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Open data insights for cultural planning


  Guest post by Eugene Ward. Eugene is City People’s researcher and general wrangler of data. This tends to be spatial data on most projects — broadly, what’s in the place of interest and how does this influence our thinking? This blog post looks at three different pieces of open data inspiration for cultural planning.

 

What is open data?

When an organisation adopts an ‘open data’ policy, it means that their data sets are available to the public. Additionally—depending on the terms of the particular licence—this data can be used by those accessing it, for example for research projects or app development.

Open data platforms maintained by local, state and federal governments are an increasingly important part of the software development landscape. For example, if you’re in Sydney and you use a trip-planning app (like TripView), those developers have built their app’s functionality around retrieving real-time data from the Transport for NSW Open Data Hub. There are many similar examples of open data-driven transit apps in other cities around the world.

The licence is not the only aspect of an open data platform – generally, there’s an expectation that the data has been prepared and organised in a ‘ready to use’ way and is in a good state to analyse or integrate. This could be spreadsheet-style files, uploaded by the organisation at a regular interval, or an access point for a database or streamed data.

Photo by Jan Antonin Kolar on Unsplash

Is there open data for arts and culture?

In Australia the data captured by government, agencies and consultants specifically related to the arts has generally not been made available under open data terms. However, the ‘opening up’ of data is ongoing as part of digital transformation efforts in government and the situation could certainly change as these platforms expand.

Arts-related content on the various state open data portals is limited. South Australia’s Data.SA is perhaps the best resourced, with a dedicated ‘Arts, culture and history’ tag for browsing data sets.

Photo by EJ Strat on Unsplash

Making connections

While there might not be troves of explicitly arts-related data, there are still useful and pertinent data sources to be found through Australian government open data platforms.

In this article I’ll be looking at three examples of how Data.NSW’s list of licensed premises—a data set produced and maintained for regulatory purposes—can actually inspire some thinking around cultural data use cases.

Photo by Philippe Bout on Unsplash

Night-time economy insights: one data source, three case studies

Each month Data.NSW releases an up-to-date file tracking active liquor licences across the state. Currently, the series of available data goes back to March 2020 and the latest file is from March 2021. It’s a very feature-rich dataset with a range of location, operational, regulatory and other data attached to each property in New South Wales that holds a licence to sell or serve alcohol.

As an ongoing time series, there’s a lot that live use of the data can glean. When working on this article I accessed the February 2021 file. It was interesting to note that in the February data, of the 100 most recently approved (over a period spanning 73 days), more liquor licences commenced in the City of Liverpool Council local government area than in the City of Sydney (13 compared to 8). Ongoing monitoring of new licences for each LGA could be an interesting proxy for economic activity and growth—however, let’s get onto our cultural and more place-based use cases for this open data set…

Note: the below explorations detail data mapping ideas that would be interactive—however, since this article is just illustrative, we’re not going to deploy them live here on the website. The still images included hopefully convey the opportunities.

1. Finding family friendly pubs in your LGA

When moving to (or visiting) a neighbourhood, it might be nice to know which hotels have a bistro area that’s suitable for children.

Data steps:

  • Since having a ‘minors area authorisation’ is a specific authorisation granted to venues, the data can be filtered for premises which have this phrase in their list of authorisations.
  • Using a spatial data ‘shapefile’ from the ABS, you can retrieve a polygon of the LGA.
  • For the LGA of interest, we can filter to include data from the Data.NSW licences that falls within the boundaries of the LGA, based on the coordinates in that dataset falling within the area encompassed by the polygon.
  • Visualised in open source map software like folium or Leaflet, it might look like this (for North Sydney):

There’s obviously the greatest number of bistro options in the North Sydney CBD and generally, family friendly hotels are older pubs located on main roads.

Before moving onto our next use case, I want to explore another way of visualising the data in response to this scenario. It’s a somewhat esoteric method but I find it inspiring because it conveys both density and choice in the one map. It’s not without its quirks and caveats which I’ll note as well.

