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OECD Culture and Local Development.pdf - PACA

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3. PROMOTING LOCAL DEVELOPMENT BY CREATING CULTURAL PRODUCTS<br />

or personality of great cities: Paris is “the City of Light”, New York “the city that never<br />

sleeps”, Los Angeles is “Tinseltown” <strong>and</strong> so on. These images have above all a<br />

metaphorical dimension that colours all activities, in a manner somewhat reminiscent<br />

of Alfred Marshall’s concept of the “industrial atmosphere”. Above all, this means that,<br />

beyond the tangible factors of production that are often substitutable <strong>and</strong> mobile,<br />

there are intangible factors that are rooted in the territory, beginning with its specific<br />

human <strong>and</strong> social capital. The character of a place, which itself is a legacy of its<br />

tradition, thus produces what some have called “co-development webs” 79 .<br />

The example of Los Angeles<br />

More precisely, place acts upon the essence of products by offering an atmosphere<br />

<strong>and</strong> an image to the creators of artistic practices <strong>and</strong> markets. This can be illustrated<br />

with the example of Los Angeles.<br />

• <strong>Local</strong>ly recognised artistic practices feed into thinking <strong>and</strong> experimentation with<br />

products. At the beginning of the last century, the Eucalyptus School, which saw<br />

itself as a version of Impressionism, used a palette of rose, ochre <strong>and</strong> grey in<br />

the external <strong>and</strong> internal decoration of houses. During the Depression of the<br />

1930s, oil paint became too expensive <strong>and</strong> new schools of painting took its place,<br />

changing the approach to decoration. The museums also influenced the way<br />

in which products were made. The Pasadena Museum mounted a series of<br />

exhibits with objects celebrating creativity in such fields as furniture <strong>and</strong><br />

sporting equipment (surfboards, snowboards). Architecture, itself a cultural<br />

industry, benefited from its cooperation with artists. Frank Gehry borrowed from<br />

local artists, notably Stella, in their use of unconventional <strong>and</strong> even “vulgar”<br />

materials of the time to reduce the costs of houses <strong>and</strong> office buildings. These<br />

borrowings were to play a major role later in his great architectural works in<br />

Minneapolis <strong>and</strong> Bilbao. A third transfer mechanism lies in the multifaceted<br />

activity of artists. In the United States, only 15% of registered <strong>and</strong> unionised<br />

artists work full-time at their art. The rest of them are obliged to find supplementary<br />

work, or even their main livelihood, in other sectors of society. Thus we see artists<br />

decorating restaurants or public spaces, painters setting up audiovisual sites,<br />

<strong>and</strong> decorators or dressers developing new lines of clothing. And even when<br />

they are not working, their personal lifestyles <strong>and</strong> their way of dressing help<br />

to spread new fashion st<strong>and</strong>ards through the territory where they live.<br />

• Another element to be considered is the market offered by these places. In<br />

many cases, products can attain high quality because they are tested in<br />

knowledgeable consumer markets after the experts have pass judgment on them.<br />

One of the great advantages that Los Angeles has over New York in the production<br />

of leisure <strong>and</strong> sportswear is that its industry long ago minimised seams <strong>and</strong> other<br />

rigid elements to meet the local population’s dem<strong>and</strong>s for comfort <strong>and</strong> easy<br />

CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © <strong>OECD</strong> 2005 101

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