Publications and papers by Paul Rutten
Naar een toekomstbestendig beleid voor commerciële radio. Adviescollege verdeling frequentieruimte commerciële radio., 2020
The core message of the report of the advisory committee on the distribution of FM -spectrum for ... more The core message of the report of the advisory committee on the distribution of FM -spectrum for commercial radio is to redistribute the FM-licenses in 2022. The report has been requested by Mrs. Mona Keijzer, the Secretary of State for Economic Affairs and Climate, responsible for telecommunications policy among other things. Members of the committee were, Henk Don (former board member of the Netherlands Authority for Consumers and Markets, chair), Annemarie Drahmann (Leiden University) and Paul Rutten (research professor at Creating 010 of Rotterdam University of Applies Sciences). As of September 1, 2022, the current licenses for commercial FM radio and the associated channels on DAB+ (digital radio) will end. The committee advises distributing new licenses by means of an auction and thereby taking measures that solve current bottlenecks for the sector and stimulate a smooth transition to digital radio.
The current licenses date from 2003 and were extended in 2011 and 2017. The national licenses are currently in use by commercial radio stations such as Radio 538, Sky Radio, Slam! Radio10, 100%NL and BNR Nieuwsradio. There are also private stations in the market that broadcast regionally, such as RadioNL and Radio Decibel. The advice for a new distribution is based on two main arguments. Firstly, scarce frequency licenses are in principle redistributed after their term, so that new entrants have a chance to enter the market and the incumbent license holders are not disproportionately favored. Secondly, the existing rules and conditions of the frequency licenses need to be updated, since there has been important changes in the radio market as well as in distribution technology . In their current state the licenses lead to a number of important problems that cannot be properly solved without a new distribution procedure.
Henk Don, chairman of the Advisory Board: “After two extensions and a total license period of nineteen years, it is not possible to wait again with a new allocation, which offers parties new opportunities and promotes the efficient use of the frequency spectrum. And the sector itself identifies a number of bottlenecks that cannot be properly resolved without a new distribution.”
The Advisory Board prefers an auction to a comparative test. An auction provides more social welfare than any other distribution method. Public interests can be sufficiently safeguarded by pre-establishing a number of rules and conditions. The Commission recommends that the new permits have a term of 10 to 12 years (from 1 September 2022).
The advice attaches great importance to the transition from FM to DAB+. Regulations are also needed for the DAB+ spectrum, in order to guarantee the plurality and diversity of the commercial radio offer and to promote competition so that the frequency space is used efficiently. The Advisory Board believes that the transition has not yet progressed enough to determine when the FM band can be switched off.
The Commission proposes to clause at least two licenses and associated frequency spectrum. This includes news and Dutch music. Whether further clauses will be introduced is a matter that the Commission leaves to politicians.
In order to carry out its assignment, the Advisory Board consulted various experts, gathered views by means of a market consultation and interviewed various representatives from the sector. The advisory report explains in detail how the Commission has assessed the various issues and weighed up the often divergent interests.
Sleutelmethodologieën voor missiegedreven innovatie (Key methodologies for mission-oriented innovation), 2020
Global societal challenges to achieve a sustainable society and economy demand innovation based o... more Global societal challenges to achieve a sustainable society and economy demand innovation based on a combination of knowledge of technology and of processes and mechanism that mediate the take up innovation in the societal context. They require a trans disciplinary approach integrating technological with social innovation to achieve impact in society. The key enabling methodologies introduced in this paper mediate between the so-called technological solutions and their eventual uptake within society. The document is meant to function as input for future research programs in the Netherlands, integrating technologies and the proposed methodologies.
Monitor Creatieve Industrie 2019. Nederland Top-10 Steden Creatieve Bedrijven en Beroepen, 2019
Both the creative industries and ICT are sectors that have stimulated the economic growth in the ... more Both the creative industries and ICT are sectors that have stimulated the economic growth in the Netherlands in 2015-2018, the years of economic boom. The number of jobs in creative industries grew 3.4 percent per year in that period, which is twice the national average. For the ICT sector the yearly growth was 2.6 percent. Together creative industries and ICT account for 7.7 percent of the jobs in the Dutch economy, the creative industries for four percent (344.000 jobs), ICT for 3.7 percent (320.000 jobs).
Furthermore, the research reported in this document concludes: (1) Design is a fast-growing sector. (2) Free lancers account for a significant part of jobs in the Dutch creative industries. (3) From 2015 the creative industries combine job growth with economic value created. (4) The concentration of creative industries in Dutch major cities is increasing. (5) Between forty and sixty percent of the Dutch creative workforce is employed outside the creative industries. (6) Creative industries are of significant social importance; besides the economic value they represent.
Voor een levendige audiovisuele cultuur, 2019
In his essay ‘For a lively audiovisual culture’, Paul Rutten, an authority on innovation in the c... more In his essay ‘For a lively audiovisual culture’, Paul Rutten, an authority on innovation in the creative sector, looks at the recent fundamental changes in the audiovisual landscape. The Netherlands and other European countries are experiencing downward pressure on the budgets available for audiovisual culture and film production volumes. To counter this trend, a range of incentive measures has been introduced in various European countries. The main challenge for the Dutch audiovisual industry and the government is to generate greater investment for independent audiovisual production, as a means of safeguarding the position and the continuity of the Dutch cultural audiovisual product, for both film and television series.