Voronoi diagrams take a set of points and divide the space they’re in into regions, so that each point is surrounded by a shape covering the area which is closest to that point. You can think of it as a catchment for the point. For example, looking at the family friendly pubs in North Sydney:

Immediately, you can probably see the issues with this analysis: not only does it not consider the network distance (i.e., travel via roads), it doesn’t appreciate the interference of the natural environment either. It’s truly ‘as the crow flies’ when it comes to the catchments it creates, resulting in some weird choices. Look at the orange region. At the edge of Berry Island Reserve? Obviously the Blues Point Hotel is your nearest pub, via two cross-harbour swims.

Voronoi regions need some rules and manipulation before they’d make robust catchments, however, they do work when we consider the landlocked zones entirely inside the LGA. Consider the below visualisation, which projects the Voronoi regions onto a folium street map:

If a location is at the edges of multiple Voronoi regions, this can illustrate equidistant options from that point.

You’ve probably seen how, given an address, online real estate listings and Google Maps generate nearby lists of infrastructure, entertainment and shops. The ranked list on these services, while useful, might not convey just how similarly near the options are. In this image we can see that a house at Emmet Lane, Crows Nest would be equidistant from three different family friendly pubs.

2. Heritage hotels on tourist trails

One of the features of the licences data is a commencement date for the liquor licence at the property. While there’s no doubt that the commencement date alone in these regulatory files won’t capture the whole story, this data feature does present a history and heritage perspective that we can map.

Data steps:

  • The commencement date can be used to order the licences chronologically. I proceeded to then cut down the data to the 150 oldest still-operating licences, which range from 1906–1947.
  • For the 150 oldest licences in the state, a decade data category was derived.
  • These were plotted across New South Wales, with colour-coding corresponding to decade:

Travelling to the regions? The Newell Highway might be a ‘scenic route’ option if you’re interested in 1920s hotels.

The 1900s licence isn’t visible in the above view because of the dense clump of Sydney points—it’s the Glasgow Arms in Ultimo (which, by the way, has undergone obvious physical updates, a reminder that the year alone doesn’t guarantee a heritage building). It’s the purple point in this view of the map:

Licence commencement year: an inspiring starting point that shows how an administrative detail can be adapted towards a cultural or historical insight.

3. Business planning: new locations for small bars

Finally, I’d like to highlight the predecessor article to this post where I first made use of the Data.NSW liquor licences data. The concept was to investigate which inner Sydney suburbs might be appropriate locations for new small bars. You can check out the original article here. That post covers the data process in detail.

In particular, I wanted to note one of the map visualisations, which went beyond the standard point markers we’ve seen throughout this post:

Here, the blue circles are positioned at the centre of suburb boundaries and their size is dictated by the total number of liquor licences in the suburb. Meanwhile, the red ring was scaled according to the number of small bar licences in the suburb. The selected suburb in this view is Glebe, however, over to the southwest of this point, you’ll note the small blue circle where the red circle is a similar size to the blue circle its imposed onto. This indicates that for the suburb of Enmore, small bars represent a particularly high relative proportion of all issued licences.

When we compare the Enmore and Newtown circles with the Sydney suburb (i.e., the CBD) circles, the proportion of licences that are small bars (red ring vs. blue circle) could be used as an indicator of the suburbs’ comparative character.

 

Wrapping up

I hope this blog has been a worthwhile introduction to open data and how data sets that might not seem cultural can still be analysed for insight that might support cultural decisions.

The open data landscape in Australia is an evolving one — I’ll be keeping an eye out for any new data sources across the various platforms. When something fruitful or interesting arrives I’ll be sure to dive in via a future post.

News

Register for the webinar: How arts and culture can connect people in public spaces during COVID-19 and beyond


[Note: this event has passed – head over to the project page to read about the Accelerator and watch the webinar]

Join us to explore how we can create art and cultural experiences in our public spaces so that people connect with each other and the places where they live, visit or work, while being at a safe physical distance.

PAST EVENT: Webinar: How arts and culture can connect people in public spaces during COVID-19 and beyond

24 September 2020

11.00am-12.00pm

We will share insights from the accelerator City People recently hosted in which participants explored the challenges the COVID-19 restrictions present for artists, producers or placemakers in creating festivals, community events or activation in our city’s major event spaces, town centres and neighbourhood parks and streets.

Central to our discussion was how we can adapt art form and cultural practice in outdoor spaces to meet the needs of audiences who are physically distanced. We wanted to move the conversation on from ‘let’s go digital’.

