For the past two decades, the creative industries grew exponentially more than many other sectors; export of creative goods and services reached $227 billion in 2011 representing 3%-12% of global GDP (Fleming, 2017).
In spite of growth, Samodio (2020) noted that jobs in this sector, particularly in the Philippines, have always been precarious and income has been intermittent. The Covid-19 pandemic has magnified this sector's vulnerability. OECD (2020) reports that cultural and creative sectors are among the most affected by the current crisis.
The Philippines is teeming with creative, competent, and skilled individuals. The advent of the new normal calls for the rise of an unbiased platform that will help these content creators overcome barriers.
Today’s digital content marketplace compensates only the popular and trendy, despite lack of content quality and relevance, leaving the average creator in a particularly uncomfortable position. (Rodin, 1902) Schomer (2019) observes that the digital creative industry is dominated by a few content creators who are branded as “influencers”. The world's influencers (less than 2 million) earn a total of US$8B per year and this is expected to grow up to $15B in 2022. Close to one billion creators in the world produce content, but 95% of the creative industry’s income goes to only 5% of creators who have massive following.
Nostra aims to develop a fully-automated platform that will level the playing field, create equal opportunities to content creators, and create a circular economy through distribution of quality and relevant content.
The Wicked Problem
A wicked problem is a social or cultural problem that is difficult or impossible to solve for as many as four reasons: incomplete or contradictory knowledge, the number of people and opinions involved, the large economic burden, and the interconnected nature of these problems with other problems. Poverty is linked with education, nutrition with poverty, the economy with nutrition, and so on.
These problems are typically offloaded to policy makers, or are written off as being too cumbersome to handle en masse. Yet these are the problems – poverty, sustainability, equality, and health and wellness – that plague our cities and our world and that touch each and every one of us.
These problems can be mitigated through the process of design, which is an intellectual approach that emphasizes empathy, abductive reasoning, and rapid prototyping.
What Do We Mean By Content?
CONTENT IS INFORMATION (practical, functional, tactical) and what people experience. – Lee Odden, CEO of TopRank Marketing.
CONTENT COMES IN MANY FORMS (audio, text, photo, video, slides), and it informs, entertains, enlightens, or teaches people who consume it. – Derek Halpern, founder of Social Triggers, expert marketer and entrepreneur.
CONTENT IS ANY FORM OF HUMAN CREATION or creative expression whether digital or non-digital, and can be viewed, recorded, shared, converted, transferred, and consumed. – ours.
“Information made available by a website or other electronic medium.” – Oxford English Dictionary, Oxford University Press
Fleming, T. (2017). The Philippine Creative Economy Toward a Baseline and Programme. Manila: British Council, p. 5. [online] Available at: https://www.britishcouncil.ph/programmes/arts/creative-industries/interagency- consultations (Accessed: May 2020)
Rodin, A. (1902). The Thinker (French: Le Penseur), Bronze sculpture, 186 centimeters, Rodin Museum, France.
Samodio, G. (2020). Imagining the post-COVID-19 creative industries landscape. Manila Standard [Online] Available at: https://manilastandard.net/mobile/article/321391 (Accessed: May 2020)
Schomer, A. (2019). Influencer Marketing 2019: Why brands can’t get enough of an $8 billion ecosystem driven by Kardashians, moms, and tweens [Online] Available at: https://1businessworld.com/2019/10/business/the-2019-influencer-marketing-report-2019-7/ (Accessed: July 2019)