5 years ago I wrote a speculative strategy for the Department for International Trade. Focused on what the UK “offer” was to global inward investment in the Creative Industries, it identified a USP at the point where “creativity meets technology”.

With the rapid adoption of digital technologies generating fundamental changes in the production, distribution and consumption phases of nearly all industries (especially true where new technologies allow a direct communication with a customer) it was my contention that the UK has a competitive advantage due to its unique ability to combine four elements: creative excellence / established tech sector / innovation ecosystem / addressable scale market.

My hypothesis was that many markets were able to demonstrate 3 of the 4 circles of the Venn diagram but very few places could validate the presence of all four (NB: Innovation should probably read Innovation Support – a key distinction in the availability of strategic public investment in R&D).

Over time the strategy was adopted but the focus was shortened to “Createch”. Whilst I’m still not a fan of the term, its adoption by DCMS, Tech Nation, Creative Industries Council and others makes it unavoidable.

So, fast-forward to 2021 and I’ve been delighted to be a judge on the Createch 100 Ones to Watch ( And this week I’ve chaired a panel as part of London Tech Week exploring “export” with three of the Ones to Watch companies.

For me what’s most interesting is the impact of Covid, and how the traditional definition of Export has been replaced by a hybrid position – international reach being far more a digital than physical function (but with the adaptations of language and presentation and trust required by that shift).

My conversation with Dragonfly AI, Lost Horizon and Swamp Motel covers this territory from their own personal experiences – with agile business adaptation in a pandemic thrown in. The recording is here, an insightful conversation:

A final thought. I was quietly delighted that 20% of the Createch 100 were from Bristol / SW, reflecting the organisations and frameworks in the city which act as catalysts for that crossover (and I’ve put forward a proposal to explore as part of Bristol Technology Festival next month). The MyWorld initiative speaks directly to this strength.

The image is from the recent Charlotte Perriand exhibition at the Design Museum, a modular shelving system radical in its simplicity and use of (then) unconventional materials.

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Global Citizen

As part of an international strategy development project I’ve been looking at what might get retained in our processes and practices post-Covid. Personally I can’t see that I will ever return to the level of international business travel that characterised my pre-pandemic years. But a note I made in early 2020 about a sense of Global Citizenship revealed by those experiences has resonated in the current research, and in a clear emergent construct of the Global Citizen within an international policy environment.

In attempting a definition Ideas Forum reflects the idea that a shared personal responsibility exists which extends beyond our immediate location. Global Citizenship “recognises our world is an increasingly complex web of connections and interdependencies. One in which our choices and actions may have repercussions for people and communities locally, nationally or internationally.”

Oxfam is also (perhaps obviously) a proponent of the principle of an interconnected global society, and describes a Global Citizen as “someone who:

  • is aware of the wider world and has a sense of their own role as a world citizen
  • respects and values diversity
  • has an understanding of how the world works
  • is outraged by social injustice
  • participates in the community at a range of levels, from the local to the global
  • is willing to act to make the world a more equitable and sustainable place
  • takes responsibility for their actions.

To be effective Global Citizens, young people need to be flexible, creative and proactive.”

As a personal manifesto this is a fairly compelling proposition.

There is a read across here to another interesting recent shift – the identification of the creative and cultural sector as an agent of change, an instrumental tool in seeking societal impacts beyond simple economic growth (c.f. my earlier work on the Cultural Compact).

For example, 2021 is the UNCTAD International Year of the Creative Economy for Sustainable Development, recognising the Creative Economy as “an important tool for building a sustainable, inclusive and equitable future…. at a time when we need creative solutions for the world’s challenges.”

But looping back to the beginning these cultural exchanges are now more likely to be hybrid in nature – combined digital / physical initiatives – seeking to balance the digital benefits of efficiency and accessibility / inclusivity with the challenges of building complex relationships of trust and shared values at a distance.

With Watershed I’ve been exploring how a hybrid digital / physical production methodology could enable a distributed creative production team (spread across four continents) to explore global challenges simultaneously within multiple linked local contexts. More to come on this.

