White paper on creativity - ebla center

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Chapter 66.5 ConclusionsA key feature of the Italian tasteindustry is the extraordinary numberof products and their rootedness inthe distinctive identity fabric of a localterritory. Food and wine is a verycomplex sector combining economicweight with intangible features of thecultural heritage. The small and verysmall size of businesses is anotherdistinctive feature, which has bothelements of strength and points ofweaknesses and vulnerability.Although the sector is not labourintensive, human capital plays astrategic role at the stage ofconception and creativity in thestrictest sense, but also in theproductive processes and in buildingstrong links with the local community.The close bond with the local territorymakes quality food production asustainable activity and, according tothe figures, economically worthwhile.The transmission of knowledge fromone generation to another, mainlybased on non-formal components,seems to have been successfullycombined with the introduction ofprocedural, technological andorganisational innovations. This hasencouraged the creation of newcompetent specialised professionalfigures and ad hoc training courses.Despite obvious differences from oneregion to another (mainly due to a lackof protection in the South andarguably too much protection in theCentre and North), the taste industrytends to appear as a system potentiallywell-integrated throughout theproduction chain. Moreover, the foodand wine industry has considerablecapacities for synergies withneighbouring production sectors, suchas tourism, and especially culturaltourism. In fact certified productsconvey a positive image whichenhance the whole local area. Byencouraging more integration betweensectors, the conditions can be createdfor the development of externaleconomies. The acquisition andtransmission of innovations – whetherthey are new recipes, new foodmaterials or new methods ofpreservation, packaging, distributionand consumption – happens veryquickly and is a constant phenomenonrunning through the system (often in atwo-way or circular fashion) from thehighest luxury segment to the morepopular local segment. Unlike fashionproducts, food and wine products donot show exorbitant differencesbetween high and low price brackets,and quality products are welldifferentiated from non-qualityproducts. This means it is veryimportant to ensure that producershave a solid support system, especiallyin order to make communications topotential customers more effective.Moreover, the culture of quality foodand wine should be linked andintegrated systematically with policiesdeveloping other local cultural goods,such as those part of the historical,artistic and landscape heritage.WHITE PAPER ON CREATIVITY 152
Part III
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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
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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
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 113 and 114: Chapter 5Michelangelo Pistoletto
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 and 134: Chapter 6The taste industry or rath
Page 135 and 136: Chapter 6aim of creating a virtuous
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: Chapter 6adulterated with methanol,
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
Page 185 and 186: Chapter 7Bagnoli, near Naples, whic
Page 187 and 188: Chapter 77.7 ConclusionsThe Italian
Page 189 and 190: Chapter 71960 Cannes Golden Palm La
Page 193 and 194: Chapter 88.1 Company sizeBoth in pu
Page 195 and 196: Chapter 8dynastic line have not alw
Page 197 and 198: Chapter 8It may be no exaggeration
Page 199 and 200: Chapter 88.5 The individual sectors
Page 201 and 202: 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.,
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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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