A presentation (almost) given at the 2009 Net Impact Conference at Cornell University's Johnson School in Ithaca, NY. It's basically a "Creative Economy 101" presentation based on the research I did while a graduate student at the Yale School of Management and an intern with the Hewlett Foundation Performing Arts Program.

1. Building sustainable creative communitiesNet impact North America ConferenceNovember 13 2009 Ian David Moss

2. Where are we going? Five most popular destinations for Yale SOM grads, classes 2003-07 Five largest metropolitan areas by population in US, 2007 New York Los Angeles Chicago Dallas Philadelphia New York Washington, DC Boston San Francisco London

3. Why? Possible reasons: My friends are there Companies I want to work for are there There are things to do around town Lively culture Diversity It’s fun!

4. Why? Network Effects!

5. Creative Class Theory

7. Traditional notions of economic development are out of date

9. Computer and mathematical occupations

10. Architecture and engineering

11. Life, physical, and social science

12. Education, training, and library

13. Arts, design, entertainment, sports, media

14. Creative Class

15. Management, business, financial operations

16. Legal

17. Healthcare practitioners

19. Tech-Pole Index

20. Talent

21. Creative Class concentration

22. Tolerance

25. Survey says: yes, though it’s almost the same as human capital theory

26. Do the “3T’s” Predict Creative Class concentration?

27. Survey says: sort of, but not necessarily better than other measures

28. Does the “Creativity Index” mean anything at all?

31. Large, affordable loft spaces available

32. Artists began colonizing in 1980s

33. Early pioneers:

34. Momenta Art Gallery, 1995

35. Galapagos Art Space,1996

38. New Bedford Art Museum, 1996

39. UMass-Dartmouth College of Visual and Performing Arts Star Store campus, 2001

40. At least 90 visual artists working in city as of 2007

42. The Impact of Arts on Real Estate

43. The Impact of Arts on Real Estate

44. Conditions for Successful Artist-centric Development Availability of large, affordable, interestingspaces e.g. lofts, warehouses, factories, garages Existing infrastructure ease of access via roads, public transit systems Proximity to other artists & other cultural hotspots network/clustering effects for artists Boston and Providence in the case of New Bedford Use of storefront spaceto generate foot traffic compare to Washington Heights

51. Develop new metrics

52. Establish baselines from which to measure longitudinally

54. Mapping Cultural Facilities

55. Mapping Cultural Districts

56. Mapping Cultural Assets

58. Measure square feet of rehearsal space per capita, establish minimum effective level

59. Explore relationship between public transportation availability, car ownership, and cultural participation