Other current projects include:

  • Inward investment / business development lead on the £50M MyWorld creative technology R&D programme, managed by University of Bristol
  • Model definition and delivery on the Creative Sector Growth Programme for WECA (via Watershed)
  • Inward investment strategy and campaign focused on Virtual Production for the Department of International Trade

Plus input to the Western Gateway concept and judging on the Createch 100 Ones to Watch.

The image at the top is from the current Ryoji Ikeda exhibition in London, his work starts from digital and data but always links back in concept to the physical.

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Creative Scale Up

Over the past year I have been working on the Creative Scale Up programme in the West of England – having co-designed and co-delivered a Peer-to-Peer support strand with Gill Wildman (via Watershed).

The P2P idea was in part inspired by a conversation with Sammy Payne, CEO of Open Bionics, who described how she and two other founders had created an important mutual self help group as their businesses rapidly grew.

60 businesses have now been through Creative Scale Up across three cohorts. Within that we created small peer groups who met regularly within a framework which prompted discussion around company structure and culture, growth and business development, investment and financing, and more. Although effectively what we did was provide a safe space and prompt for sharing experience. Our rules were Chatham House, be respectful, one idea at a time….

Many of the CEOs were experiencing the familiar difficulties of business expansion, but also the significant stresses of being the visible leader, having to confidently provide direction despite no prior experience. So, alongside the peer group meetings we had a series of more established CEOs come and tell their stories of lessons learned. More than one commented “this feels like a therapy session”.

Covid shifted all but the very first meeting in March 2020 online. And whilst this lost the physical networking dynamic, we still managed to curate the ability to connect people – it just required an attitude from the participants, one of deliberate openness.

At the last gathering the underlying theme was one of confidence, confidence in direction identified and decisions made, but also confidence derived from learning from the thoughts and actions of others – because even though the businesses may have been very varied (in size and subsector), there were relatable common themes and an ability to step into the shoes of others in a positive and impactful way.

We learned a lot on the way about how to foster and prompt a productive inter-personal collaboration. And now thoroughly road tested hope to produce a new programme soon – plus also get together a group of people who have shared a lot but only met each other on a screen.

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Normally I start the year with a forward-looking post and a list of cities in my immediate workplan – unfortunately the start of this year has been a rollercoaster. This image is my desk, I’d like to spend less time here in 2021…

But there are positives, and some projects to look forward to:

Innovating into a visual future beyond screens, MyWorld is a £46M 5 year research project experimenting with the next wave of creative technologies in the production, distribution and consumption of content. Building on the existing strengths of the city MyWorld will create a globally significant R&D cluster in Bristol – I’m leading the development and investment workplan.

Through lockdown we have all developed new models of remote working and proved that adaptability and agility overcome the barriers of physical distances. This enforced change has revealed an opportunity to develop a post Covid global network of hybrid production, connected localities and distributed audience.

With Watershed, the Hybrids research will be a catalyst for the generation of a mechanic and model for sustained international collaboration, delivering partnership and impact at scale (and at distance).

Virtual Production
As flagged in the panel recording linked below, emerging virtual production technologies represent a fundamental shift in the relationship between the physical and digital elements in production. DIT in close partnership with DCMS has been looking at the implications for skills, R&D and investment as many of the major US studios plan VP builds in the UK in 2021 – how to future proof a currently highly successful creative sector?

In addition, I’m hopeful that the Global Partners collaborative R&D project, designed in partnership with Audience of the Future, will build on a successful pilot (with Discovery and WarnerMedia) and move on to an expanded programme.

And having delivered the West of England Cultural Compact framework, I’m interested to see how it develops in practice – there is great potential for a tangible impact.

But the final positive is the vaccine. The image below is of barcodes from all of the Covid tests I took as part of the (continuing) Oxford/AZ trial group. I still don’t know if I had the vaccine or placebo but volunteering to be part of the process feels now like the most impactful thing I did last year.

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Cultural Compact

“City Culture Compacts – a strategic partnership to co-design and deliver a vision for culture in the city” Arts Council Cultural Cities Enquiry – Jan 2019

A new piece of work for the West of England Combined Authority, helping to define a structure for a future Cultural Compact, but one that acts across a region, the West of England, rather than a city – a challenge in itself.

