Siepel, J. et al introduce a new experimental approach to understanding the clustering of
 UK creative industries businesses. By using data from the websites of 200,000 creative industries businesses and organisations, it identifies creative ‘microclusters’ at street, neighbourhood, and town level exploring the UK’s creative clusters and microclusters in greater detail through a representative survey of 976 creative industries businesses.

Centre for Economics and Business Research (2019) The Contribution of Arts and Culture Industry to the UK Economy report. London: ACE. The Contribution of Arts and Culture Industry to the UK Economy report based on data gathered from the Office of National Statistics.

Lilley, A. and Moore, P. (2013) Counting What Counts: What big data can do for the cultural sector. London: Nesta. This report argues that it is time for a change in the approach of arts and cultural bodies towards data, particularly ‘big data’.

Cauldwell-French, E., Easton, E. and Julian C. (2017) Because the Night: Why what happens after dark matters to the creative industries. London: Creative Industries Federation. This report sets out why the night-time economy is important for the UK’s creative industries, finding audiences, generating a local creative network, attracting talent to towns and cities, developing skills, and providing infrastructure.

Engin, E. et al (2017) Mapping the value chain: A study of the economy of culture in the digital age. Brussels: European Commission. This report maps the different value chains for the visual arts, performing arts, cultural heritage, crafts, book publishing, music, film, TV and broadcasting as well as multimedia. The study also examines how the competitive position of cultural and creative sector is affected by digitisation.

The Creative Capital Index is a system for assessing the realised and hidden potential of cities within the sphere of the new economy. The pilot version of the Index, launched in 2016, included nine Russian cities while others were added over time, where the number of cities reached 20 in 2018.

Anheier, H. et al (2017) Cultural Participation and Inclusive Societies. Strasbourg: Council of Europe. This is a thematic report on participation. Drawing on data collected within the Indicator Framework, it explores what links, if any, exist between a population’s cultural participation and the commonly identified characteristics of an open, inclusive society, such as tolerance and trust.

Balta, J. (ed.) (2014) Enabling Crossovers: Good practices in the creative industries. Singapore: Asia Europe Foundation. This compilation showcases examples of policy and practice that may serve as inspiration for networking, collaboration and policy making.

HM Government (2018) Industrial Strategy- Creative Industries Sector Deal. London: UK Government. This white paper outlines the UK Government's commitment to invest to the lifecycle of creative businesses.

Bazalgette, P. (2017) Independent Review of the Creative Industries. London: UK Government. This review outlines key recommendations on how the Creative Industries can underpin the UK’s future economic growth.

UNCTAD (2018) Creative economy outlook. Geneva: UNCTAD. This report includes profiles for 130 economies and highlights potential opportunities for developing countries to increase their production, exports and share in creative industries markets. The report makes the point for increased public and private sector investment in creative industries.