingly beset by differing approaches to Renovating policy on creative creativity built into the CCI’s home at QUT’s
the problem of intellectual property. On the industries and innovation Creative Industries Precinct. The Chinese
one hand, formidable efforts are being made have sought to emulate this in some of
Creative industries and innovation policy
to sequester and control IP through stronger their many industry cluster initiatives. We
development – at a state, national and
copyright regimes and technological fi xes have advised a succession of universities
international level - has been demonstrably
such as digital rights management; on and governments intrigued by this model
infl uenced. In 2003, a research team led by
the other, a groundswell of support for of applied humanities and creative practice
Stuart Cunningham and CCI Advisory Board
open content licensing approaches is aligned to education reform and enterprise
Chair Dr Terry Cutler achieved a major
now beginning to make its mark. Without development appropriate to the creative
conceptual policy breakthrough by placing
progress in fashioning a better balance industries.
the creative industries within an ‘innovation
between these two forces, the future of
systems’ analytical framework – a world fi rst. The UK’s National Endowment for Science,
Australia’s creative economy and society
This framework underpinned the successful Technology and the Arts (NESTA) and the
will be measurably compromised.
bid for the Centre of Excellence and has since New Zealand department of Trade and
It might appear from the foregoing that guided the research agenda of the Centre in Enterprise have engaged us to apply our
the challenges can be met with minimal its work in partnership with several agencies. model of the creative economy in their
reference outside the nation state. On jurisdictions. Our report for NESTA showing
CCI has developed a new model of mapping
the contrary, Centres of Excellence must how the UK – the home of the creative
the creative economy (the ‘Creative Trident’)
benchmark themselves against international industries concept – can improve its data
which shows that the sector is much larger
best practice and give premium-quality coverage of the creative economy is a good
than indicated by any previous fi ndings.
Australian research an international profi le. example of ‘bringing coals to Newcastle’. In
The Creative Trident can also track the
Moreover, an Australian creative economy addition, the Arts and Humanities Research
input value of ‘creative occupations’ to the
and society is inextricably and increasingly economy as a whole. Council in the UK is using CCI research
implicated in our immediate region and with to underpin a contemporary argument for
major vectors of trade, interchange and In Australia, during 2008, the Review the place of the arts and humanities in the
research. Our sixth Program, International of the National Innovation System is modern economy.
Creative Content Cultures and expected to approach the challenge of
Australian Advantage, is dedicated renovating innovation policy in ways which
to advancing these imperatives. are consistent with, and infl uenced by, Conceptual Advance: creative
CCI research. Building up to this, the innovation as an enabling social
It is becoming increasingly clear that Queensland government has been using technology
progress in meeting the aims of the Centre CCI’s research to refocus its Creative
John Hartley’s Federation Fellowship
would not have been possible without the Industries Program since 2006, and has
focuses on how the modern, print-based,
strategic decision to build an unusual degree committed to a medium-term partnership
professional paradigm of knowledge-
of collaboration into our work, enlisting to deliver a Creative Business Intelligence
production is in process of dynamic change
input from a range of compelling research Service which will provide in-depth strategic
and creative destruction, with the number
perspectives in the humanities, creative industry data through to 2009. The Design
of multimedia users now exceeding a billion
arts, and technical and social sciences. Institute has used our research into the
people worldwide. What happens when
CCI has research and industry partners in extent of designers’ employment across
the ‘publisher-provider’ gives way to the
six Australian states and territories and a the economy to help promote design inputs
‘navigator-aggregator’; when agency passes
‘necklace’ of active, prestigious international into manufacturing. Our innovation research
from centralised institutions to distributed
collaborations ranging across the UK, was used in the development of the national
networks?