The government must evaluate its policy against that of other countries and update its range of tools to ensure a high-quality, pluriform, accessible supply of cultural audiovisual productions. If The Netherlands is not on par with other European countries, resulting from relatively limited incentive measures, there is a threat of an outflow of investment and talent to other countries. Rutten points out the urgency and the need to strengthen the position of Dutch cultural audiovisual productions from a structural perspective, in part using the proceeds from levies made possible by the EU’s new Audiovisual Media Services Directive. He also urges the government to ensure Dutch productions make up a substantial share of the supply on video-on-demand platforms, which is necessary to ensure a lively audiovisual culture with a Dutch signature.
Media Innovators en Auteursrecht. Rol en betekenis van auteursrechtregimes en juridische cultuur in de VS en Europa. (Media Innovators and Authors' Righs. Role and significance of copyright regimes and judicial culture in the USA and Europe), 2018
Rotterdam Monitor Creatieve Industrie , 2018
Recently the number of jobs in the Rotterdam creative industries and ICT sector has increased sig... more Recently the number of jobs in the Rotterdam creative industries and ICT sector has increased significantly. Traditionally, Rotterdam lagged in the number of jobs in both sectors, compared to other major cities and the national average. The city has made up this backlog in recent years. The rise of creative industries and the ICT sector is part of a change of Rotterdam, from a harbour based to a more service oriented and consumer driven economy. Within the creative industries and ICT, the fastest growing branches are design, software, and the arts. Specifically, so called digital design is on the rise in the former harbour city. Rotterdam is, after Amsterdam, the leading city in digital design, based on the number of jobs.
From 2005 to 2017 job growth in the creative industries was 3.8 percent yearly. For 2014 to 2017 growth accelerated to an impressive 9.2 percent, more than four times as high as the average growth figure of the general Rotterdam economy: 2.2 percent. In 2017 over sixteen thousand people were employed in the creative industries in Rotterdam.
ICT shows a similar pattern. Over the period 2005-2017 yearly ICT job growth was 3.1. percent, specifically for the years 2014-2017 it was 8.8 percent. The number of ICT jobs in the city is eleven thousand. In 2014-2017 one out of four new jobs in the Rotterdam economy was created in the creative industries and ICT. Both sectors together, account for 7.3 percent of the jobs in Rotterdam.
Monitor Creatieve Industrie 2016, 2017
Creatieve industrie en ICT dragen substantieel bij aan economisch herstel
De sectoren creatieve ... more Creatieve industrie en ICT dragen substantieel bij aan economisch herstel
De sectoren creatieve industrie en ICT dragen substantieel bij aan het economisch herstel van de Nederlandse economie. Dit blijkt uit de Monitor creatieve industrie 2016 die vandaag gepubliceerd is. De banengroei is het sterkst in de creatieve industrie die in 2015 ruim 294.000 banen telt. De ICT sector telt in 2015 bijna 283.000 banen. In de afgelopen tien jaar kwamen er in de creatieve industrie netto 61.000 banen bij en in de ICT sector 16.000.
Meer recent, in de jaren 2013-2015, is de werkgelegenheid in de creatieve industrie gegroeid met 1,4 procent per jaar en in de ICT sector 0,6 procent. De gehele Nederlandse economie liet in die jaren een terugloop in banen zien van 0,4 procent.
Deze groei in werkgelegenheid gaat recent gepaard met productiviteitsgroei zowel in de creatieve industrie als in de ICT sector. Het sterkst is die in de ICT sector, maar het meest opmerkelijk is die voor de creatieve industrie. Tot voor kort was er in de creatieve industrie sprake van groei in banen gekoppeld aan een afnemende toegevoegde waarde, wat verlies in arbeidsproductiviteit impliceert. 2013 markeert een belangrijke trendbreuk, de groei in toegevoegde waarde overtreft de groei in banen zodat de productiviteit van de creatieve industrie groeit.
De meeste nieuwe banen in de creatieve industrie ontstaan in de categorie zelfstandigen. Nu wordt 40 procent van de banen in de creatieve industrie vervuld door zzp-ers. In de ICT sector zijn bedrijven met meer dan 50 banen juist de belangrijkste werkverschaffers. Het aantal bedrijfsvestigingen in de creatieve industrie verdubbelde in de afgelopen tien jaar tot ruim 144.000 vestigingen, vooral door de groei van het aantal zzp’ers. De groei van het aantal bedrijfsvestigingen in ICT is kleiner dan in de creatieve industrie, maar nog altijd groter dan die in de totale Nederlandse economie.
Van de netto banengroei in de creatieve industrie in heel Nederland is in de afgelopen tien jaar 40 procent in Amsterdam gerealiseerd. Van de banen die er in die periode bij kwamen in de top 10 steden voor creatieve industrie en ICT van Nederland, landde driekwart in Amsterdam. De betekenis van de hoofdstad voor de Nederlandse creatieve industrie is daarmee verder toegenomen. De trekkracht van Amsterdam gaat soms ten koste van de groei in andere steden door verschuiving van creatieve bedrijvigheid naar de hoofdstad. Dit geldt in het bijzonder voor Hilversum en Rotterdam. De voor Hilversum belangrijke bedrijfstak radio en televisie is van 2013-2015 stabiel gebleven. Naast Amsterdam, ontwikkelt het aantal banen in de creatieve industrie zich positief in Utrecht, Den Haag, Eindhoven en Amersfoort.
Schaalverkleining zet vooral in de creatieve industrie de laatste decennia fors door en leidt tot verkruimeling van de sector. Dat gaat gepaard met flexibilisering van arbeid in de sector. Daardoor wordt de ontwikkeling van de creatieve netwerkeconomie urgent. Die vraagt om passende wetgeving over flexibilisering van arbeid, maar ook om nieuwe business modellen. Daar ligt een belangrijke opgave voor de bedrijven, de sector en het beleid. Innovatie op die terreinen is nodig om het verdienvermogen van de creatieve industrie te verbeteren.
