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Developing Schematics and Models to Understand the Ecology of Creative Sector
Margaret J. Wyszomirski,장웅조 한국예술경영학회 2018 예술경영연구 Vol.0 No.45
Borrowing the concept of ecology from biology, this paper argues that problem-solving in the arts and creative sector can be facilitated by visual mapping tools that allow us to better understand the dynamic relationships between nodes of stakeholder interest and activity. We discuss the underlying concepts, benefits, and utility of this approach, drawing on the literature, our own research processes, and our experiences working with university students. We argue that concept modeling dovetails with visual mapping techniques, using digital mind mapping and concept mapping applications, to provide a visual language for holistically communicating the complexly interconnected ecology of creative sector relationships. Visual mapping, which complements rather than replaces textual analysis, facilitates a holistic and systemic approach to policy design and management strategy that mirrors both the rhizomatic social ecology of the creative sector and the visuality intrinsic to the creative process.
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Chasing Resilience for the Arts Sector : American Experiences of the COVID-19 Pandemic
Margaret Jane Wyszomirski 한국문화예술경영학회 2022 문화예술경영학연구 Vol.15 No.1
The COVID-19 pandemic had a major impact on American society broadly and within that, arts were one of the hardest hit sectors. Amidst the ongoing trajectory of the pandemic, the concept of resilience became a frequent concern. This article examines the many dimensions and facets of resilience and provides snapshots and examples of many kinds of efforts that have been taken to foster and enhance resilience for the arts sector in the United States, with a focus on the case of New York City, arguably America’s cultural capital. The first section explores the scale and scope of the pandemic’s ongoing impact on individual artists and the NY arts sector. The second section provides an overview of key examples of how the arts sector itself sought to assist its members during the first year of the pandemic. It also explores key efforts of national, state, and local governments to provide survival and relief assistance to individual artists, arts organizations, and cultural industries. The final section looks at tentative reopening and recovery efforts, including rethinking norms, expectations and practices as resilience begins to move toward adaptation and sustainability. It concludes with observations on future challenges in cultivating and finding resilience.
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창의분야 생태계 이해를 위한 도식적 모형 개발에 관한 연구
Margaret J,Wyszomirski,Woong Jo Chang 한국예술경영학회 2018 예술경영연구 Vol.0 No.45
본 논문에서는 생태학적 관점을 차용한 시각적 매핑(visual mapping) 도구가 이해관계자들간의 역동적 관계를 효과적으로 드러낸다는 점에서, 예술·창의분야 (Arts and Creative Sector) 생태계의 깊은 이해와 각종 문제해결에 중요한 역할을 할 수 있음을 주장하며 예술경영과 문화정책 분야에서의 활용방안을 모색한다. 저자들은 그 일환으로 마인드 맵(Mind Map)과 컨셉맵(Concept Map)의 개념을 소개하고, 예술경영과 문화정책과 관련된 대학교 수업에서의 시각적 매핑 적용 적용사례들을 살펴보면서, 이러한 도구들이 문화예술 생태계의 상호 연결된 관계의 본질을 온전하게 전달할 수 있는 시각적 언어를 제공할 수 있음을 논한다. 마지막으로 텍스트 분석을 보완하는 이러한 시각적 매핑이 창의분야의 리좀적(rhizomatic) 생태논리와 창·제작 과정에 내재된 예술성과 시각성을 모두 반영하는 정책 설계 및 경영 전략에 대한 시스템적 접근을 용이하게 함을 논증하며, 이러한 시각적 매핑도구의 보다 적극적인 활용을 제언한다. Borrowing the concept of ecology from biology, this paper argues that problem-solving in the arts and creative sector can be facilitated by visual mapping tools that allow us to better understand the dynamic relationships between nodes of stakeholder interest and activity. We discuss the underlying concepts, benefits, and utility of this approach, drawing on the literature, our own research processes, and our experiences working with university students. We argue that concept modeling dovetails with visual mapping techniques, using digital mind mapping and concept mapping applications, to provide a visual language for holistically communicating the complexly interconnected ecology of creative sector relationships. Visual mapping, which complements rather than replaces textual analysis, facilitates a holistic and systemic approach to policy design and management strategy that mirrors both the rhizomatic social ecology of the creative sector and the visuality intrinsic to the creative process.
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