White paper on creativity - ebla center

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ForewordThe Study Commission appointed on 30 November 2007 to draft a Report on Creativityand the Production of Culture in Italy was established by a decree with the followingbrief:a) describe the features of an Italian model of creativity and cultural productionb) estimate the economic value of the Italian cultural industriesc) analyse and compare the cultural policies of the EU and its member statesd) make recommendations for revitalising the production of culture.The <strong>White</strong> Paper on Creativity thus had two main objectives. Firstly, outline an Italianmodel of creativity and cultural production in the belief that creativity must be boostedto help the country develop and improve its position in the international context.Secondly, make a contribution to knowledge and define the macro sector of the culturalindustries which, because of the geographical diffusion, cross-sectoral nature andintangibility of many of its components, does not have a clearly-perceived and evidentstatistical identity in Italy.To contribute to the success of the Italian cultural industry, this <strong>White</strong> Paper alsooutlines some strategies for co-ordinated actions to meet the challenges and removerestraints which reinforce rigidity or weaken the sectors and contexts: i.e. creative cities,design and material culture, fashion, architecture, the knowledge economy, advertising,film, television and radio, publishing, the taste industry, contemporary art, theperforming arts and the cultural heritage. The urgent need for action is almost a warningsignal: we must achieve the same kinds of standards as the material and humanist cultureof our past and not lose touch with the technological culture of the future.Chapters 1 and 2 provide a theoretical and quantitative picture of the Italian model ofcreativity and describe the framework of European and international policies.Chapter 3 adds a reference to creative cities, historically excellent examples of Italiancreativity.Chapters 4-14 address the issues in the various sectors. Firstly, however, they offer atheory of goods in art and culture, revealing specific factors often undervalued intraditional analyses. They then provide a picture of the various sectors, illustrating theirstrengths and weaknesses. These chapters are partly focused on the description ofmarkets and partly on the issue of cultural production. The link between creativity andcultural production is often explicit and is carefully analysed. But at times there is also animplicit link in the socio-economic structures described, and here we also address theproblems of strategy for those structures. Creativity is always the primary strategicprerequisite for success in all sectors.The final chapter contains recommendations and suggestions for cultural policies thatcan be implemented in the long-term (“17 Key Decisions”) and in the short term (“53Actions”) for the various cultural sectors.
We would like to thank Michelangelo Pistoletto for having selected the images for thecover and for the introductions to each chapter. His participation was an excellentexample of the relationship between art, knowledge and social quality and at the sametime a creative signal for all those who have collaborated in producing the <strong>White</strong> Paperon Creativity.WHITE PAPER ON CREATIVITY 11
Page 1 and 2: White pape
Page 3 and 4: IndexAcknowledgements .............
Page 5 and 6: IndexPart III......................
Page 7 and 8: Index14.5 Repercussions on art coll
Page 9: AcknowledgementsThe White</
Page 13 and 14: Chapter 1Michelangelo Pistoletto -
Page 15 and 16: Chapter 1intellectual, literary and
Page 17 and 18: Chapter 1leisure, entertainment, cu
Page 19 and 20: Chapter 1systems, in which there is
Page 21 and 22: Chapter 1territory, a cultural dist
Page 23 and 24: Chapter 1Social qualitySocial quali
Page 25 and 26: Chapter 1intangible cultural goods
Page 27 and 28: Chapter 1and quality certification)
Page 29 and 30: Chapter 1In the case of “absorpti
Page 31 and 32: Chapter 1According to this classifi
Page 33 and 34: Chapter 1Figure 1.3 - The creativit
Page 35 and 36: Chapter 1Table 1.2 - Value Added an
Page 37 and 38: Chapter 1Figure 1.5 - Contribution
Page 39 and 40: Chapter 1Figure 1.6 - Comparison wi
Page 41 and 42: Chapter 2Chapter 2The Italian model
Page 43 and 44: Chapter 2interest”. Thus since 20
Page 45 and 46: Chapter 2intercultural dialogue for
Page 47 and 48: Chapter 2There is a strong interdep
Page 49 and 50: Chapter 2On this point the recommen
Page 51 and 52: Chapter 2edited by Frontier Economi
Page 53 and 54: Chapter 2measure the sectors of eco
Page 55 and 56: Chapter 2publishing and architectur
Page 57 and 58: Charter 3Michelangelo Pistoletto -
Page 59 and 60: Chapter 3physical setting of our ho
Page 61 and 62:
Chapter 3morphology and peripherals
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Chapter 3moving raw materials, manu
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Chapter 3world. But it is also a ve
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Chapter 3society” also involves t
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Chapter 3outcomes. The problem is n
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Chapter 3greatly empowered in terms
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Chapter 3widespread crime and pover
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Chapter 3The Harvard economist Edwa
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Chapter 3This means that consumptio
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Chapter 3concentrate in larger and
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Chapter 3Cultural openness towards
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Chapter 33.7 Concluding remarks :It
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Part II
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Part IISymbolic goodsThere is no ra
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Part IIMaterial culture goods as mi
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Part IIobjects. In short, quality d
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Chapter 4Michelangelo Pistoletto
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Chapter 4accessories has built up t
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Chapter 44.2 The roots of Italiande
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Chapter 4All of these factors would
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Chapter 4business) as most resident
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Chapter 4They may collaborate simul
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Chapter 4ideas and research to the
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Chapter 4Table 4.1 - Companies in t
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Chapter 4From an initial interpreta