De toegevoegde waarde van de creatieve industrie bedraagt slechts de helft van die in de ICT sector, terwijl beide sectoren een ongeveer gelijk aantal banen tellen. De creatieve industrie levert met een totale toegevoegde waarde van 16,8 miljard in 2015, 2,8 procent van het bruto nationaal product, de sector ICT met 30,2 miljard 5 procent. Dat is mede het gevolg van de beperktere schaalbaarheid van de producten en diensten van de creatieve industrie, in vergelijking met ICT. De creatieve sector is arbeidsintensiever dan veel andere sectoren.
De synergie tussen creatieve industrie en ICT heeft de voorbije jaren desalniettemin nieuwe vormen van bedrijvigheid opgeleverd. Binnen deze digitale creatieve industrie zijn de game-industrie en meer recent digital design belangwekkende voorbeelden. Zij verbinden creatief vermogen en digitale technologie waardoor schaalbaarheid en internationalisering mogelijk zijn. In het bijzonder digital design maakt de voorbije jaren een sterke groei door, met bedrijven die veelal als ICT bedrijf geregistreerd staan, maar creatieve diensten leveren. Opvallend is dat Rotterdam ondanks haar bescheiden banenontwikkeling in de creatieve industrie, voor deze twee opkomende bedrijfstakken na Amsterdam de tweede stad van Nederland is.
Tenslotte valt steeds meer op dat niet alleen de creatieve professionals die binnen de creatieve industrie werken veel waarde genereren, maar dat dit ook geldt voor creatieve beroepsbeoefenaars binnen bedrijven in andere sectoren. Een eerste verkenning op basis van Brits onderzoek leidt tot de voorlopige conclusie dat het aantal 'embedded creatives' buiten de creatieve industrie gelijk of zelfs groter is dan het aantal creatieven dat binnen de creatieve industrie werkzaam is. Vervolgonderzoek zal hierin meer inzicht moeten geven. Die informatie biedt een basis om ervoor te zorgen dat creativiteit nog beter gaat renderen voor de Nederlandse economie.
Jaarverslag 2014, pp. 144-149, 2015
Research through designs deserves a better role and position in government policy and research fu... more Research through designs deserves a better role and position in government policy and research funding. At present, the major part of policy attention goes to fundamental and applied scientific research. In the present disruptive era, in which solutions based on past experiences no longer hold, research through and by design is capable of exploring new avenues. It is future and problem oriented, situational and uses abductive methods to tackle wicked problems. Designers investigate the future and combine empirical research with creativity and imagination.
Serious Gaming in Rotterdam, Feb 2015
Report on a study of the developing serious gaming sector in Rotterdam (in Dutch). The city holds... more Report on a study of the developing serious gaming sector in Rotterdam (in Dutch). The city holds a number of promising devloping companies in the game industry, operating internationally, like @Ranj, DPDK, VSTEP and Redmax. The study looked at the development of serious gaming in Rotterdam, the availabillity of talent and knowledge institutes to support innovation. It concludes that in the coming years serious gaming will concentrate in a restricted number of citys and regions and much will depend on the capacity of the Rotterdam region to develop a dynamic ecosystem. Important stakeholders in this development are the sector itself, local and regional authorities as well as research and edcuational institutes. The sector has the potential of becoming a catalyst for regional economic development. The introduction of gaming or gaming principles in estalished sectors like harbour and logistics as well as health care and education can lead to innovation leading up to more competitiveness and improved public services. The study furthermore concludes that the business model of serious gaming needs innovation, away from the work-for-hire model to a publishing model in which interesting concepts and formats are developed, based on up front investments and sold to a preferably international clientèle.
Veiling van vergunningen voor commerciële radio-omroep, 2016
Advisory report written for the Dutch Ministery of Economic Affairs recommending models of auctio... more Advisory report written for the Dutch Ministery of Economic Affairs recommending models of auctions for licenses for local, regional and national commercial radio via FM and DAB+ in the Netherlands. At the time of the report the policy choice for auctioning was still an option.
Research through design is part of design practice. Both in architecture and urban development, p... more Research through design is part of design practice. Both in architecture and urban development, professionals explore new areas and domains. They examine opportunities, explore possibillities and design new practices to counter current issues and problems and to meet future challenges. This working paper establishes the role of research within the practice of architecture and urban developments. Its authors argue that, because of its perspective on the future and its orientation towards practice, research through design is extremely valuable to meet current grand social challenges, specifically in the current age of uncertainty. In this context, academic research is of limited use as a basis for intervention to produce change, because the knowledge it produces is mainly rooted in examinations of past events and behaviour. The paper examines several cases of research through design withing architecture and urban development in the Netherlands.
Report on the economic state of the Dutch creative industries based on the methodology developed ... more Report on the economic state of the Dutch creative industries based on the methodology developed as part of the cross media monitor project, a bi-annual publication started in 2006 by iMMovator Cross Media Network. The study deals both with the creative industries and the sector information and communication technology. It distinguishes three subsectors within the creative industries: media and entertainmentindustries, arts and cultural heritage and creative business services (for instance architecture, design and advertising). ICT consists of ICT services and ICT hardware. The monitor maps the developement of jobs, number of companies, average company size, production value and added value for the period 2005-2013, nationally, in the Media Valley Region (Amsterdam - Hilversum - Utrecht) and the ten major Dutch cities. Over this period creative industries show above average job growth figures. In the most recent years 2011-2013 growth is slowing down and is in the of the media- and entertainment reversed into a slight downturn. The number of companies in creative industries has doubled over the years 2005-2013, largely due to the advent of micro companies, more specifically independently operating creative professionals officially registered as a company and a decrease in size of the bigger creative industries firms. A striking development is the combination of job growth over the period 2005-2013 with a downturn of added value of the creative industries in the most recent years. More jobs produce less value, implying a loss in productivity. ICT shows a reverse trend. The number of jobs decreased while value added has grown.