US, China, southern and Southeast Asia, Digital Content Industry Action Agenda
Germany, and New Zealand. Outcomes and (2005-06) and the ‘Imagine Australia’ report Together with CCI fellow Jason Potts and
outputs are being achieved which would to the Prime Minister’s Science, Engineering postdoctoral fellows including Jean Burgess,
have been unlikely or impossible without the and Innovation Council in 2005. More John Banks and Lucy Montgomery,
creation of the Centre. recently, the Cultural Minister’s Council has Hartley has completed an intensive period
director’s report 3
of conceptual and historical refi nement of As much of this digital content is copyright- Acknowledgements
the model of multimedia literacy and the protected, we are challenged to fi nd new
evolution of knowledge, providing tools ways of managing copyright in order to
I thank the Australian Research Council for
for practical implementation projects. harness the potential of Web 2.0 and the
its core support of this Centre of Excellence,
The team has developed a robust model Semantic Web. One of these has been the
and the Queensland University of Technology
for understanding the relation between rise of Open Content Licensing (Creative
for its generous support as host institution. I
individual creative ‘literacy’ and scaled-up Commons (CC) being the best recognised
acknowledge the crucial participation of our
aggregation of content. Progress has been licence) and its implementation world-wide.
other university partners: Australian National
made on modelling the relations between Today CC is a global cultural and economic
University, Charles Darwin University, Edith
producers and consumers in creative force harnessing the value of social
Cowan University, Swinburne University of
innovation, and on the nature of social networking and internet technologies through
Technology and the University of Wollongong.
network markets. greater access to knowledge and culture.
I also thank all of our other research and
Their quest is to see if very long term, Working closely with CC founder, Stanford industry partners for their active engagement
population-wide, large-scale processes University’s Professor Lawrence Lessig, Brian in the work of the Centre: the Australasian
can be studied in a unifi ed way by paying Fitzgerald introduced the Creative Commons Centre for Interaction Design, the Australia
attention to emergent practices among lay project in Australia and has led an outstanding Council for the Arts, the Australian Centre
populations, with due understanding of both team of researchers and stakeholders on for the Moving Image, Australian Film
human agency and systematic process. CC implementation and policy development, Commission, Australian Film Television and
They call this endeavour ‘cultural science.’ both in Australia and internationally. Radio School, Australian Museum, the then
Department of Communications, Information
The outcomes of this work provide a new The CCI research program has established
Technology and the Arts, National Museum of
Creative Commons licensing as a tool for
model of creative innovation as an enabling
Australia, Powerhouse Museum, Queensland
Australians to manage copyright in the digital
social technology. It is now being tested in
Museum, The Salvation Army, and the State
age. We have built web resources, created
analyses of social network markets from
Library of Queensland.
the necessary legal documents and made
YouTube and Flickr to fashion and music-
sharing. Hartley’s team has remodelled them available online, written numerous To our new partners, Auran, European
the fraught relationship between games articles and reports, communicated Research Center for Information Systems
developers and users, on which the fate widely, and provided training and advice (ERCIS) and (Queensland) Department
of a multi-million dollar product or even to stakeholders such as the Queensland of Tourism, Regional Development and
a company depends. They are applying Government, Commonwealth Government Industry, I extend a warm welcome.
and the Australian Broadcasting
their model to the development of creative
Corporation, as well as numerous To the Centre’s collaborative web of
industries, not only in advanced economies
community and web-based organisations. investigators, staff and research students,
like the US, UK and Australia, but also in
I offer my heartfelt thanks for a job extremely
developing countries like China. Australian governments at all levels hold well done. And to all those we have worked
enormous amounts of material covered
Research results include demonstrating the with over the past year – our Advisory
by Crown Copyright. Increasingly, citizens
integral role that the creative sector plays in Board, our partners and international
want better access to this huge, publicly
incubating innovation, stimulating demand for collaborators, and all other stakeholders,
funded, yet inactive archive – to improve
new products and services, and highlighting I trust that you have found the collaborative
research, education, health outcomes,
the role of user-generated content in experience of value and lasting benefi t.
environmental planning and much else. The
developing new business models to enhance
application of generic, machine-readable, Finally, I would like to acknowledge two very
the sustainability of creative enterprises.