Without the clear animating context of a “city”, the WofE Cultural Compact must therefore find its purpose not in the generation of impact within a specific narrow geographic location, but in the alignment, amplification and prioritisation of actions across a broad range of diverse stakeholders.

In my mind there is also another important purpose for the Cultural Compact, to be the catalyst for new thinking on the role and value of culture, able to initiate strategy development and seek opportunity and support for new innovation at a regional (and/or national) level.

There is a simultaneous contradiction of both a growing awareness of the positive impact of the creative and cultural sectors and the current existential challenge to many of the underpinning institutions and business models. The ability to enable dynamic enquiry on the expansion of cultural inputs across a policy landscape, and the facilitation of new models of working has the potential to drive significant change.

As examples, exploring the capacity of culture and creativity to make a contribution to policy delivery related to Social Prescribing in the face of a major health crisis, or in community cohesion as related to the localising effects of the pandemic (and in some senses the “15 min city” thinking referred to in the blog below).

Other pandemic accelerated impacts include the strategic necessity for cultural institutions to become more “hybrid” as organisations (digital / physical / public realm), but also the opportunity implicit in that for increased access and inclusion as they think beyond the previous “walls” and seek a new model of engagement.

Underneath this is the challenge of measurement and evaluation – capturing the value of culture. This is clearly easier with some instrumental measures, e.g. generation of jobs or increased investment, but always much harder when related to influences on attitudes and behaviour change. And unfortunately (but correctly) this is a challenge which much be addressed in detail when translating recommended activity into actionable political policy.

It is my hope that the Cultural Compact becomes a mechanism for policy alignment and strategic input, politically literate and able to position culture within bigger picture economic and infrastructure development, in order to affect positive change for investment and creative opportunity in the West of England.

Pictures from a visit to the Scottish National Gallery of Modern Art in Edinburgh, a brief escape – and the utter emotional joy of being in a gallery again – before plunging back into another hard lockdown.

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Levelling down & the K shaped recovery

As we make faltering steps out of peak pandemic a theme which has been an underlying constant has come sharply to the foreground – reflected in differing public actions and attitudes. The asymmetric impact of Covid draws very fine lines between indifferent, inconvenient and catastrophic. On a personal level this tends to revolve around vulnerability of people in close orbit, age or age of children, structure of employment, and even access to outside space; on a commercial level, seen starkly in the ability to produce and distribute digitally versus the requirement for proximity or audience.

In recent weeks this has been embodied in the emergence of discussion around a K shaped economic recovery – as distinct from V (fast return), U (slow return) or L (no return)…

The K shaped graph indicates that some sectors, particularly white collar professional services, have rebounded strongly as the economy restarts. But others, especially blue collar manufacturing and retail/hospitality services, are struggling and increasingly threatened. Simplified it appears that employments which are digital in nature or can adapt easily to remote working can reinvent themselves, activity which is physical and/or requires human contact at scale does not have that flexibility.

These impacts are being visibly played out in our larger cities.

A couple of months back an Economist article on the “levelling down” of London took a different take on the desire to balance the economy away from the capital, suggesting that the pandemic would level London down rather than out-of-London up.

An enforced shift to working from home and limited travel has by definition created a huge emphasis on the local. In a larger city where the centre has become much less mixed use and dominated by retail and workplace – as London – the tangible visible impact models the K, where any positive economic returns have been shifted from a now denuded urban landscape.

As mentioned in a previous blog there is a sense that Covid has accelerated underlying trends. The vision of reinventing Paris as “the 15 minute city”, launched at the beginning of 2020 with an emphasis on hyper-locality, was driven by climate change not the pandemic – but the strategy towards live / work / shop / leisure all within a 15 minute radius has gained huge resonance during lockdown. If the “new normal” marks a shift from mass commuting then the centre of the city must be reinvented again to become a more culturally driven social space.

But, a reversion to smaller geographies must not act as a counter to global cultural connectivity.

