White paper on creativity - ebla center

Chapter 1territory, a cultural district and a systemof music production• attracting talent from foreigncountries• reducing costs in the access toculture (entrance to museums, freeaccess to cultural goods on the Internet,less tax on cultural products), so thatthe country attains, with the obviousaddiction effects, a higher level ofindividual participation and involvementin creative activities; cultural goods, artand culture become an input underlyingthe development of future generations’creativity• the application of the intellectualproperty rights and safeguards forcreativity.1.3 Styles and models ofcultural production andcreativityCulture and creativity combine indiverse ways according to the historicalconditions of the various countries,giving rise to partly different models. Insome countries technological aspectsprevail and technical innovations play adominant role, in others economicaspects related to the development ofmarkets and business prevail; in some,legal aspects and the application anddevelopment of copyright prevail and inothers cultural aspects, based ontradition and social quality, are thedominant features. Although thedifferences between the variouscountries’ models of creativity and ofculture industries are expressed more interms of shifts in emphasis than incontent, we can, nonetheless, outlinetwo distinct profiles. This is not aneutral exercise because each profileultimately contributes to defining andidentifying various sectors in the cultureindustry.The first profile considers creativity andculture production as an input of theknowledge society (according to the strategyof the Lisbon Agenda, approved in2000) of communication technologies, ofinnovations and of the content industries. Thisvision deeply informs the British andScandinavian approaches and theapproach commissioned by theEuropean Union (Kea, 2006). We willcall this model: Creativity forinnovation. Creativity is defined inrelation to innovation and to anindustrial model of producing culturalcontent. The focus in this approach ison scientific research, markets, business,and marketing products and creativeservices. In a variation to this approach– elaborated by the WIPO and widelypresent in the American experience –the production of culture and creativityare enlisted in the development of theproduction of intellectual property. Thecultural and creative industries takeninto consideration become a subclass ofthose based on the assigning ofcopyright: the audiovisual sector, film,music, software, the performing arts andpublishing.The second profile conceives ofcreativity and cultural production as aninput of social quality. We will describe thismodel as Creativity for social quality.It mainly refers to the products ofculture and social life and the sectorsexpressing them. There is a specialWHITE PAPER ON CREATIVITY 21