open content licences to government signifi cant appointments: Professor Malcolm
copyright overcomes licensing roadblocks Gillies, a Chief Investigator and strong
Open Content Licensing for the which are a key factor in preventing material supporter of CCI, as Vice-Chancellor at
being released or reused. Fitzgerald realised The City University, London; and Chair of the
creative, public and educational
that CC licences could be applied to CCI Advisory Board Dr Terry Cutler as Chair
sectors
Crown Copyright in 2004, and has led the of the Review of the National Innovation
We live in age when access to digital content development of this worldwide. CCI Creative System. I wish them both the very best in
has become a key element in social, cultural Commons has also infl uenced the Australian these new roles.
and economic innovation. Linear models education sector, facilitating broader access
of production are rapidly being supplanted to content and allowing students greater
by more distributed, collaborative, user- creative freedom in producing their output
generated, and open networking models. and distributing it to the broader community.

Professor Stuart Cunningham
Director
March 2008
4 arc centre of excellence for creative industries and innovation annual report 2007
research director’s report
Governments around the world are are also ahead of the wave in terms of the
recognising the benefi ts of bringing together use of sizeable teams, international networks
cultural entrepreneurs, practitioners and and interdisciplinary inputs as part of the
researchers in a critical mass. In Australia, research process.
the Queensland University of Technology
has been a pioneer through its Institute
of Creative Industries and Innovation, and Production-based to
Creative Industries Enterprise Centre. Federal
consumption-based
Labor’s Creative Industries Innovation Centre
will boost the capacity of Australia’s creative innovation
industries, maximising their contribution to
our cultural life and economy.1
As we have become more familiar with the
The implication for the CCI is that we have
world of knowledge-based policy formation
an unprecedented opportunity to contribute
across science, business and government,
to policy at the national level, not just in the
some of us have been struck by the fact that
creative sector, but in relation to the entire
much of it still adheres to a ‘production-line’
innovation system.
or one-way model of causation. Research
Welcome as this development is, it brings investment tends to cluster around the
with it risk – in particular, that simply production end of the value chain, to the
Distinguished Professor John Hartley
because we’re already here, policymakers relative neglect of application, diffusion
research director
will turn to areas of more urgent reform and use.
– other states, other levels of education
This model holds sway, whether the
(including schools and TAFE), other sectors
Innovation: ‘creative unit of analysis is at the ‘macro’ level of
(especially consumer services). Meanwhile,
industries, the ‘meso’ level of fi rms, or the
problem-solving for economic and fi nancial constraints, not to ‘micro’ level of entrepreneurs and artists.
mention the response to the challenge of
Too little attention is paid to the consumer,
practical outcomes’ climate change, will increasingly preoccupy
audience, citizen or user. Policy is fi xated
the incoming government.
on origination. The most common model
John Hartley
Therefore, as CCI heads into the second half of consumption still sees it as an individual
of its fi ve-year funding, it is important that behavioural effect rather than as purposive
The chair of the CCI Advisory Panel, we do so with a clear strategic vision of how or creative action.
Dr Terry Cutler, has been appointed
creative innovation connects with economic,
by the incoming Federal Minister for Those who have studied culture and
cultural and artistic change.
Innovation, Industry, Science and media from a humanities perspective have
Research, Senator Kim Carr, to chair A compass to guide us in that direction has long argued that the diffusion and use of
a wide-ranging review of Australia’s been provided by Terry Cutler, who sees symbolic values cannot be reduced to an
national innovation system. innovation as ‘creative problem-solving for industrial process or Taylorite business plan,
practical outcomes.’ Our attention must be with passive consumers waiting in docile but
In a media release Senator Carr said that
fi xed on ‘practical outcomes,’ but these will expectant anticipation for the latest innovation
‘innovation is critical to Australia’s national
differ depending on whether we are looking to plop out of the production pipeline.
future. Our prosperity, our economic
at the individual, team, fi rm, regional cluster
strength and our ability to compete in the Equally, so-called ‘cultural behaviour’ cannot
or global ‘focal length’ of analysis.