Insights

The webinar will feature a live panel conversation with:

  • Chris Fox, artist, architect and senior lecturer at University of Sydney

We will also hear from participants with interviews filmed during the accelerator.

Some of the insights to be shared include:

  • why COVID-19 is the opportunity to prioritise arts and culture in public spaces
  • what can creative placemakers (eg artists, art practitioners, event organisers, urban designers, policy makers) consider in activating public spaces during COVID-19
  • how we reimagine art form not just reconfigure audiences.

Accelerator participants

We are so grateful to participants in the accelerator: Fiona Winning, Head of Programming, Sydney Opera House; Jeffrey Stein, Manager City Events and Festivals, City of Parramatta Council; Ashlie Hunter, Manager Partnerships, Public Spaces, NSW Department of Planning, Industry and Environment; Adelle Robinson, Co-founder, Managing Director, Fuzzy Events; Jennifer Noorbergen, Community Engagement, 107 Projects; Kat Dopper, Heaps Gay / Creative Director Sydney Gay and Lesbian Mardi Gras; Emma Saunders, Performer and choreographer; Paschal Daantos Berry, Curator Programs and Learning Biennale of Sydney and Chris Fox, Artist / Architect and Snr Lecturer University of Sydney. Kim Spinks, Director City People provided arts development perspectives.

Provocateurs

A number of ‘provocateurs’ informed and challenged participants on the impact of COVID-19 on health and safety, business and street culture including: Elizabeth Jarrett Gumbaynggir poet and Black Lives Matter organiser; Padraic Gibson, protest organiser; Dr Jean-Frédéric Levesque, CEO NSW Agency for Clinical Innovation & COVID-19 Critical Intelligence Unit; and Michael Rodrigues, Night Time Industries Association / Time Out Sydney; and Katherine O’Regan CEO, Sydney Business Chamber.

News

Accelerator for Arts and Culture in the Public Domain – Covid-19 and Beyond


This week City People will host an innovative arts and culture accelerator, supported by the City of Sydney, to develop ideas for how we create active, vibrant public spaces for people during Covid-19 and beyond.

Our focus will be on how arts and culture can continue to make places people love, places where people connect with each other while being at a safe physical distance.

The Accelerator for Arts and Culture in the Public Domain ­– Covid-19 and Beyond is supported by the City of Sydney and will be held over three days in late August.

City People designs and facilitates accelerators as a dynamic innovative way to bring people with diverse expertise together, over a short period of time, to create project ideas that celebrate, interpret or activate places.

In this accelerator, participants will consider the challenges Covid-19 presents for festivals, community events or activation in our city’s major event spaces, town centres and neighbourhood streets.

How we can adapt art form and cultural practice to meet the needs of audiences who need to be physically distant is also key to this.

The aim is to develop a repertoire of creative ideas or concepts to inform arts and cultural practice in our shared community spaces during a pandemic.

City People carefully curates participants to ensure a diverse mix of expertise can be shared and we are delighted to be working in the accelerator with:

A number of ‘provocateurs’ will inform and challenge participants on the impact of Covid-19 on health and safety, business and street culture including:

At City People our passion is creative placemaking: integrating arts and culture in people’s experiences in public spaces so that they connect with each other and the place in which they live, work or visit.

We’re looking forward to some new thinking for arts and culture that looks beyond ‘let’s go digital’.

And thanks to Sydney artist Andrea Davies from La Galerie Mobile for posing with one of her gorgeous costumes for our (quick and simple) accelerator photo shoot.

We will share our insights on our News page (and possibly a webinar).

You can also subscribe subscribe to our (very occasional) newsletter here.  Please get in touch if you’d like to know more.

 

News

City of Sydney grant to develop ideas to create vibrant public spaces in Covid-19 and beyond


City People has won a $10,000 City of Sydney grant to host an innovative accelerator to develop ideas for how we create active, vibrant public spaces for people during Covid-19 and beyond.

Our focus will be on how arts and culture can continue to make places people love, places where people connect with each other while being at a safe physical distance.

Sydney Harbour Foreshore Authority Fiesta
How can arts and culture create vibrant public spaces in a community which has to be socially distant? (image: Sydney Harbour Foreshore Authority, Fiesta at Darling Harbour)

City People designs and facilitates accelerators as a dynamic, innovative way to bring people with diverse expertise together, over a short period of time, to create project ideas that celebrate, interpret or activate places.

