Page 112 - Arts Innovation Report_2022_May11

內地和台灣的文化數據建設都是在數字政策基礎上產
生的，通過研究兩地的案例，我們認為「資料一線
通」可以擴展文創產業上的數據資料。的確，此平台
已分別匯總了「康樂及文化」相關的數據，當中包括
43
來自民政局和康文署等藝文資訊， 例如博物館入場
人次、公共圖書館使用情況、資助名單等。而且如台
灣一樣，「資料一線通」屬於開放數據策略之一，也
具有實時數據儀表板功能。然而，其數據儀表板功能
目前僅應用於交通和天氣等領域，並未在文創產業中
有所應用。事實上，此儀表板可以進一步發展至將產
業的主要資訊以互動地圖儀表板方式，令公眾對行業
發展一目了然，例如加入創意產業公司分布、各區文
藝設施的數量及位置、不同時段的觀眾人口分布等。
因此，我們認為未來可進一步開發「資料一線通」的
文化數據功能，讓文化場所和機構能夠更有效地收集
並分析相關數據。
從當前可用的數據分析來看，文創產業面臨的或許並
非數據嚴重不足的問題，而是現有數據中的意義和用
途有限。反觀內地和台灣文化大數據政策，其建構文
創產業數據庫之目的，不僅是為了收集資料，更是力
求收集的數據全面、高質、多元化，從而有助進行有
意義的分析，幫助文化機構深入了解自身和受眾、進
行評估，提高創作及營運能力。
43 這些政府部門必須公布年度公開數據計劃以列出將在「資料一線通」上發布的數據。
These government entities have to publish Annual Open Data Plans to set out the datasets that will be released on Data.Gov.HK.
110
Following the two case studies of the Mainland and Taiwan, which
were borne out of overarching digital government strategies, we
observe that Data.Gov.HK can be further expanded to better apply
themselves to the CCI. We acknowledge that the platform has been
aggregating datasets related to “Recreation and Culture”, which include
43
arts and cultural data from entities like HAB and LCSD, publishing
information such as the number of visitors to museums, usage of
public libraries, and list of grantees. And like Taiwan, Data.Gov.HK
is part of an open data strategy with real-time data dashboard
functions, but its data dashboard currently only covers areas such as
traffic and weather, with no data execution strategy for the CCI.
When in fact, the data dashboard can be further designed to offer the
public an interactive map displaying key industry information. For
instance, it can include the geographical data visualisation of creative
companies, the number and location of cultural facilities in each
district, and the distribution of audiences at different times of the
day. We observe there is potential for Data.Gov.HK to expand data
dashboard functions to display cultural data in the future, and
enable cultural venues and organisations to gather, monitor, and
analyse data more effectively.
The amount of data currently available suggests that the CCI is not
necessarily suffering from a severe data deficit, but the inferences
that can be extracted from the existing available data is severely
limited. Learning from cultural big data policies of the Mainland and
Taiwan, the purpose of constructing a comprehensive data
infrastructure for the CCI is not merely to gather mass information,
but to ensure the extent, quality and variety of data captured, that
can enable useful analysis of purposefully collected datasets to help
cultural organisations better understand themselves and their
audiences, carry out review and evaluation and, in turn, drive positive
changes.