<p> OECD/ OCDE Dec. 4-5, 2006 Measuring Cultural Trade: The Case for Including Craft and Interactive Digital Media, and for Identifying Domestic Content </p><p> [email protected] Department of Canadian Heritage</p><p>Notes, Bibliography, and Reading</p><p>The Government of Canada and the Department of Canadian Heritage do not necessarily endorse any of the following companies or organizations, which are listed for information or comparative purposes only for the purposes of this discussion. Please note that the statements and views of the author expressed herein may not necessarily state or reflect those of the Government of Canada or the Department of Canadian Heritage.</p><p>Acronym List: BN: Business Number DRM: Digital Rights Management ICT: Information and Communications Technology IDM: Interactive Digital Media, or new media IP: Intellectual Property NAICS: North American Industry Classification System NAPCS: North American Product Classification System PCH: Department of Canadian Heritage/Patrimoine canadien SCIAN: Le Système de classification des industries de l'Amérique du Nord (NAICS) STC: Statistics Canada VOD: Video on Demand</p><p>Notes to Accompany Selected Slides:</p><p>Slide 3: Culture sector definitions from Statistics Canada; Canadian Framework for Culture Statistics (2004) http://www.statcan.ca/cgi-bin/downpub/listpub.cgi?catno=81-595-MIE2004021</p><p>Statistique Canada, Cadre canadien pour les statistiques culturelles (2004) http://www.statcan.ca/cgi-bin/downpub/listpub_f.cgi?catno=81-595-MIF2004021</p><p>Occupations in Canadian art, culture, recreation and sport: ENGL: http://stds.statcan.ca/english/soc/2001/nocs01-title-search.asp?cretaria=f FR: http://stds.statcan.ca/francais/soc/2001/nocs01-title-search_f.asp?cretaria=f</p><p>Cultural services export/import data is from 2003, from Statistics Canada cultural services data tables 87-213-XWE/XWF. </p><p>Hugh Scheuerman Department of Canadian Heritage 1 [email protected] http://www.statcan.ca/Daily/English/060328/d060328b.htm Cultural goods export/ import data is from 2005, from Statistics Canada cultural goods data tables 87-007-XIE. http://www.statcan.ca/Daily/English/060612/d060612b.htm</p><p>Slide 7: For live-action film and TV productions, the 10-point Canadian content rules are followed. For sound recording, a 4-point Canadian content system (MAPL) is used; Music, Artist, Production, Lyrics. ENGL: http://www.pch.gc.ca/progs/ac-ca/pubs/can-con/can_con.html FR: http://www.pch.gc.ca/progs/ac-ca/pubs/can-con/con_can.html</p><p>Canada’s Film Industry: Profile from Canadian Film and Television Production Association (CFTPA) http://www.cftpa.ca/newsroom/pdf_profile/profile2006-french.pdf http://www.cftpa.ca/newsroom/pdf_profile/profile2006-english.pdf </p><p>Slide 8:</p><p>UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions ENG: http://portal.unesco.org/culture/en/ev.php- URL_ID=29123&URL_DO=DO_TOPIC&URL_SECTION=201.html FR: http://portal.unesco.org/fr/ev.php- URL_ID=31038&URL_DO=DO_TOPIC&URL_SECTION=201.html</p><p>Slide 10:</p><p>Canadian Craft Federation: Profile and Development Strategy for Craft in Canada ENG: http://www.canadiancraftsfederation.ca/pdfs/Profile%20%20Strate%c9AL%20Feb %202004.pdf FR: Portrait et stratégie de développement des métiers d’art au Canada http://www.canadiancraftsfederation.ca/pdfs/Profile%20Strat%8eg%c9s%20F%8ev%2020041.pdf</p><p>Face of the Future: A study of human resource issues in Canada’s cultural sector http://www.culturalhrc.ca/research/faceFutureExecutiveSummary-e.asp </p><p>Occupational classifications for crafts. Click link inside doc for long list. http://stds.statcan.ca/english/soc/2001/nocs01-class-search.asp?cretaria=F144</p><p>Slide 11: Handcrafted ceramic bowls should not be classified with toilet bowls: NAICS 32711 Pottery, Ceramics, and Plumbing Fixture Manufacturing </p><p>This industry comprises establishments primarily engaged in shaping, moulding, glazing and firing pottery, ceramics and plumbing fixtures These products may be made of clay or other materials with similar properties. Establishments that fire and decorate white china (whiteware) for the trade are included.</p><p>Hugh Scheuerman Department of Canadian Heritage 2 [email protected] http://stds.statcan.ca/english/naics/2002/naics02-class-search.asp?criteria=3271</p><p>SCIAN 32711 Fabrication de poteries, d'articles en céramique et d'appareils sanitaires</p><p>Cette classe comprend les établissements dont l'activité principale consiste à façonner, mouler, émailler et cuire des poteries, des articles en céramique et des appareils sanitaires. Ces produits peuvent avoir été fabriqués à partir d'argile ou de produits possédant des propriétés semblables. Sont inclus les établissements qui se spécialisent dans la cuisson et la décoration de la porcelaine grand public (vaisselle en porcelaine blanche).