In this Accelerator for Arts and Culture in the Public Domain ­– Covid-19 and Beyond, supported by a City of Sydney grant, we aim to develop a repertoire of creative ideas or concepts to activate our shared community places.  Some of the issues we will grapple with are:

  • How do we connect when Covid-19 prevents or limits the close proximity of people and has in some ways increased social disconnection?
  • How do we welcome and connect people back into our shared community spaces with new social distancing requirements?
  • How does the arts and cultural sector adapt to the necessary change in arts practice and audiences?

We will share what we learn with other professionals working in arts and culture and creative placemaking to ensure our public spaces can be active and vibrant places for people during Covid-19 and beyond.

The Accelerator for Arts and Culture in the Public Domain ­– Covid-19 and Beyond will take place in late August 2020 and we’ll share more details about the participants and their insight on our News page.

News

Two accelerator arts projects now underway in Western Sydney Parklands


Two new art projects reflecting the unique history and landscape of the Western Sydney Parklands are now being developed.  The concepts for these site-specific arts projects were created in the Western Sydney Parklands Arts and Cultural Accelerator. 

The accelerator was an innovative 10-day development lab, facilitated by City People, involving artists and professionals from diverse fields. Participants explored the parklands and learnt about its landscape, history and culture of the communities that live and visit there.

Participants in the Western Sydney Parklands Arts and Culture Accelerator explore the parklands
Participants in the Western Sydney Parklands Arts and Culture Accelerator explore the parklands

The creators of the two art projects are:

  • Shay Tobin, a Darug man who works in graphic design and photography and is currently a student of pure mathematics.
  • Djon Mundine, a Bundjalung man who is a renowned artist and curator and grew up in Western Sydney.
  • Stephanie Peters, a horticulturalist and artist who lives and works in Western Sydney and works with textiles, paper and public art.

These new art projects represent the Western Sydney Parkland Trust’s commitment to enhancing our experience in the parklands by:

  • engaging and connecting people with the place
  • fostering an understanding of its unique landscape and
  • interpreting the stories of the parklands in memorable ways.

The accelerator took place in February – March 2020 and brought to life the arts and cultural principles in the landscape design framework. 

The framework outlines how arts and culture can be integrated into the southern section of the Western Sydney Parklands.  It was created with Tyrrell Studio in collaboration with City People in 2018.

City People is the creative producer for these art projects: liaising with artists, ensuring the project design is detailed and planning for the installation of the arts and culture projects.

City People is delighted to be working with Western Sydney Parklands to take this innovative and creative phased approach to taking strategy off the page and into practice.

We will share more details about the arts projects on our News page.

 

 

News

Western Sydney Parklands Accelerator launched


View west from the Beauty Spot (photo: Hong An James Nguyen)

The arts and cultural accelerator for Western Sydney Parklands Trust launched last week.  We are excited about working with artists, architects, urban planners, historians and others who are also passionate about creating arts and cultural projects that reflect the unique nature of the parklands.

Western Sydney Parklands stretches over 5,280 hectares, through three council areas (Blacktown, Fairfield and Liverpool) and for 27 kilometres.

It’s Australia’s biggest urban parkland and includes miles of open space, native bushland, picnic shelters and barbecues, playgrounds, cycling and walking tracks. You might know of some of its tenants, Raging Waters Sydney and Sydney Zoo.

City People is facilitating the 10-day accelerator that is our innovative, structured way of bringing together people with diverse expertise, over a short period of time to develop project ideas for a particular place.  Our focus is on the southern parklands, Darug country and mainly bushland, from Cecil Hills to Leppington.

In late 2019, 30 people expressed an interest in working collaboratively to develop concepts for urban arts projects, public art installations, performances or place-driven activation projects in Western Sydney Parklands.