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Chapter 4profession, which combines
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Page 115 and 116:
Chapter 5but also in generating inc
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Chapter 5private institutions, such
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Chapter 5of exports to the main mar
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Chapter 5Croce in Tuscany) and thos
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Chapter 5Table 5.5Brand Country Sec
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Chapter 5squares - to the equation
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Chapter 5A last vitally important e
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Chapter 5Worldwide there are around
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Chapter 6The taste industry or rath
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Chapter 6aim of creating a virtuous
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Chapter 6The taste industry has vis
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Chapter 6and vegetables (18%). On l
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Chapter 6compared to traditional, n
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Chapter 6Spelta). Farro is consider
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Chapter 6The Italian guidebook, Gam
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Chapter 6and the channels of the la
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Chapter 6Table 6.3 shows the region
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Chapter 6adulterated with methanol,
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Part III
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Part IIIThe superstar phenomenonWhy
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Part IIIis easy to see that such co
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Chapter 7Chapter 7Film7.1 Italian c
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Chapter 7In the last few years Ital
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Chapter 7withdraws to a personal po
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Chapter 7market for films in cinema
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Chapter 7more films than the USA (i
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Chapter 7Figure 7.4 - Average admis
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Chapter 7in this situation is Franc
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Chapter 7i.e. films with the best r
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Chapter 7correlated to the capacity
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Chapter 7television in 2000-2005 re
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Chapter 7The difficult relationship
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Chapter 7Figure 7.12 - Italians’
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Chapter 7comedies which were box-of
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Chapter 7Bagnoli, near Naples, whic
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Chapter 77.7 ConclusionsThe Italian
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Chapter 71960 Cannes Golden Palm La
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Page 193 and 194:
Chapter 88.1 Company sizeBoth in pu
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Chapter 8dynastic line have not alw
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Chapter 8It may be no exaggeration
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Chapter 88.5 The individual sectors
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Chapter 8are many complaints that e
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Chapter 8it has forced smaller comp
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Chapter 8The two large national net
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Chapter 8changes in political power
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Chapter 9Chapter 9Software, Compute
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Chapter 9on its capacity to be a sy
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Chapter 9Some people even talked of
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Chapter 99.3 The Italian caseA prof
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Chapter 9Zetel; SeaSoft S.p.A is a
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Chapter 9On this market, after its
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Chapter 9technologies: 92% of small
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Chapter 9Table 9.5 highlights the m
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Chapter 9Table 9.7 highlights a ver
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Chapter 9figures concerning small c
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Chapter 10Cittadellarte - “Italy
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Chapter 10and ultimately also consu
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Chapter 10been little explored by c
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Chapter 10advertising, re-launched
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Chapter 10Current creative practice
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Chapter 10Communications and creati
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Chapter 10Creativity and communicat
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Chapter 10Public relations and corp
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Chapter 10In Italy political commun
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Chapter 10on research conducted by
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Chapter 10flags in the past). But a
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Part IVThe historical and artistic
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Part IVLastly, the intangible goods
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Chapter 11Chapter 11The Cultural He
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Chapter 11requires processes of co-
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Chapter 11potential in 153 communal
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Chapter 11image and a primary sourc
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Chapter 11important for the success
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Chapter 11meticulous process of gat
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Chapter 11cultural institutes to ac
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Chapter 11in cultural consumption -
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Chapter 11period of 8%. Someone mig
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Chapter 1111.6 ConclusionsAs we hav
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Chapter 12Chapter 12Architecture12.