</p><p>Slide 12:</p><p>Marketing Crafts and Visual Arts: The Role of Intellectual Property: A practical guide http://www.wipo.int/sme/en/documents/guides/guide_marketing_crafts.html</p><p>Le marketing des produits de l'artisanat et des arts visuels : Le rôle de la propriété intellectuelle http://www.wipo.int/ebookshop?lang=fre;cmd=display_pub;cat_id=1200;cart_id=395827- 21945190 </p><p>Government of Canada, Dep’t of Indian and Northern Affairs; Frequently Asked Questions about the North http://www.ainc-inac.gc.ca/pr/info/info115_e.html</p><p>Bird, Phillip; Intellectual Property Rights And The Inuit Amauti: A Case Study http://www.wipo.int/tk/en/igc/ngo/wssd_amauti.pdf</p><p>Protection of indigenous women’s IP http://www.ichrdd.ca/english/commdoc/publications/indigenous/introEnglish.html</p><p>Women and Traditional Knowledge http://www.wipo.int/women-and-ip/en/programs/tk.htm</p><p>Slide 13:</p><p>World Customs Organization: The Customs Co-operation Council (the official name of the World Customs Organization) asked member countries to measure Craft in their statistical nomenclatures, at: http://www.wcoomd.org/ie/En/Recommendations/recommendations.html</p><p>So did UNESCO, at UNESCO: International Flows of Selected Cultural Goods and Services, 1994-2003 http://www.uis.unesco.org/ev_en.php?ID=6372_201&ID2=DO_TOPIC UNESCO: Échanges internationaux d’une sélection de biens et services culturels 1994-2003 http://www.uis.unesco.org/ev_fr.php?ID=6372_201&ID2=DO_TOPIC</p><p>Hugh Scheuerman Department of Canadian Heritage 3 [email protected] Slide 14: Global Entertainment and Media Outlook: 2006-2010 http://www.pwc.com/extweb/pwcpublications.nsf/docid/5AC172F2C9DED8F5852570210044EEA 7?opendocument&vendor=none</p><p>See also: The Economy of Culture in Europe, at http://www.keanet.eu/</p><p>Slide 15:</p><p>From Canadian Interactive Alliance Interactive canadienne, at www.ciaic.ca/</p><p>Ubisoft and Electronic Arts Company annual reports: www.ubi.com/ENCA/default.aspx www.ea.com/home/home.jsp</p><p>The economy of culture in Europe, Annex 1, p. 279 http://www.keanet.eu/</p><p>New Media BC white paper: An Integrated Strategy for BC’s Technology Clusters http://www.newmediabc.com/downloads/Integrated%20Tech%20Strat%20White%20Paper.pdf</p><p>Numerous Alliance numériQC studies found at http://www.numeriqc.ca/etudes/</p><p>The ‘Long Tail’ of Technology Changes http://www.thelongtail.com/about.html</p><p>Slide 20: Aufrant, M. and Nivlet, J-M; Towards an Information Society Aggregate in ISIC 2007 http://www4.statcan.ca/english/voorburg/2002%20nantes/papers/2002-043.pdf</p><p>OECD Working Party on the Information Economy: Content As A New Growth Industry http://www.oecd.org/dataoecd/32/48/2094064.pdf</p><p>The Multimedia and Interactive Digital Content Industry http://www.fiam.org/en/MIDC-Industry%20classification-4.pdf</p><p>Aufrant, Marc; Nivlet, Jean-Marie; Some Concepts For Information Economy Measurement: ICT and Content Sectors. http://www.insee.fr/en/nom_def_met/colloques/acn/colloque_9/aufrant_nivlet_en.pdf</p><p>Hugh Scheuerman Department of Canadian Heritage 4 [email protected] Slide 21:</p><p>Types of video games Video games may be divided into 4 types: Console games PC games Online games Wireless games</p><p>A similar division is presented in The economy of culture in Europe, Annex 1, p. 270 (http://www.keanet.eu/) and in PricewaterhouseCoopers’ Global Entertainment and Media Outlook: 2006-2010 http://www.pwc.com/extweb/pwcpublications.nsf/docid/5AC172F2C9DED8F5852570210044EEA 7?opendocument&vendor=none</p><p>See also OECD Working Party on the Information Economy - DIGITAL BROADBAND CONTENT: The online computer and video game industry http://www.oecd.org/dataoecd/19/5/34884414.pdf</p><p>A single game may be released in up to 32 different formats, depending on the number of platforms and versions (console, online, PC, and mobile versions; with console platforms from Sony, Nintendo, and Microsoft, with numerous iterations). These games should perhaps be treated as one entity, and not several entities based on the delivery method. The Internet may be seen as a pipeline that delivers content.