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Chapter 6as for example, the reduction in pastaconsumption, documented by ISTAT.Italians’ growing concern with personaland health care has stimulatedinnovation and boosted demand forhigher quality. In the last three years,over 4,000 products have beenreformulated to reduce cholesterol,saturated fat or salt content. Accordingto a Censis survey, 66% of overall foodindustry sales consists of classictraditional Italian food,10% of typicaland organic products and 24% ofinnovative products, especially ready toeat foods. In 2005, Unilever had aturnover of 760 million euros or 39%of the Italian frozen food market. Afterfish (34%) and vegetables (32%), 20%of its sales were for ready to eat dishes,i.e. the sector which has moreobviously assimilated local or regionalgastronomic influences. A significantfigure as regards innovative trends infood concerns functional foods, a termcoined in Japan for those foods which,independently of their nutritional valueand pleasure, have beneficialproperties. In Italy there are variousexamples in this direction. Accordingto a Censis study, among the criteriaused by Italians for choosing foodproducts and wine, quality is thepredominant factor for 39% of theinterviewees, accessible price for 32%,and the impression of freshness for10%.Moreover, an emerging innovativephenomenon is food design, i.e. thediscipline concerning the aesthetic andfunctional design of food, which is alsotaught at some Italian universities.Food and beverage are conceived asworks of art involving culinaryperformances which can even takeplace in some rather unusual places,such as contemporary art exhibitions.A creamy espresso to be eaten with ateaspoon, called Espesso, created byFerran Adrià for Lavazza, was decreedby Time as one the best inventions of2006.The so-called Slow Food experiencedeserves a separate chapter because ofits influence on the development of theItalian gastronomic heritage and itscreative approach to innovation. TheSlow Food philosophy spreadinternationally as a new etiquette andeducation about food in the name ofquality, loyalty to tradition andauthenticity.Originally called Arcigola, Slow Foodwas founded by Carlo Petrini at Bra(Piedmont) in 1986. Today theassociation has 35,000 members and410 local sections called condotte in Italy.In 1989 Slow Food became aninternational association with its ownnational offices in Germany,Switzerland, the United States, France,Japan, and the United Kingdom. In 122countries worldwide, Slow Food has40,000 members and 800 convivia(chapters). Each branch, co-ordinatedby a convivium leader, organises courses,food and wine tastings, dinners andtrips as well as promoting localcampaigns launched by the associationaimed at implementing projects such asschool vegetable gardens orparticipating in larger events organisedby Slow Food at international level.The association’s mission is to educatepeople to better taste, safeguardbiodiversity and traditional foodproduction, promote a new food modelbased on respect for the environment,traditions and cultural identity with theWHITE PAPER ON CREATIVITY 134
Chapter 6aim of creating a virtuous network ofinternational relations and sharedknowledge. So far projects financed tosafeguard biodiversity include the “Arkof Taste”, the “presidia” and the SlowFood Award for the protection ofbiodiversity. The Ark of Tasteresearches, catalogues, describes andinforms about almost forgotten tastesin danger of extinction worldwide, butwhich have real production andcommercial potential. The presidia –around 200 in Italy and 90 in the restof world – support excellent small farmproductions in danger of disappearing.By directly involving producers, theyoffer assistance to improve the qualityof products and return to traditionaltechniques. In 2003, in collaborationwith the regions of Emilia-Romagnaand Piedmont, Slow Food set up thefirst University of GastronomicSciences, based at Bra and Colorno.6.2 The geography of tasteTo understand the economic and socialimportance of the taste sector in Italy,we can begin by considering the factthat the farm and food sector ischaracterised by a remarkable diversityof biological varieties and typicalrecipes. In fact almost 4,400 traditionalfarm and food products xv weresurveyed by the Ministry forAgricultural Food and Forest Policies(MiPAAF) according to thegeographical distribution shown inFigure 6.1.Figure 6.1. – Regional distribution of traditional farm and food products(2007)TuscanyPiedmontVenetoLazioCampaniaCalabriaLiguriaSicilyTrentinoLombardyEmilia RomagnaMoliseSardiniaMarchesApuliaFriuli Venezia GiuliaAbruzzoUmbriaBasilicataValle d'Aosta1431437042292392001992181591701481902732873363293693734550 100 200 300 400 500Source: our elaboration of MiPAAF data, 2007.WHITE PAPER ON CREATIVITY 135
Page 1 and 2:
White pape
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IndexAcknowledgements .............