Kracht van verbeelding. Perspectieven op de creatieve industrie, Jul 2, 2014
Since the end of the last century, the creative industries have drawn the attention of both polic... more Since the end of the last century, the creative industries have drawn the attention of both policymakers and academics. The sector is considered to be a central element of the so called creative economy. It represents a new source of economic and social value. The Netherlands have witnessed the upcoming attention for the creative industries since the beginning of the 21st century. In this publication Paul Rutten tracks the development of the different perspectives on creative industries in the Netherlands and provides an account of the present state of the sector. He also discusses definitional issues, comparing the UK creative industries approach to that current in the Netherlands. He distinguishes three main phases. In the first policy was focused on sector growth in terms of jobs and value added. In the second phase, with the advent of the notion of the creative economy, focus shifted towards the creative industries as an innovation engine working within the creative economy and a reservoir of the necessary competencies and capabilities to counter the grand societal challenges ahead. Cross over is a key concept in the dominant discourse of this phase. The third phase, which we are entering now, stresses the importance of the creative capabilities and the power of imagination in the wider economy, and doesn’t restrict the attention to those companies and institutions that are part of the creative industries. There is a shift towards a focus on creative talent with design capabilities, in the wider sense of the word, to be found in the creative industries as well as in other sectors of the economy and society. Embedded creativity is a concept used in this context. This book was published accompanying the inaugural lecture of Paul Rutten as a research professor at the Rotterdam University of Applied Sciences. There he works at the Creating 010 Research Centre.
Enabling Crossovers: Good Practices in the Creative Industries, 2014
Essay dealing with the consequences and implications of the so-called rise of the creative indust... more Essay dealing with the consequences and implications of the so-called rise of the creative industries for economy, policy and practice of innovation and society in general. The increasing emphasis on creativity as a prerequisite for both innovation and social change makes the nurturing of creative talent a necessity and should make politicians think twice before they curtail spendings on culture.
Trends en ontwikkelingen in cross media 2013-2014, 2014
Column about the future of the media in the age of on demand video and You Tube (in Dutch)
This business of Bach. Naar een businessmodel voor All of Bach, een project van de Nederlandse Bachvereniging, 2013
In 2013, in the run-up to its centenary in 2022, the Netherlands Bach Society began to work on au... more In 2013, in the run-up to its centenary in 2022, the Netherlands Bach Society began to work on audiovisual recordings of all the works of Johan Sebastian Bach, and make them available online. This All of Bach project aims to unlock Bach's music worldwide. The project has been online for several years now via https://www.bachvereniging.nl/en/allofbach. All of Bach wants to be the place on the internet where Bach's complete oeuvre can be seen and heard. With this, All of Bach wants to stimulate the experience of Bach's music and give it a new meaning. The potential of the project lies in the coherence, the constant quality, the completeness (in time), but also in the additional information and explanation supplied. Moreover, All of Bach wants to develop into an important platform where the worldwide Bach community will exchange knowledge and experience. The set-up of the Netherlands Bach Society made the project feasible and unique. The design, implementation and roll-out of the project also had far-reaching repercussions for the Netherlands Bach Society. In her role as supplier of the performances that are recorded by All of Bach and offered online, she is a crucial factor as the parent organization of the project.
This report was drawn up in 2013 as a recommendation to the Netherlands Bach Society. It was made public in 2021 with the permission of the Association. It outlines the possible business model of All of Bach and the role of the Netherlands Bach Society within it. A well-thought-out business model is a necessity for an innovative and ambitious project such as All of Bach. It must answer the question of how All of Bach is going to create value, for whom that value is intended, who benefits from it and what is needed to achieve this.
The report advises the business model for All of Bach on the model of the Netherlands Bach Society. It has an audience that feels connected to the ensemble. It recognizes itself in the identity of the ensemble and feels the emotion expressed in the concerts. The Netherlands Bach Society distinguishes itself through its own approach to the performance of Baroque music, with a special position for Bach's compositions. It is all about (1) quality, (2) authenticity, (3) authority, (4) reliability, (5) passion for baroque and (6) team spirit and collaboration. In addition to this, the value (7) innovation applies to All of Bach. These core values should figure prominently in the business model. Underlying a business model is a network of relationships in which value is exchanged. This can involve money, but also reputation, aesthetic pleasure, or groundbreaking experiences. The business model explains how All of Bach offers value and how the organization creates that value, with the help of other parties, in a way that guarantees continuity, also in an economic sense. The proposed business model of All of Bach is made of and connects five parts: (1) the channels through which the recorded Bach Works are offered and (2) the relationship with the public that results from this, (3) the structural partners that lay the foundation for a sustainable project, (4) the supplying technical and production partners that are indispensable in production and realization and (5) the Netherlands Bach Society as a creative organization that is responsible for the compositions to be recorded on image and sound and which is also the parent organization of All of Bach forms.
New Media & Society (DOI: 10.1177/1461444813511309), Nov 2013
Based on a comprehensive survey among creators and performers in media, arts and entertainment in... more Based on a comprehensive survey among creators and performers in media, arts and entertainment in the Netherlands, this study summarizes these artists attitudes vis-a-vis relevance of authors and performing rights (copyrights) in the digital age. Most creators and performers perceive digitisation as a threat to their future economic position, although in some cases it is seen as an opportunity. The contribution shows interesting effects of age, creative discipline, business model and sectoral developments, putting for instance many older translators versus some young rock musicians and video artists.