Eight participants, with diverse experiences and artistic practices, were selected:

  • Marian Abboud works with western Sydney communities through activism and popular culture.
  • Robyn Backen works with architectural forms, sound and digital media.
  • David Capra is an artist, broadcaster and Fairfield resident who makes work for diverse spaces, with community and in the public domain.
  • Anna Kuroda is a choreographer, dancer and Japanese immigrant based in Western Sydney.
  • Djon Mundine is a Bunjalung man who is a renowned artist and curator and grew up in Western Sydney.
  • Hong An James Nguyen is a former palliative care pharmacist who migrated to Australia as a child and grew up in Western Sydney. He now works as a film and media artist.
  • Stephanie Peters is a horticulturalist and artist who lives and works in Western Sydney. She works with textiles, paper and public art.
  • Shay Tobin is a Darug man who works in graphic design and photography. He is currently a student of pure mathematics.

Field trip near Shale Hills (photo: Hong An James Nguyen)

We launched the accelerator last week with two days of exploring the park and enabling the artists to get to know each other and understand their respective creative practice.

We also welcomed a number of ‘provocateurs’ who shared with us their knowledge of this place including:

  • Leanne Tobin, Darug artist and cultural educator
  • Paul Glass, NSW National Parks and Wildlife
  • Dave Kirkland, Environment Manager, Western Sydney Parklands Trust
  • Joshua French, Director of Planning at Western Sydney Parklands Trust.

The mixture of Indigenous culture, history and heritage, fauna and flora, land management planning and design provided the artists with a greater understanding of the parklands and inspiration for the concepts for arts and cultural projects they will create.

Starting next week participants will spend eight days working either individually or collaboratively to develop projects, living and working together at Western Sydney Parklands (in caravans!).

City People has led this innovative way of developing arts and culture projects over the last ten years. You can learn more about our urban innovation accelerator here and the accelerator creating ideas for Wollongong’s public spaces for the City of Wollongong here.

We will be sharing more about the arts and culture accelerator at Western Sydney Parklands in our blog.

News

Call for participants: Western Sydney Parklands Arts and Cultural Accelerator


During 2018 City People worked with Tyrrell Design Studio to develop a landscape design framework that incorporated direction for the development of arts and culture in the southern section of the Western Sydney Parklands.

Now we are delighted to be delivering an arts and cultural accelerator for Western Sydney Parklands Trust (WSPT) to put these ideas into action. The accelerator will develop a repertoire of mature arts and cultural project concepts that can be implemented locally, both within and beyond the Parklands

If you are interested in working collaboratively with artists and others who are also passionate about creating projects that reflect the unique nature of the parklands, then read on.

Both part of the city and part of the bush: stunning Western Sydney Parklands.

What is an accelerator?

The accelerator is an innovative, structured way of bringing together people with diverse expertise, over a short period of time to develop project ideas about a particular place.  City People has led these processes as a way of developing urban arts projects, public art installations, performances and place-driven activation projects over the last ten years. Check out our most recent one for the City of Wollongong here.

Who is eligible to apply?

  • Artists (visual, performing, digital, writing) or other creatives with at least five years’ experience in their field of expertise. 
  • Applications from people in professions other than the arts are encouraged.  For example, previous accelerators have included environmentalists, architects, academics and community activists.
  • People who have experience in collaborative practice
  • People who can commit to full-time attendance on site for the duration of the accelerator

How will participants be selected?

Priority will be given to applicants who:

  • live and / or work in Western Sydney
  • have experience working in the public domain
  • have skills that contribute to the diversity of practice in the participants’ team

Participants will be paid a fee of $4000 (ex-GST) and will be required to work full-time in collaboration with others for a ten-day period in February – March 2020.

Applications close 5pm on the 30th September.

For more information on the accelerator or to submit an application check out details here.

News

Waiting for the Swimming Pool. We turn up the heat on urban renewal at Sydney’s Green Square


In a paradoxical age of hyper-connectivity and isolation, Waiting for the Swimming Pool is a creative placemaking proposal that highlights the importance of designing communal spaces. This temporary creative placemaking project will bring life and activity to the newly developed Green Square precinct whilst the Gunyama Park Aquatic & Recreation Centre is being built.

