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White paper on creativity - ebla center

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Chapter 10(Gadotti, 2001, p. 16). This fieldincludes public administrati<strong>on</strong>structures, government-c<strong>on</strong>trolledbodies, large instituti<strong>on</strong>s, politicalparties, associati<strong>on</strong>s, representativeorganisati<strong>on</strong>s and n<strong>on</strong>-profitorganisati<strong>on</strong>s.These players are often flanked,however, by public or privatecompanies, which thus operate insidethe market <strong>on</strong> n<strong>on</strong>-profit initiatives.Here, for example, we have supportactivities for social causes pursued bycompanies also through cause-relatedmarketing(Dash/Abio,Pomellato/WWF,andSvelto/Comunità Sant’Egidio andOpera San Francesco, to menti<strong>on</strong> but afew), but also activities aimed at raisingpublic awareness <strong>on</strong> social issues (e.g.the Heineken campaign against drinkand driving).The objectives of socialcommunicati<strong>on</strong>s – mainly aimed atannouncements of identity, increasingvisibility, or fundraising and focusingpublic opini<strong>on</strong> <strong>on</strong> social issues andthemes (values/rights) – are achievedby using tools typical of commercialadvertising, the same media, and oftenthe same advertising agencies.In the 1990s public serviceannouncements were given a legalframework (Law 241/1990 to Law150/2000) and offices for relati<strong>on</strong>swith the public were created(Legislative Decree 29/1993). Tounderstand the specific features ofpublic communicati<strong>on</strong>s we askedRoberto Grandi to describe the profilesof "<strong>creativity</strong>" in Italy in the sector ofsocial, political and instituti<strong>on</strong>alcommunicati<strong>on</strong>s.Profiles of <strong>creativity</strong>Roberto GrandiThe three sectors making up public communicati<strong>on</strong>s are also diversified in terms of theirprofiles of “<strong>creativity</strong>”.As far as social communicati<strong>on</strong>s are c<strong>on</strong>cerned, endowing the communicati<strong>on</strong> processwith a healthy dose of “<strong>creativity</strong>” is c<strong>on</strong>sidered a powerful way of enhancingcommunicati<strong>on</strong>s. In this sector the activity refers to the stages of c<strong>on</strong>ceiving, producingand c<strong>on</strong>veying the various texts. “Social” customers make it impossible to innovate – attimes radically – the c<strong>on</strong>tent, the means of expressi<strong>on</strong> and media used, and thereforemarketing advertising and public relati<strong>on</strong>s, with a special focus <strong>on</strong> the media and thec<strong>on</strong>structi<strong>on</strong> of events.The communicati<strong>on</strong>s of public instituti<strong>on</strong>s have very varied objectives – from serviceannouncements to informati<strong>on</strong> for citizens – and are used by very different instituti<strong>on</strong>s(in terms of size, missi<strong>on</strong>, and structures). This leads to a rather patchy use of creativecommunicati<strong>on</strong>s tools. The creative profiles are thus involved in c<strong>on</strong>structingcampaigns, creating events and also organising participatory democracy throughinnovati<strong>on</strong>s in communicati<strong>on</strong>s which lead to inclusive processes. Creativecommunicati<strong>on</strong> methods are used less in internal communicati<strong>on</strong>s.WHITE PAPER ON CREATIVITY 244

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