global economy, all depend on valuing be reduced to what a recent Santa Fe
innovation.’ He added: ‘In today’s economy, ‘Problem-solving’ will become more central Institute paper defi ned as: ‘individual and
innovation policy is industry policy…We in research strategy, not only at the level of community level patterns that are context
need to fi nd ways to increase innovation individual projects but also system-wide. dependent and often suboptimal.’2 Science-
across the economy.’ Instead of responding to myriad individual based game theorists seeking computational
proposals, as the ARC and NH&MRC models for ‘behaviour’ see culture only as an
In other words, the broader agenda that
currently do, future funding strategies may impediment to self-interested rational action.
drives the CCI is now driving the Federal
follow the path set by science itself, where Here cultural ‘stickiness’ is cast as a threat,
Government. This is not an idle boast. In the
interdisciplinary and international teams gather not an opportunity.
election campaign the ALP committed $17m
around a problem rather than remaining in
to fund a Creative Industries Innovation But instead of seeing culture as ‘suboptimal’
isolated specialist disciplines or individual
Centre, to develop a ‘critical mass of arts to the expansionist energies of restless
projects. Competitive research funding will
practitioners, cultural entrepreneurs and capital, it is necessary to see it as a source
favour large-scale, problem-based programs.
researchers, with access to the latest of values, both economic and symbolic, and
technology and business support programs.’ Luckily for us, this is the CCI model – and in as a resource for action, both individual and
The explicit model for this is QUT: the humanities and creative arts at least, we institutional.
1 See: www.alp.org.au/download/now/071110_innovation_centre_fact_sheet.pdf.
5
Shifting R&D and policy attention to the linkages? How is innovation itself applied Given the realities of global scale, Australia
‘wrong’ end of the value chain is not, and diffused, and how is it taken up by can’t expect to dominate world thinking in
therefore, perverse, for the industrial model consumers as well as enterprises, schools innovation research or any other fi eld.
is fl awed at the level of fi rst principles. It as well as research centres, networks and But on the Kelly-Carmody principle that
cannot explain the shift from linear causation markets as well as industries? ‘from little things big things grow,’ Australia
to a complex web of causation, from can aspire to being a generative seedbed
The CCI has an unrivalled opportunity to
individual to network, and from behaviour for new ideas; and if it links up with enough
contribute to ‘creative problem-solving for
to action. These shifts have been enabled partners, it can plan to be a ‘hub’ in
practical outcomes’ in this context. In short,
at least in part by digital technology (not complex knowledge networks, not
we need to be innovators of innovation policy.
to mention a long consumer boom). The merely a ‘node.’
We must identify what cultural changes are
traditional value-chain model does not
needed to accommodate structural reform, Terry Cutler points out that Australia’s
recognise the importance of extending
social responsiveness, and new distributed market share in the world economy is about
to everyone in commercial democracies
sources of value (economic and cultural), 2 percent (and shrinking as others grow
not only consumer products but also
thereby enhancing Australia’s position within faster). In such a context it is not practical to
knowledge, agency and entrepreneurship.
global fl ows of knowledge, as well as its compete with the other 98 percent, as if we
As a result, policy – innovation, industry economic and cultural competitiveness. could beat the big G7 economies, or even
R&D, IP and education policies alike – lags the developing giants (Brazil, Russia, India,
Both cultural and economic research has
behind popular culture in the exploitation of China), on their own terms.
historically under-estimated the importance
user-led innovation, consumer co-creation,
of consumer-led innovation. Cultural research Instead, we ought to focus on links and
and the emergent values of social networks.
has been more interested in cultural struggle networks among other ‘two percent’
If there is to be a re-think of innovation and power than in the agency that ordinary economies, many of them our OECD
policy, it must include a shift from industry people develop in that context, which itself colleagues,3 working out what we
to market, from behavioural to cultural has been amplifi ed via the internet and have in common with them, and what
understandings of consumption, and from social network markets. Economic research sort of interface we ought to develop
disciplinary or hyper-specialised expertise has been blind to the possibility that causal with comparable countries. That way,
to team-based problem-solving. It must change and emergent values may emanate ‘knowledge shared is knowledge gained,’
develop active interfaces with communities from the ‘end-user’ of the value chain (on and innovation becomes an expansive,
of users, including creative consumers. the reasonable but erroneous assumption multi-national project, not a competitive,
that casting consumers as creators amounts zero-sum game.
to ascribing ‘cause’ to an ‘effect’).