This week saw the publication by Watershed of a report on their Creative Producers International programme. This project grew out of the success of Playable City and thought about the role of culture in citizen engagement and the design of the future city. Working with 15 producers across the globe Creative Producers International has created an active, and activist, network of creatives building projects which foresight positive city change – dynamically sharing insight, experience and learning across very different localities, with remarkably similar human problems.

As we emerge from an extraordinary global experience of fundamental economic and societal shutdowns the long term effects will not be universal but asymmetric. And whilst there are strategic gains from an increased focus on locality and community, the cultural positives of global connectivity, the network of human networks effect, must be protected and stimulated by proactive collaborations like Creative Producers International in order to share (remotely) solutions to differentiated international challenges.

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Virtual production & the accelerating impact of Covid

A clear impact of Covid is that the pandemic has accelerated the adoption of new technologies, especially those which emphasise digital production and distribution whilst reducing physical proximity.

In LA late last year I was shown an interesting new production technique combining games engine tech and LED volume production spaces. In the period since then the demand for these emergent virtual production processes and tools, bringing real time rendering and visual effects onto set, has increased rapidly – condensing transformative change into a matter of months, driven in part by the opportunity afforded by virtual production but also because of a match to the new necessities post-Covid.

I hosted a panel of the leading proponents of virtual production to explore the technology, discuss the pros and cons of this shift and foresight what it means for the production sector in the years to come. And one advantage of lockdowns is that I could get access to panellists in London, Leeds, LA and San Francisco from Bristol…

Vicky Wharton – Exec Producer, Sky Innovation Lab
Chris Ferriter – CEO, Halon
Ian Milham – Virtual Production Supervisor, ILM
Ben Lumsden – Business Development Manager, Epic Games / Unreal Labs London

They were asked to define “virtual production”, identify the technology advances and explain how it impacts both content development and production.

And in discussion the answer to my question “fundamental change or agile tool?” quickly became fundamental change AND agile tool.

Image credit: Industrial Light & Magic / Lucasfilm Ltd.

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CogX / Createch – innovation challenges of emerging technologies

Createch is an annual event with a remit to look across the creative sector at emerging technology and interesting content. This year it was merged into the Virtual CogX London event.

I chaired a panel, broadcast earlier, exploring the innovation challenges and opportunities of emerging technologies; the push & pull of tech potential vs audience demand; and the UK position in a global R&D ecosystem.

Thanks to:

Fiona Kilkelly – Immersive Tech specialist, Founder Immerse UK

James Bennett – Director, StoryFutures

Adnan Abu Khadra – Director, Innovation & New Ventures, Warner Media

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My last post here was two months ago – reflecting on economic growth, international travel and globalisation. And then everything changed, in the most fundamental and extraordinary way.

I’m delivering part of a Creative Scale Up programme in the West of England, originally intended to generate a peer network of growing creative businesses it has now become a self help network focused on resilience. When we *meet* there is both the curious sense of a need for external connection, just seeing and talking to a group of people, and an immediate default to trying to discuss the big conceptual implications of Covid – in part to explore thinking and in part to avoid the painful minutiae.

A session on managing turbulence delivered a series of prompts in the same vein:

Think forward and think reinvention – the market will undoubtably be different and therefore any company must seek to adapt ahead of a new future (stand still is not an option, and neither is your previous version of what the future looked like)

Build a vision of the environment in 12 months time (soon enough to be tangible, but far enough to allow change to settle) and generate a plan matched to that vision. The plan may turn out to be wrong but it will give you something to measure progress against, evaluate actions and iterate decision making.

Change is difficult, especially when it involves others’ livelihoods. Be human and considerate, but remember you are not completely responsible.

Confidence is key. Create a clear belief system in the values and potential for the business. You have to be able to articulate and persuade others (and believe it yourself). 

This Deloitte future scenarios document is a useful way of framing the unknown:

I’m similarly trying to think of the new future, and the opportunities or impacts which will positively endure from this period, because the international business landscape will emerge altered significantly.

And whilst I’m used to working remotely I have always taken that to be wherever I am, rather than the exactly same place…. as the picture above I have collected every lockdown cliché.

Stay safe.