Essay on the changing relationship between arts and culture and the economy. The author claims th... more Essay on the changing relationship between arts and culture and the economy. The author claims that the antagonistic relationship between both should be done a way with in favour of a more sophsticated awarenes of how the one actually supports the other. The argument builts on developments in creative industries and the creative economy, the role of arts and creativity in innovation and the importance for creativity an creative talent for city development.
Creative Industries as a Flywheel, May 2013
Financieel Dagblad, Feb 9, 2013
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Publications and papers by Paul Rutten
The current licenses date from 2003 and were extended in 2011 and 2017. The national licenses are currently in use by commercial radio stations such as Radio 538, Sky Radio, Slam! Radio10, 100%NL and BNR Nieuwsradio. There are also private stations in the market that broadcast regionally, such as RadioNL and Radio Decibel. The advice for a new distribution is based on two main arguments. Firstly, scarce frequency licenses are in principle redistributed after their term, so that new entrants have a chance to enter the market and the incumbent license holders are not disproportionately favored. Secondly, the existing rules and conditions of the frequency licenses need to be updated, since there has been important changes in the radio market as well as in distribution technology . In their current state the licenses lead to a number of important problems that cannot be properly solved without a new distribution procedure.
Henk Don, chairman of the Advisory Board: “After two extensions and a total license period of nineteen years, it is not possible to wait again with a new allocation, which offers parties new opportunities and promotes the efficient use of the frequency spectrum. And the sector itself identifies a number of bottlenecks that cannot be properly resolved without a new distribution.”
The Advisory Board prefers an auction to a comparative test. An auction provides more social welfare than any other distribution method. Public interests can be sufficiently safeguarded by pre-establishing a number of rules and conditions. The Commission recommends that the new permits have a term of 10 to 12 years (from 1 September 2022).
The advice attaches great importance to the transition from FM to DAB+. Regulations are also needed for the DAB+ spectrum, in order to guarantee the plurality and diversity of the commercial radio offer and to promote competition so that the frequency space is used efficiently. The Advisory Board believes that the transition has not yet progressed enough to determine when the FM band can be switched off.
The Commission proposes to clause at least two licenses and associated frequency spectrum. This includes news and Dutch music. Whether further clauses will be introduced is a matter that the Commission leaves to politicians.
In order to carry out its assignment, the Advisory Board consulted various experts, gathered views by means of a market consultation and interviewed various representatives from the sector. The advisory report explains in detail how the Commission has assessed the various issues and weighed up the often divergent interests.
Furthermore, the research reported in this document concludes: (1) Design is a fast-growing sector. (2) Free lancers account for a significant part of jobs in the Dutch creative industries. (3) From 2015 the creative industries combine job growth with economic value created. (4) The concentration of creative industries in Dutch major cities is increasing. (5) Between forty and sixty percent of the Dutch creative workforce is employed outside the creative industries. (6) Creative industries are of significant social importance; besides the economic value they represent.
The government must evaluate its policy against that of other countries and update its range of tools to ensure a high-quality, pluriform, accessible supply of cultural audiovisual productions. If The Netherlands is not on par with other European countries, resulting from relatively limited incentive measures, there is a threat of an outflow of investment and talent to other countries. Rutten points out the urgency and the need to strengthen the position of Dutch cultural audiovisual productions from a structural perspective, in part using the proceeds from levies made possible by the EU’s new Audiovisual Media Services Directive. He also urges the government to ensure Dutch productions make up a substantial share of the supply on video-on-demand platforms, which is necessary to ensure a lively audiovisual culture with a Dutch signature.
From 2005 to 2017 job growth in the creative industries was 3.8 percent yearly. For 2014 to 2017 growth accelerated to an impressive 9.2 percent, more than four times as high as the average growth figure of the general Rotterdam economy: 2.2 percent. In 2017 over sixteen thousand people were employed in the creative industries in Rotterdam.
ICT shows a similar pattern. Over the period 2005-2017 yearly ICT job growth was 3.1. percent, specifically for the years 2014-2017 it was 8.8 percent. The number of ICT jobs in the city is eleven thousand. In 2014-2017 one out of four new jobs in the Rotterdam economy was created in the creative industries and ICT. Both sectors together, account for 7.3 percent of the jobs in Rotterdam.
De sectoren creatieve industrie en ICT dragen substantieel bij aan het economisch herstel van de Nederlandse economie. Dit blijkt uit de Monitor creatieve industrie 2016 die vandaag gepubliceerd is. De banengroei is het sterkst in de creatieve industrie die in 2015 ruim 294.000 banen telt. De ICT sector telt in 2015 bijna 283.000 banen. In de afgelopen tien jaar kwamen er in de creatieve industrie netto 61.000 banen bij en in de ICT sector 16.000.
Meer recent, in de jaren 2013-2015, is de werkgelegenheid in de creatieve industrie gegroeid met 1,4 procent per jaar en in de ICT sector 0,6 procent. De gehele Nederlandse economie liet in die jaren een terugloop in banen zien van 0,4 procent.
Deze groei in werkgelegenheid gaat recent gepaard met productiviteitsgroei zowel in de creatieve industrie als in de ICT sector. Het sterkst is die in de ICT sector, maar het meest opmerkelijk is die voor de creatieve industrie. Tot voor kort was er in de creatieve industrie sprake van groei in banen gekoppeld aan een afnemende toegevoegde waarde, wat verlies in arbeidsproductiviteit impliceert. 2013 markeert een belangrijke trendbreuk, de groei in toegevoegde waarde overtreft de groei in banen zodat de productiviteit van de creatieve industrie groeit.