We have taken early steps in our own
‘Knowledge shared is
Now, however, with due recognition of the intellectual networks, but much remains to
knowledge gained’ technologically-enabled (Web 2.0) growth be done. The innovation system needs a
of user co-creativity in any large-scale open creative make-over. Industry policy needs
network, we are at a tipping point in our the ‘wisdom of crowds’ as well as ‘long-
If researchers on the arts side of C.P. understanding of how values are created. tail’ economics if it is to benefi t from the
Snow’s ‘two cultures’ can mount a good We need to take these insights into the distributed but situated creativity of everyone
case for how we are already across these policy domain, to show how apparently in the system, rather than just an elite class
issues and have something more valuable small interventions may trigger important of entrepreneurs. International collaboration
to offer than a devotion to ‘suboptimal evolutionary changes in the system. needs to be scaled up and retained in a new
behaviour,’ then we can take a leadership
The CCI’s overall position is that the creative knowledge infrastructure, from which may
role in the revitalisation of the humanities
industries – understood as everything from fl ow new creative energies.
– and thence (why not?) in a strategic re-
investment in what some of us are already micro-enterprises to global media giants, These are the upcoming challenges
and from individual users to global social
calling ‘cultural science.’ for the CCI.
networks – are the appropriate point for early
This is timely in relation to the incoming R&D intervention that will create momentum
government’s plans to develop a new national downstream, affecting the economy as a
innovation strategy for the next decade. What whole and culture as a whole. The creative
are the gaps in Australia’s capabilities? What industries are the living laboratory in which
problems need to be solved in the knowledge creativity (as ‘problem-solving for practical
John Hartley
domain itself –along the infrastructural or outcomes’) is tested, extended socially
Federation Fellow, Research Director, CCI
‘stock’ axis of universities and disciplines, and developed, from human attribute to
as well as the ‘fl ow’ axis of investment and economic sector to cultural resource. February 2008
2 Jenna Bednar and Scott Page (2007) ‘Can Game(s) Theory explain Culture? The emergence of cultural behaviour within multiple games.’ Rationality and Society, 19:1, 65-97.
3 G7 = USA, Japan, Germany, UK, France, Italy, Canada. The 30 OECD member countries are: Australia, Austria, Belgium, Canada, Czech Republic, Denmark, Finland, France,
Germany, Greece, Hungary, Iceland, Ireland, Italy, Japan, Korea, Luxembourg, Mexico, The Netherlands, New Zealand, Norway, Poland, Portugal, Slovakia, Spain, Sweden,
Switzerland, Turkey, UK, USA. Countries not in the OECD with which Australia compares include Chile and Malaysia.
6 arc centre of excellence for creative industries and innovation annual report 2007
research programs
Crisis in Innovation
Creative Workforce
Citizen Consumer
Enterprise Formation and Sustainability
Legal and Regulatory Impasses & Innovations
International Creative Content Cultures
and Australian Advantage
7
1
crisis in innovation
program leader:
Stuart Cunningham
Australia faces a crisis in innovation in
the sphere of economic development
and policy. This is being addressed at a
national level during 2008 with a wide-
ranging Innovation Inquiry. Synergistic
relations between science, engineering
and technology and the dynamic
services, consumer and creative sectors
of the economy need to be explored and
realised. Australia’s ‘creative innovation’
system, while embryonic, needs to be
underpinned by a better understanding
of the basic dimensions, trends and
dynamics of the creative economy.
CCI is working to address the
shortcomings of statistical assessments
of the digital content and broader
creative industries, and tracing the
way creative inputs (human, economic,
technological) are becoming more
deeply embedded in the wider
economy. We are working hard on new
conceptual foundations which can
advance knowledge in the domain of
the co-evolution of the economic and
cultural spheres. There is focused policy
research around international innovation
systems, the policy frameworks
that support them, and targeted
evidence-building to support a more
comprehensive approach to innovation.
8 arc centre of excellence for creative industries and innovation annual report 2007