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10 years (2)

Following on from the previous post. The landmark of 10 years by definition makes you reflective. It’s been a period where the “new media” of the new millennium matured and embedded itself into every part of our lives. So some reflections on changes as they apply to my area of work – content / innovation / international:

Creative economy
The last decade has in particular reinforced the position of the creative industries as a serious economic driver. The ability of the industry to grow faster than the rest of the economy out of a global recession, and adapt and thrive in the face of changing consumer behaviours, has embedded the importance of the sector in economic policy terms – a value far beyond the previously limited view as entertainment and cultural soft power.

And where the intangibility of creativity was previously seen as an industrial weakness (the challenge of art vs commerce) this growth trajectory has generated a new understanding on investability and scale, and the fundamental role of narrative, design and UX across a much wider spectrum.

Having deliberately positioned my practice at the intersection of public sector intervention and private sector development I’ve been fortunate to see this area of activity and political attention expand to match. As the importance of the creative economy has become clearer each year, industrial strategy has adapted to support a now £101.5Bn UK success story.

The world has to some extent got smaller, advances in digital infrastructure and a more international corporate world view have driven an increase in global investment flows and in particular a porosity of borders. Projects and supply chains transfer seamlessly between territories and economies, new services leap country through the shared values of specific demographics (not culture or language), especially for younger generations.

And yet the positive contradiction of this increase in connectivity and levelling of platforms is the simultaneous enabling of content and services which are more niche and culturally specific – distribution at scale is a solved problem.

In this light the decision of the UK to sabotage its own economic growth and global reach is an extraordinary act of self-harm.

Challenges (repeat)
Despite the positivity implied in the above the creative industries seems to continually repeat structural challenges and issues – e.g. the diversity and inclusion programme I just co-authored was effectively an update of one I was involved with a decade ago, same systemic problem.

The change this time is related to disintermediation, content is not longer “broadcast” one to many, but one to one many times. In this world a communications industry cannot afford to be monocultural, diversity is not a social nice to have but a commercial imperative for relevance and granular engagement.

So the perennial challenge of creating compelling content and stories remains, but the relationship with the consumer has changed entirely. The changes in technology platforms over the decade, and the delivery of personal agency through that, have generated a huge fragmentation of audiences. The pulse of major consolidation deals in the US, seeking to generate the scale which can fund and make the business modelling of multiple streaming services work, is an example of a creative industry trying to keep up with audience demand – because if it doesn’t they look elsewhere.

And the above is because the most remarkable change over the decade is in consumer behaviour and audience interactions, driven by the leaps in connectivity and especially personal computing power (in our pockets).

The personalisation of services and communications has driven the emergence of significant, entirely new business sectors (social, apps, digital advertising etc). For the individual this explosion of choice and convenience has genuinely changed how we live our lives – in every aspect – what is interesting now is the emergence of the debate on positives and negatives now the novelty has worn off.

Questions on data ownership, privacy, ethics, personal responsibility, platform liability, monopoly positions, legislation in a global context etc are the valid interrogation of the shape of a still maturing industry – although potentially we should have paid attention to them a little earlier…

The most striking aspect of this change for me is the generation gap (partly responsible for the above?). Young people use personal technology and social platforms in an entirely different way, and have vastly different expectations on service and models on interactions. The focus of their attention is fast and fickle and shifting (c.f. the rise of TikTok or Snap), and to older generations impenetrable and confusing.

But there appears to be a structural positive in that, it feels to me that young people now are in general informed, committed, values driven, tolerant and international – in part because of their extraordinary access to information and opinion. They are driving conversations with a legislature which does not (cannot?) reflect their world experience.

Over the past decade it has been my great privilege to travel very widely for my work – to 54 individual cities across four continents, and to some of those cities many times. I’ve mentioned before my habit of taking a photo out of every hotel window – a wide array of views here:

I have approached every place I’ve been in a spirit of curiosity and interest and openness, keen to understand creative and cultural expression, and in every place have had that attitude reflected back.

And whilst we are all products of place, across ten years of amazing experiences I am completely convinced that there is such a phenomenon as global citizenship.


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