De meeste nieuwe banen in de creatieve industrie ontstaan in de categorie zelfstandigen. Nu wordt 40 procent van de banen in de creatieve industrie vervuld door zzp-ers. In de ICT sector zijn bedrijven met meer dan 50 banen juist de belangrijkste werkverschaffers. Het aantal bedrijfsvestigingen in de creatieve industrie verdubbelde in de afgelopen tien jaar tot ruim 144.000 vestigingen, vooral door de groei van het aantal zzp’ers. De groei van het aantal bedrijfsvestigingen in ICT is kleiner dan in de creatieve industrie, maar nog altijd groter dan die in de totale Nederlandse economie.
Van de netto banengroei in de creatieve industrie in heel Nederland is in de afgelopen tien jaar 40 procent in Amsterdam gerealiseerd. Van de banen die er in die periode bij kwamen in de top 10 steden voor creatieve industrie en ICT van Nederland, landde driekwart in Amsterdam. De betekenis van de hoofdstad voor de Nederlandse creatieve industrie is daarmee verder toegenomen. De trekkracht van Amsterdam gaat soms ten koste van de groei in andere steden door verschuiving van creatieve bedrijvigheid naar de hoofdstad. Dit geldt in het bijzonder voor Hilversum en Rotterdam. De voor Hilversum belangrijke bedrijfstak radio en televisie is van 2013-2015 stabiel gebleven. Naast Amsterdam, ontwikkelt het aantal banen in de creatieve industrie zich positief in Utrecht, Den Haag, Eindhoven en Amersfoort.
Schaalverkleining zet vooral in de creatieve industrie de laatste decennia fors door en leidt tot verkruimeling van de sector. Dat gaat gepaard met flexibilisering van arbeid in de sector. Daardoor wordt de ontwikkeling van de creatieve netwerkeconomie urgent. Die vraagt om passende wetgeving over flexibilisering van arbeid, maar ook om nieuwe business modellen. Daar ligt een belangrijke opgave voor de bedrijven, de sector en het beleid. Innovatie op die terreinen is nodig om het verdienvermogen van de creatieve industrie te verbeteren.
De toegevoegde waarde van de creatieve industrie bedraagt slechts de helft van die in de ICT sector, terwijl beide sectoren een ongeveer gelijk aantal banen tellen. De creatieve industrie levert met een totale toegevoegde waarde van 16,8 miljard in 2015, 2,8 procent van het bruto nationaal product, de sector ICT met 30,2 miljard 5 procent. Dat is mede het gevolg van de beperktere schaalbaarheid van de producten en diensten van de creatieve industrie, in vergelijking met ICT. De creatieve sector is arbeidsintensiever dan veel andere sectoren.
De synergie tussen creatieve industrie en ICT heeft de voorbije jaren desalniettemin nieuwe vormen van bedrijvigheid opgeleverd. Binnen deze digitale creatieve industrie zijn de game-industrie en meer recent digital design belangwekkende voorbeelden. Zij verbinden creatief vermogen en digitale technologie waardoor schaalbaarheid en internationalisering mogelijk zijn. In het bijzonder digital design maakt de voorbije jaren een sterke groei door, met bedrijven die veelal als ICT bedrijf geregistreerd staan, maar creatieve diensten leveren. Opvallend is dat Rotterdam ondanks haar bescheiden banenontwikkeling in de creatieve industrie, voor deze twee opkomende bedrijfstakken na Amsterdam de tweede stad van Nederland is.
Tenslotte valt steeds meer op dat niet alleen de creatieve professionals die binnen de creatieve industrie werken veel waarde genereren, maar dat dit ook geldt voor creatieve beroepsbeoefenaars binnen bedrijven in andere sectoren. Een eerste verkenning op basis van Brits onderzoek leidt tot de voorlopige conclusie dat het aantal 'embedded creatives' buiten de creatieve industrie gelijk of zelfs groter is dan het aantal creatieven dat binnen de creatieve industrie werkzaam is. Vervolgonderzoek zal hierin meer inzicht moeten geven. Die informatie biedt een basis om ervoor te zorgen dat creativiteit nog beter gaat renderen voor de Nederlandse economie.
This report was drawn up in 2013 as a recommendation to the Netherlands Bach Society. It was made public in 2021 with the permission of the Association. It outlines the possible business model of All of Bach and the role of the Netherlands Bach Society within it. A well-thought-out business model is a necessity for an innovative and ambitious project such as All of Bach. It must answer the question of how All of Bach is going to create value, for whom that value is intended, who benefits from it and what is needed to achieve this.
The report advises the business model for All of Bach on the model of the Netherlands Bach Society. It has an audience that feels connected to the ensemble. It recognizes itself in the identity of the ensemble and feels the emotion expressed in the concerts. The Netherlands Bach Society distinguishes itself through its own approach to the performance of Baroque music, with a special position for Bach's compositions. It is all about (1) quality, (2) authenticity, (3) authority, (4) reliability, (5) passion for baroque and (6) team spirit and collaboration. In addition to this, the value (7) innovation applies to All of Bach. These core values should figure prominently in the business model. Underlying a business model is a network of relationships in which value is exchanged. This can involve money, but also reputation, aesthetic pleasure, or groundbreaking experiences. The business model explains how All of Bach offers value and how the organization creates that value, with the help of other parties, in a way that guarantees continuity, also in an economic sense. The proposed business model of All of Bach is made of and connects five parts: (1) the channels through which the recorded Bach Works are offered and (2) the relationship with the public that results from this, (3) the structural partners that lay the foundation for a sustainable project, (4) the supplying technical and production partners that are indispensable in production and realization and (5) the Netherlands Bach Society as a creative organization that is responsible for the compositions to be recorded on image and sound and which is also the parent organization of All of Bach forms.