​​ The project takes its inspiration from cities around the world using public saunas as ways of reinvigorating under-utilised or unactivated areas. In Gothenburg, for instance, a sauna was recently built in the disused container port as an agent to seed the area’s regeneration into a new urban quarter. In Finland, the City of Helsinki commissioned Löyly, a large-scale public sauna that sought to regenerate a former industrial zone on its seafront. The sauna aims to combat rising levels of anxiety and loneliness in urban environments. It advocates for the prioritisation of better public spaces in Sydney that are affordable, inclusive and contribute to residents’ quality of life. ​

The project was initiated by Studio Rain and is sponsored by 107 Projects and will be built outside City People’s home at the Joynton Ave Creative Centre, a newly completed adaptive reuse project by Peter Stutchbury.  City People will curate a public program of arts and wellness activities at the sauna and there is hope that the structure will eventually find a permanent, or semi-permanent space within the community.  ​

Shortlisted for the My Community Project grant scheme through the NSW government, the project is part of a public vote that engages members of the local electorate to have their say in what they want to see improved or introduced in their community. If you live in the Heffron electorate of NSW and want to see this project brought to life, please follow this link to vote.

But hurry: Voting closes on Aug 15.

News

Join us at Vivid Ideas 7 June 2019


At City People we believe inspiring people to connect with each other and the place in which they live, work or visit is the key to an inclusive city.

This is why we love creating experiences (from planning to implementation) that are imaginative, challenging, delightful or beautiful but most importantly, inspired by the specific community and place.

Please join Michael Cohen, Director City People, at Vivid Ideas Exchange on 7 June at the Museum of Contemporary Art for a panel discussion on how we can ensure Sydney is a city that is inclusive for all people.

Michael will be discussing how art and culture can be curated and programmed to create inclusive cities with some insightful panellists in social analytics, urban development and indigenous culture: Joanne Kee, National Theatre of Parramatta; Lucinda Hartley, Neighbourlytics; Tim Williams, Arup; and Dave Beaumont from the City of Sydney.

The focus is on the future of Sydney and innovation in both technology and approach to placemaking will a key theme.  We look forward to sharing City People’s urban innovation accelerator as a great example of a new way to deliver on a creative placemaking vision.

The event is on 7 June, 9am-11am as part of Vivid Ideas Exchange and Helen Salmon, Director of The British Council, will facilitate the discussion.

We’d love to see you there! You can get more information and register here.

https://www.vividsydney.com/event/ideas/future-sydney-global-innovation-building-inclusive-cities

Blog

Does Placemaking = Homogenised + Gentrified?


I recently posted about what placemaking means and the Valuing Creative Placemaking research project that I initiated with a team of great academics, commissioned by Landcom / UrbanGrowth NSW.   The crux of our research project into creative placemaking is how it impacts the people who use our streets, town centres and city spaces.  Importantly, we are looking how one might measure the economic social and environmental impact of creative placemaking.  And even just mentioning that goal is a hot topic.

As you can see in the diagramme above, we’ve identified a couple of areas of critique that creative placemaking attracts.  On the one hand, some placemaking can sometimes use generic approaches that can produce (somewhat ironically) a sameness of place.  On the other hand, :  placemaking is often cited as a cause of neighbourhood gentrification.

On the homogenisation front, I’m right there.  One of my least favourite parts of a lot of placemaking practice is that it often uses generic tools in an effort to get communities to engage with their places.  Grimy parklets with dying trees, colourful chairs poised on astroturf circles, lonely coffee carts and food trucks.  Did anyone mention those giant pot plants? These are the easy-reach, and often wheeled out tools of Placemaking 101.  They do a job yes.  But do they really get people thinking about what is special and particular to their place?  I’m not so sure.  A better approach to meaningful engagement with place seeks to draw out the specific character of a place:  its stories, physical character and its communities.  Our Urban Innovation Accelerator is the tool we have devised for just that purpose.  Anyway that’s material for another rave…

No doubt, there will be contention that placemaking is a tool for gentrification and a lot of heat under some academic collars.  Don’t get me wrong, the dispossession of communities that happens with gentrification is a serious concern and it rightly attracts debate.   The jury is still out on whether creative placemaking can be identified as a prime cause on this.  But either way, merely measuring the effect of creative placemaking is not a handshake with the devil.

As a research team we identified that the lack of concrete methodology for measuring the value of creative placemaking was an Achilles’ heel to its sustainability.  For better or worse, the clearer picture we have of the effects of placemaking the more empowered we are as a community to make good decisions.  So that’s the job we’ve undertaken and at the moment we’re refining what sort of indicators might be a good measure for valuing placemaking.

So watch this space for more on that – later this year.