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Chapter 12Architectural quality and
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Chapter 12sustainability. In this c
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Chapter 12works published in at lea
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Chapter 12Figure 12.3 Technical fir
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Chapter 1212.4 The bricks of creati
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Chapter 12individuals, then the gre
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Chapter 12designs. Exchanging ideas
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Chapter 12periods abroad thanks to
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Chapter 12harmonious insertion of a
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Chapter 12work, linking up and inte
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Chapter 13Chapter 13The Performing
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Chapter 13photostories, soap operas
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Chapter 13These experiments, seen a
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Chapter 13Table 13.2 - Diversificat
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Chapter 13Figure 13.1 presents the
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Chapter 1313.5 The performing arts:
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Chapter 13developments. Moreover, t
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Chapter 13programmes to changed soc
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Chapter 13education colleges”) pr
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Chapter 13Table 13.5 - The Italian
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Chapter 13emblematic. The company r
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Chapter 14Chapter 14Contemporary Ar
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Chapter 14similar phenomena are now
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Chapter 14driving the growth of gal
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Chapter 14income for the state woul
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Chapter 14Table 14.1 - Accademie di
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Chapter 14and the perception of the
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Chapter 14situation. With very few
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Chapter 14completely. In other word
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Chapter 14find one’s find bearing
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Chapter 14Centro per l’ArteContem
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Charter 15Michelangelo Pistoletto
Page 341 and 342:
Chapter 15Ambitions and Key Decisio
Page 343 and 344:
Chapter 15Key decision 4On the dema
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Chapter 15Ambition 8. Culture and d
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Chapter 15Ambition 10. Express an I
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Chapter 15Creative cities and local
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Chapter 15Action 4 : Organise inter
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Chapter 15so hard in recent years t
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Chapter 15system. As the “global
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Chapter 15ObjectiveEncourage the en
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Chapter 15• stop agricultural and
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Chapter 152 Publishing, Radio and T
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Chapter 153 Computer, Software and
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Chapter 15ObjectiveRedesign the rel
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Chapter 15visitors but also taking
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Chapter 15ObjectiveSupport the inte
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Chapter 15local authorities in orde
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Chapter 15important invitation (for
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Notescountries must incorporate the
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Notesxlviii The Doxa-Mercury-Tourin
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Noteslxxv A recent study (D. Urruti
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BibliographyAntonelli, C. e Barbiel
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BibliographyCreplet F., Dupouet O.,
Page 385 and 386:
BibliographyHall P. (1998), Cities
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Morelli M. (2003), Teoria e tecnich
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BibliographySacco, P.L., Tavano Ble
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BibliographyTorino Internazionale,
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AuthorsAuthorsPriscilla Altili - Pr
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AppendixAppendixWHITE PAPER ON CREA
Page 397 and 398:
AppendixConception andProductionDis
Page 399 and 400:
AppendixPUBLISHINGConception andPro
Page 401:
AppendixConceptionand ProductionARC
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