The current licenses date from 2003 and were extended in 2011 and 2017. The national licenses are currently in use by commercial radio stations such as Radio 538, Sky Radio, Slam! Radio10, 100%NL and BNR Nieuwsradio. There are also private stations in the market that broadcast regionally, such as RadioNL and Radio Decibel. The advice for a new distribution is based on two main arguments. Firstly, scarce frequency licenses are in principle redistributed after their term, so that new entrants have a chance to enter the market and the incumbent license holders are not disproportionately favored. Secondly, the existing rules and conditions of the frequency licenses need to be updated, since there has been important changes in the radio market as well as in distribution technology . In their current state the licenses lead to a number of important problems that cannot be properly solved without a new distribution procedure.
Henk Don, chairman of the Advisory Board: “After two extensions and a total license period of nineteen years, it is not possible to wait again with a new allocation, which offers parties new opportunities and promotes the efficient use of the frequency spectrum. And the sector itself identifies a number of bottlenecks that cannot be properly resolved without a new distribution.”
The Advisory Board prefers an auction to a comparative test. An auction provides more social welfare than any other distribution method. Public interests can be sufficiently safeguarded by pre-establishing a number of rules and conditions. The Commission recommends that the new permits have a term of 10 to 12 years (from 1 September 2022).
The advice attaches great importance to the transition from FM to DAB+. Regulations are also needed for the DAB+ spectrum, in order to guarantee the plurality and diversity of the commercial radio offer and to promote competition so that the frequency space is used efficiently. The Advisory Board believes that the transition has not yet progressed enough to determine when the FM band can be switched off.
The Commission proposes to clause at least two licenses and associated frequency spectrum. This includes news and Dutch music. Whether further clauses will be introduced is a matter that the Commission leaves to politicians.
In order to carry out its assignment, the Advisory Board consulted various experts, gathered views by means of a market consultation and interviewed various representatives from the sector. The advisory report explains in detail how the Commission has assessed the various issues and weighed up the often divergent interests.
Furthermore, the research reported in this document concludes: (1) Design is a fast-growing sector. (2) Free lancers account for a significant part of jobs in the Dutch creative industries. (3) From 2015 the creative industries combine job growth with economic value created. (4) The concentration of creative industries in Dutch major cities is increasing. (5) Between forty and sixty percent of the Dutch creative workforce is employed outside the creative industries. (6) Creative industries are of significant social importance; besides the economic value they represent.
The government must evaluate its policy against that of other countries and update its range of tools to ensure a high-quality, pluriform, accessible supply of cultural audiovisual productions. If The Netherlands is not on par with other European countries, resulting from relatively limited incentive measures, there is a threat of an outflow of investment and talent to other countries. Rutten points out the urgency and the need to strengthen the position of Dutch cultural audiovisual productions from a structural perspective, in part using the proceeds from levies made possible by the EU’s new Audiovisual Media Services Directive. He also urges the government to ensure Dutch productions make up a substantial share of the supply on video-on-demand platforms, which is necessary to ensure a lively audiovisual culture with a Dutch signature.
From 2005 to 2017 job growth in the creative industries was 3.8 percent yearly. For 2014 to 2017 growth accelerated to an impressive 9.2 percent, more than four times as high as the average growth figure of the general Rotterdam economy: 2.2 percent. In 2017 over sixteen thousand people were employed in the creative industries in Rotterdam.
ICT shows a similar pattern. Over the period 2005-2017 yearly ICT job growth was 3.1. percent, specifically for the years 2014-2017 it was 8.8 percent. The number of ICT jobs in the city is eleven thousand. In 2014-2017 one out of four new jobs in the Rotterdam economy was created in the creative industries and ICT. Both sectors together, account for 7.3 percent of the jobs in Rotterdam.
De sectoren creatieve industrie en ICT dragen substantieel bij aan het economisch herstel van de Nederlandse economie. Dit blijkt uit de Monitor creatieve industrie 2016 die vandaag gepubliceerd is. De banengroei is het sterkst in de creatieve industrie die in 2015 ruim 294.000 banen telt. De ICT sector telt in 2015 bijna 283.000 banen. In de afgelopen tien jaar kwamen er in de creatieve industrie netto 61.000 banen bij en in de ICT sector 16.000.
Meer recent, in de jaren 2013-2015, is de werkgelegenheid in de creatieve industrie gegroeid met 1,4 procent per jaar en in de ICT sector 0,6 procent. De gehele Nederlandse economie liet in die jaren een terugloop in banen zien van 0,4 procent.
Deze groei in werkgelegenheid gaat recent gepaard met productiviteitsgroei zowel in de creatieve industrie als in de ICT sector. Het sterkst is die in de ICT sector, maar het meest opmerkelijk is die voor de creatieve industrie. Tot voor kort was er in de creatieve industrie sprake van groei in banen gekoppeld aan een afnemende toegevoegde waarde, wat verlies in arbeidsproductiviteit impliceert. 2013 markeert een belangrijke trendbreuk, de groei in toegevoegde waarde overtreft de groei in banen zodat de productiviteit van de creatieve industrie groeit.
