Challenge in developing CSA: missing issues Marion LIBREROS Consultant

Use the CSA compilation to review the measurement of culture in the NA From the experiences presented yesterday, the CSA compilation was in most cases a reprocessing of the existing National Accounts data. The proposal (as has been the case in the TSA…) is to try to make new estimations, using non conventional sources of information, analyzing critically the cultural production processes, Describing in detail the production processes in the terms of National Accounts: identifying the different activities and products

Challenge in developing CSA: missing issues Unifying the definition of culture from an economic operative perspective; Unifying the definitions of sectors and sub sectors; assigning products and productive activities that correspond to each cultural domain in terms of ISIC and CPC with possibly subclassifications of such classifications; Explain how the “transversal domains” of the MEC will be treated in the CSA; Develop a better understanding of the complex production processes involved in domains such as music, audiovisual and interactive media, and descriptions in terms of ISIC and CPC; (knowledge capturing products) and define which of the production processes involved should be treated as part of cultural activities (case of printing…)

MEC’s “pragmatic definition” It is based on the representation of culture by domains for which the purpose is to measure cultural activities, goods and services that are generated by industrial and non-industrial processes. Cultural goods and services encompass artistic, aesthetic, symbolic and spiritual values. The characteristics of cultural goods and services differ from other products because their system of valorisation, which includes a characteristic irreproducible, is linked to its appreciation or pleasure. Cultural goods convey ideas, symbols and ways of life, some of which may be subject to copyrights. Cultural services do not represent material cultural goods in themselves but facilitate their production and distribution. For example, cultural services include licensing activities and other copyright-related services, audio- visual distribution activities, promotion of performing arts and cultural events, as well as cultural information services and the preservation of books, recordings and artefacts (in libraries, documentation centres, and museums). Most of these goods and services are subject to copyright. Cultural activities embody or convey cultural expressions, irrespective of the commercial value they may have. These activities may be an end in themselves or they may contribute to the production of cultural goods and services (UNESCO- UIS, 2005). Unlike the 1986 Framework (UNESCO, 1986), the definition of cultural domains is based on a hierarchical model that is comprised of cultural domains and related domains.

CAB’s definition “those human activities and their products that derive from the creation, production, dissemination, transmission, consumption and appropriation of symbolic contents related to the arts and the heritage ”; This definition excludes what we call: “interdependent” connected products; inputs and capital goods which only use is to be used by cultural “industries”; musical instruments are included here (not considered as specific…., their production is not cultural production…)); Paint use in art paintings, etc… Note: IN the MECs, musical instruments (manufacture and products) are included in sector B. Performance and Celebration in UIS, “Auxiliary” connected products; they make transmission posible as TV sets, radios, etc… but as such, they do not fit into the definition of cultural products For each “sector” a list of these interdependent connected products and auxiliary connected products is established; supply and use tables are not established for these products, neither their production accounts. But their value is included in the expenditure table.

Unifying sectors and subsectors Framework for Cultural Statistics (UIS) Cultural Domains A.Cultural and Natural Heritage B.Performance and Celebrations C.Virtual Arts and Crafts D.Books and Press E.Audio-visual and Interactive Media F.Design and Creative Services Transversal domains Intangible Cultural Heritage Education and Training Archiving and Preserving Equipment and Supporting Materials CAB Manual (CAB) 1.Creation and Intellectual property 2.Design 3.Toys 4.Scenic Arts and Artistic Performances 5.Visual Arts 6.Music 7.Audiovisual and Radio 8.Books and Publications 9.Cultural Education 10.Tangible Heritage 11.Intangible Heritage Issue of the transversal domains: Do we define also products and activities; supply and use balances??? In the case of equipment and supporting materials, are we speaking of any equipment, or only those specific to the cultural domains??? What does “specific” to a cultural domain means??? Is the building in which operates a museum, or the equipment of a showroom in a museum considered as specific????

Treatment of tangible and intangible heritage What are the products, what are the activities in particular in the case of intangible heritage in terms of ISIC and CPC How to account for the expenditure in order to maintain (or foster) cultural heritage??? Need for different accounts (for instance capital account that would capitalize overtime the expenditure made of preservation???)

The scope of the accounts The variables that the CSA will measure are still to be defined… For the time being, in the CAB Manual, cultural expenditure, a basic variable and indicator of the size of culture includes: 1. Consumption of specific goods and services, and of connected products 2. Capital formation in specific goods and services, 3. Fixed capital formation of characteristic activities in non-specific products, 4. Consumption of non connected products for non productive practices 4. Specific current transfers, 5. Specific capital transfers.

1. Consumption of specific goods and services, and of connected products

Should we go further and include extended concepts? The scope of the accounts, in particular: The direct, indirect, induced and associated effects: do we want to include them,all, some of them….they might be included if we want (see their usefulness)… How to define them and measure them Nothing is included concerning externalities although much of the official support to festivals, performances, is due to these externalities…. And the difficulties of access to culture might be related with these externalities? (tourism expenditure in non tourism characteristic products might be one of these categories….) How to include them, and which to include???? How to name them in order to be very clear (strictly speaking it is not a consumption of cultural products….)