</p><p>Culture Components And ICT Components In Video Game Development NAICS classifies business establishments by economic activity. It can be argued that the creation of video games has more in common with the creation of an animated feature film, than with the creation of software. Here are some of the more common ways of examining the differences between the Culture components and the ICT components.</p><p>Staff Team Leads Commonly Found in Game Development:  Lead programmer (ICT)  Lead producer (Culture)  Lead artist (Culture)  Art director (Culture)  Lead designer (Culture)</p><p>The Four Major Areas of Game Development  Art (in Culture)  Design (in Culture)  Production (in Culture)  Computer Programming & Coding (in ICT)</p><p>Intellectual Property Rights and the Video Game Industry The intellectual property in video games contains combinations of copyrights, trademarks, patents, and trade secrets, which fall into four broad areas: Code, Art, Audio, and Design. One of these (Code) is part of Information and Communications Technology (ICT); the other three represent areas within Arts and Culture. International Game Developers Association http://www.igda.org/ipr/IGDA_IPRights_WhitePaper.pdf</p><p>Hugh Scheuerman Department of Canadian Heritage 5 [email protected] Game Development: Culture Industry or ICT Industry?</p><p>First steps We will use the example of the action game Call of Duty© (by Infinity Ward) to illustrate in a simple form the game development occupations, giving a view toward the production processes for a game that cost about $10 million to develop, a cost in the lower middle range of development budgets. (For comparison, Halo 2©, the most expensive console game to develop in 2004, saw development costs of over US$40 million, and required the efforts of the 190 people listed in its credits, and needed three years to complete.)</p><p>Of the 60 staff that developed the Call of Duty© game, 42 positions, or 70% of the total, represented occupations and activities already classified within Culture. No breakout by hours or development salaries is available.</p><p>Cultural occupations The development costs associated with activities commonly found in existing culture or creative industries should be attributed to the Culture sector. About 70% (42 positions) of total employment in game development included:</p><p>1 Chief Creative Officer 3 Producers 14 Designers, for design of levels and action 15 Artists, from Environment to Visual FX 7 Animators 2 Sound designers</p><p>ICT occupations Twelve staff, or 20% of total employment, were from the ICT sector:</p><p>1 Chief Technology Officer 11 Software engineers and programmers</p><p>Additional ICT costs: Game development includes the use of middleware (specialized software used to coordinate the game sections, animations, music, sound, characterization, and scoring). The game engine software licensing cost is around $750,000, or a percentage of royalties.</p><p>Other middleware includes an audio engine, a highly specialized software that enables the game audio (voice, music and sound effects) to be co-ordinated around a common frame. The costs of this middleware and the production costs associated with Coding and Computer Programming should be assigned to the ICT sector.</p><p>‘Neutral’ Occupations (not attributable to either Culture or ICT) The remaining 6 staff, or 10% of the total, were ‘neutral’, representing administrative positions, such as President, Executive Assistant, Office Manager, and Talent Consultant.</p><p>Next Steps Although this is simple and somewhat naïve example, a future examination of a game’s actual production costs, economic activity and economic impact, production processes, and occupation classifications attributable to both the Culture and ICT sectors would prove helpful. </p><p>Hugh Scheuerman Department of Canadian Heritage 6 [email protected] Slide 24: See Online Media Measurement by one company: Big Champagne. No mention of culture trade (exports/imports), as it may not yet be possible to measure downloads crossing international boundaries http://www.bigchampagne.com/faqs.html#data</p><p>Some classification systems already reflect the Craft and New media categories: Système De Classification Des Activités De La Culture Et Des Communications Du Québec 2004 http://www.stat.gouv.qc.ca/observatoire/scaccq/principale_en.htm</p><p>Comparison of classification systems identifying the contribution of copyright collection societies, and other gaps in culture measurement: The Economy Of Culture In Europe, Annex 1, pp. 245-249 http://www.keanet.eu/</p><p>Hugh Scheuerman Department of Canadian Heritage 7 [email protected]</p>