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IndexPart III......................
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Index14.5 Repercussions on art coll
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AcknowledgementsThe White</
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We would like to thank Michelangelo
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Chapter 1Michelangelo Pistoletto -
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Chapter 1intellectual, literary and
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Chapter 1leisure, entertainment, cu
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Chapter 1systems, in which there is
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Chapter 1territory, a cultural dist
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Chapter 1Social qualitySocial quali
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Chapter 1intangible cultural goods
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Chapter 1and quality certification)
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Chapter 1In the case of “absorpti
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Chapter 1According to this classifi
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Chapter 1Figure 1.3 - The creativit
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Chapter 1Table 1.2 - Value Added an
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Chapter 1Figure 1.5 - Contribution
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Chapter 1Figure 1.6 - Comparison wi
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Chapter 2Chapter 2The Italian model
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Chapter 2interest”. Thus since 20
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Chapter 2intercultural dialogue for
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Chapter 2There is a strong interdep
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Chapter 2On this point the recommen
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Chapter 2edited by Frontier Economi
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Chapter 2measure the sectors of eco
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Chapter 2publishing and architectur
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Charter 3Michelangelo Pistoletto -
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Chapter 3physical setting of our ho
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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
Page 83 and 84: Chapter 33.7 Concluding remarks :It
Page 85 and 86: Part II
Page 87 and 88: Part IISymbolic goodsThere is no ra
Page 89 and 90: Part IIMaterial culture goods as mi
Page 91 and 92: Part IIobjects. In short, quality d
Page 93 and 94: Chapter 4Michelangelo Pistoletto
Page 95 and 96: Chapter 4accessories has built up t
Page 97 and 98: Chapter 44.2 The roots of Italiande
Page 99 and 100: Chapter 4All of these factors would
Page 101 and 102: Chapter 4business) as most resident
Page 103 and 104: Chapter 4They may collaborate simul
Page 105 and 106: Chapter 4ideas and research to the
Page 107 and 108: Chapter 4Table 4.1 - Companies in t
Page 109 and 110: Chapter 4From an initial interpreta
Page 111 and 112: Chapter 4profession, which combines
Page 115 and 116: Chapter 5but also in generating inc
Page 117 and 118: Chapter 5private institutions, such
Page 119 and 120: Chapter 5of exports to the main mar
Page 121 and 122: Chapter 5Croce in Tuscany) and thos
Page 123 and 124: Chapter 5Table 5.5Brand Country Sec
Page 125 and 126: Chapter 5squares - to the equation
Page 127 and 128: Chapter 5A last vitally important e
Page 129 and 130: Chapter 5Worldwide there are around
Page 133: Chapter 6The taste industry or rath
Page 137 and 138: Chapter 6The taste industry has vis
Page 139 and 140: Chapter 6and vegetables (18%). On l
Page 141 and 142: Chapter 6compared to traditional, n
Page 143 and 144: Chapter 6Spelta). Farro is consider
Page 145 and 146: Chapter 6The Italian guidebook, Gam
Page 147 and 148: Chapter 6and the channels of the la
Page 149 and 150: Chapter 6Table 6.3 shows the region
Page 151 and 152: Chapter 6adulterated with methanol,
Page 153 and 154: Part III
Page 155 and 156: Part IIIThe superstar phenomenonWhy
Page 157 and 158: Part IIIis easy to see that such co
Page 159 and 160: Chapter 7Chapter 7Film7.1 Italian c
Page 161 and 162: Chapter 7In the last few years Ital
Page 163 and 164: Chapter 7withdraws to a personal po
Page 165 and 166: Chapter 7market for films in cinema
Page 167 and 168: Chapter 7more films than the USA (i
Page 169 and 170: Chapter 7Figure 7.4 - Average admis
Page 171 and 172: Chapter 7in this situation is Franc
Page 173 and 174: Chapter 7i.e. films with the best r
Page 175 and 176: Chapter 7correlated to the capacity
Page 177 and 178: Chapter 7television in 2000-2005 re
Page 179 and 180: Chapter 7The difficult relationship
Page 181 and 182: Chapter 7Figure 7.12 - Italians’
Page 183 and 184: 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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Chapter 8Michelangelo Pistoletto
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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
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Chapter 15Ambitions and Key Decisio
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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
Page 381 and 382:
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
Page 389 and 390:
BibliographySacco, P.L., Tavano Ble
Page 391 and 392:
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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