De meeste nieuwe banen in de creatieve industrie ontstaan in de categorie zelfstandigen. Nu wordt 40 procent van de banen in de creatieve industrie vervuld door zzp-ers. In de ICT sector zijn bedrijven met meer dan 50 banen juist de belangrijkste werkverschaffers. Het aantal bedrijfsvestigingen in de creatieve industrie verdubbelde in de afgelopen tien jaar tot ruim 144.000 vestigingen, vooral door de groei van het aantal zzp’ers. De groei van het aantal bedrijfsvestigingen in ICT is kleiner dan in de creatieve industrie, maar nog altijd groter dan die in de totale Nederlandse economie.
Van de netto banengroei in de creatieve industrie in heel Nederland is in de afgelopen tien jaar 40 procent in Amsterdam gerealiseerd. Van de banen die er in die periode bij kwamen in de top 10 steden voor creatieve industrie en ICT van Nederland, landde driekwart in Amsterdam. De betekenis van de hoofdstad voor de Nederlandse creatieve industrie is daarmee verder toegenomen. De trekkracht van Amsterdam gaat soms ten koste van de groei in andere steden door verschuiving van creatieve bedrijvigheid naar de hoofdstad. Dit geldt in het bijzonder voor Hilversum en Rotterdam. De voor Hilversum belangrijke bedrijfstak radio en televisie is van 2013-2015 stabiel gebleven. Naast Amsterdam, ontwikkelt het aantal banen in de creatieve industrie zich positief in Utrecht, Den Haag, Eindhoven en Amersfoort.
Schaalverkleining zet vooral in de creatieve industrie de laatste decennia fors door en leidt tot verkruimeling van de sector. Dat gaat gepaard met flexibilisering van arbeid in de sector. Daardoor wordt de ontwikkeling van de creatieve netwerkeconomie urgent. Die vraagt om passende wetgeving over flexibilisering van arbeid, maar ook om nieuwe business modellen. Daar ligt een belangrijke opgave voor de bedrijven, de sector en het beleid. Innovatie op die terreinen is nodig om het verdienvermogen van de creatieve industrie te verbeteren.
De toegevoegde waarde van de creatieve industrie bedraagt slechts de helft van die in de ICT sector, terwijl beide sectoren een ongeveer gelijk aantal banen tellen. De creatieve industrie levert met een totale toegevoegde waarde van 16,8 miljard in 2015, 2,8 procent van het bruto nationaal product, de sector ICT met 30,2 miljard 5 procent. Dat is mede het gevolg van de beperktere schaalbaarheid van de producten en diensten van de creatieve industrie, in vergelijking met ICT. De creatieve sector is arbeidsintensiever dan veel andere sectoren.
De synergie tussen creatieve industrie en ICT heeft de voorbije jaren desalniettemin nieuwe vormen van bedrijvigheid opgeleverd. Binnen deze digitale creatieve industrie zijn de game-industrie en meer recent digital design belangwekkende voorbeelden. Zij verbinden creatief vermogen en digitale technologie waardoor schaalbaarheid en internationalisering mogelijk zijn. In het bijzonder digital design maakt de voorbije jaren een sterke groei door, met bedrijven die veelal als ICT bedrijf geregistreerd staan, maar creatieve diensten leveren. Opvallend is dat Rotterdam ondanks haar bescheiden banenontwikkeling in de creatieve industrie, voor deze twee opkomende bedrijfstakken na Amsterdam de tweede stad van Nederland is.
Tenslotte valt steeds meer op dat niet alleen de creatieve professionals die binnen de creatieve industrie werken veel waarde genereren, maar dat dit ook geldt voor creatieve beroepsbeoefenaars binnen bedrijven in andere sectoren. Een eerste verkenning op basis van Brits onderzoek leidt tot de voorlopige conclusie dat het aantal 'embedded creatives' buiten de creatieve industrie gelijk of zelfs groter is dan het aantal creatieven dat binnen de creatieve industrie werkzaam is. Vervolgonderzoek zal hierin meer inzicht moeten geven. Die informatie biedt een basis om ervoor te zorgen dat creativiteit nog beter gaat renderen voor de Nederlandse economie.
This report was drawn up in 2013 as a recommendation to the Netherlands Bach Society. It was made public in 2021 with the permission of the Association. It outlines the possible business model of All of Bach and the role of the Netherlands Bach Society within it. A well-thought-out business model is a necessity for an innovative and ambitious project such as All of Bach. It must answer the question of how All of Bach is going to create value, for whom that value is intended, who benefits from it and what is needed to achieve this.
The report advises the business model for All of Bach on the model of the Netherlands Bach Society. It has an audience that feels connected to the ensemble. It recognizes itself in the identity of the ensemble and feels the emotion expressed in the concerts. The Netherlands Bach Society distinguishes itself through its own approach to the performance of Baroque music, with a special position for Bach's compositions. It is all about (1) quality, (2) authenticity, (3) authority, (4) reliability, (5) passion for baroque and (6) team spirit and collaboration. In addition to this, the value (7) innovation applies to All of Bach. These core values should figure prominently in the business model. Underlying a business model is a network of relationships in which value is exchanged. This can involve money, but also reputation, aesthetic pleasure, or groundbreaking experiences. The business model explains how All of Bach offers value and how the organization creates that value, with the help of other parties, in a way that guarantees continuity, also in an economic sense. The proposed business model of All of Bach is made of and connects five parts: (1) the channels through which the recorded Bach Works are offered and (2) the relationship with the public that results from this, (3) the structural partners that lay the foundation for a sustainable project, (4) the supplying technical and production partners that are indispensable in production and realization and (5) the Netherlands Bach Society as a creative organization that is responsible for the compositions to be recorded on image and sound and which is also the parent organization of All of Bach forms.