How to make use of census data in status-of-the-artist studies: Advantages and shortcomings of the finnish register-based census

Karttunen, Sari

doi:10.1016/s0304-422x(01)80004-8

Cited by 8 publications

(5 citation statements)

References 8 publications

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“…It has long been noted that official data may miscount musicians (see, for example, Throsby [2001] and Karttunen [2001]). Many participate in some paid forms of music even though it is not their major occupation.…”

Section: Methodsmentioning

confidence: 99%

Sonic City: The Evolving Economic Geography of the Music Industry

Florida

Jackson

2009

Journal of Planning Education and Research

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Our research tracks the location of musicians and music establishments in U.S. regions from 1970 to 2004. We find that the music industry has become significantly more concentrated over time. New York and Los Angeles remain dominant locations, with Nashville emerging as a third major center. This reflects the economic and artistic advantages of large markets. We also find evidence of the persistence of musicians and music scenes in some smaller locations throughout the United States. This reflects demand for music in some small locations with more affluent, higher-human capital populations, location-specific assets, and technological changes that have lowered the costs for producing, distributing, and consuming music across locations.

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Section: Methodsmentioning

confidence: 99%

Sonic City: The Evolving Economic Geography of the Music Industry

Florida

Jackson

2009

Journal of Planning Education and Research

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“…Census methods of data collection, for instance, seriously under-enumerate employment in creative sectors where large amounts of informal and intermittent employment, mixed work and subordinate creative work are present -where an individual's creative work occupies less time than other "day jobs" (Gibson et al, 2002;Karttunen, 2001;Throsby, 2001). Music, art, acting and writing are particularly under-represented in census data.…”

Section: Mapping Creative Darwin: the Anatomy Of Creativity In The Citymentioning

confidence: 99%

Geographic Information Technologies for cultural research: cultural mapping and the prospects of colliding epistemologies

2010

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This article discusses potential applications of Geographic Information Technologies in cultural research -amidst concern that confusion surrounds what these technologies are, and how they might be used. We discuss the adoption of Geographic Information Technologies in our own cultural research projects, motivated by empirical shortcomings with existing creative industries and cultural planning research methods, coupled with a desire to more fully explore the geography of cultural life within Australian cities. Geographic Information Technologies can comprise a range of technologies (proprietary GIS software systems, GPS, web mapping) that seek to accumulate geographical information for analysis within computer database systems. In our projects, Geographic Information Technologies enabled spatially sensitive questions about creative activity, affective links to city environments and cultural vitality (asked in interviews and focus groups) to be linked to central map databases. "Collisions of epistemologies" (Brown & Knopp, 2008) were made possible, dissolving boundaries between qualitative and quantitative methods, and connecting our philosophical commitment to everyday, vernacular forms of culture to matters of cultural planning. Results showed a refreshing amount of creative activity occurring beyond visible "hubs", in suburbs and the vernacular spaces of everyday life. Moreover, cultural life -and creative activities more specifically -was layered, localized and multifaceted within cities, in ways that preclude singular generalizations. Geographic Information Technologies and maps -with their capacities to capture complexity and layered phenomena -helped communicate such findings in digestible formats, to a range of community and government audiences.

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“…Yet there are considerable limitations of census methods, which are particularly apparent for the creative industries and for the Far North Coast. As others have argued (Throsby, 2001;Karttunen, 2001;Gibson et al, 2002), census data often under-estimate employment in the creative industries because they only pick up people who indicate that occupation as their main source of income on the actual day of the census survey. Because, for many musicians, writers, artists and so on, income streams are irregular, or may be secondary to other income sources, many creative producers cross-subsidise their pursuits with other more regular jobs (such as working in a cafe or a shop), and this latter occupation is more likely to be recorded in the census.…”

Section: Employment In Creativity: Ameans Of Assessing Creative Networkmentioning

confidence: 99%

“…--=~=.::. _._-_-.. argued (Throsby, 2001;Karttunen, 2001;Gibson et al, 2002), census data are most useful for, as in the case above, illustrating general trends of employment in creative occupations, particularly spatial manifestations and income distributions. This is due to the comprehensive nature of the survey (undertaken across all regions and towns) and the very high response rate compared with one-off surveys.…”

Section: Employment In Creativity: Ameans Of Assessing Creative Networkmentioning

confidence: 99%

Creative Networks in Regional Australia

Gibson¹,

Robinson²

2004

Media International Australia

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Much recent academic and public discourse has centred on the fate of non-metropolitan Australia under successive federal neoliberal reform agendas. This paper discusses creative networks in non-metropolitan areas in light of this, with a focus on issues of youth unemployment and out-migration. First, it draws on research on creative industry development on the New South Wales Far North Coast to assess the efficacy of creative networks as a source of new job growth in rural areas. Second, and more broadly, the paper discusses the North Coast Entertainment Industry Association (NCEIA), a nascent creative network in the region. Several observations are drawn from its experiences. Creative networks in non-metropolitan areas face problems of informal and itinerant membership, and anti-socialisation attitudes, Yet they appear to have a substantial role in improving the conditions of viability for vulnerable cultural producers. When conceived as part of interventionist strategies to promote youth employment and to stem the youth exodus from rural areas, they may also have sociodemographic implications beyond the scope of their original intent.

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How to make use of census data in status-of-the-artist studies: Advantages and shortcomings of the finnish register-based census

Cited by 8 publications

References 8 publications

Sonic City: The Evolving Economic Geography of the Music Industry

Sonic City: The Evolving Economic Geography of the Music Industry

Geographic Information Technologies for cultural research: cultural mapping and the prospects of colliding epistemologies

Creative Networks in Regional Australia

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