White paper on creativity - ebla center

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Chapter 11Michelangelo Pistoletto “The visitors” 1962-1968Painted tissue <strong>paper</strong> on polished reflecting stainless steel, 2 panels, 230 x 120 cm eachGalleria Nazionale d'Arte Moderna, Rome
Chapter 11Chapter 11The Cultural HeritageFrom creativity to the production of culture11.1 Creativity, the culturalheritage and the culturalindustryThe national heritage as a resourcefor creativityIn the chain of value production in thecultural industries, creativity acts as anintermediate good for technologicalinnovation and the development ofsocial quality, the two models analysedas the interpretative background tothis work.The cultural heritage, in turn, is aresource for creativity and itscontribution affects the whole chainupstream, fuelling economicinnovation, historical and artisticresearch, changes in taste, and thetechniques for maintaining, restoring,safeguarding, reconstructing andreproducing cultural goods. In otherwords, the historical and artisticheritage accumulated by all pastgenerations is an essential part of thatcultural contest which, capable ofgenerating positive stimuli, interactswith individuals’ capacity to learn. Bycommunicating with the individual’ssensorial reception system ofemotions, the cultural and socialenvironment is thus one of the keyfactors in producing creativity in theindividual sectors of the culturalindustries considered here.Italy’s cultural heritage is primarilyconsolidated in the national educationsystem, which brings together progressmade in the fields of the arts andscientific research and the Italianhumanistic school tradition. Thetraditional programmes of art collegesand music schools do not seem,however, able to foster creativity in theyoung generations, despite variousannounced reforms. For this purpose,explicit programmes are required toencourage the development of talent,skill and creative competence instudents and teachers right fromprimary school. Joint work and thestimulus of respective imaginative andcreative qualities has yielded goodresults in the British experience bothfor students and teachers (DCMS,2006).Nowadays young people are involvedin creative lessons which help them toexplore and recognise their capacitiesin environments outside the traditionalschool classroom. New techniques areWHITE PAPER ON CREATIVITY 255
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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
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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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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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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
Page 203 and 204: Chapter 8it has forced smaller comp
Page 205 and 206: Chapter 8The two large national net
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Page 209 and 210: Chapter 9Chapter 9Software, Compute
Page 211 and 212: Chapter 9on its capacity to be a sy
Page 213 and 214: Chapter 9Some people even talked of
Page 215 and 216: Chapter 99.3 The Italian caseA prof
Page 217 and 218: Chapter 9Zetel; SeaSoft S.p.A is a
Page 219 and 220: Chapter 9On this market, after its
Page 221 and 222: Chapter 9technologies: 92% of small
Page 223 and 224: Chapter 9Table 9.5 highlights the m
Page 225 and 226: Chapter 9Table 9.7 highlights a ver
Page 227 and 228: Chapter 9figures concerning small c
Page 229 and 230: Chapter 10Cittadellarte - “Italy
Page 231 and 232: Chapter 10and ultimately also consu
Page 233 and 234: Chapter 10been little explored by c
Page 235 and 236: Chapter 10advertising, re-launched
Page 237 and 238: Chapter 10Current creative practice
Page 239 and 240: Chapter 10Communications and creati
Page 241 and 242: Chapter 10Creativity and communicat
Page 243 and 244: Chapter 10Public relations and corp
Page 245 and 246: Chapter 10In Italy political commun
Page 247 and 248: Chapter 10on research conducted by
Page 249 and 250: Chapter 10flags in the past). But a
Page 251 and 252: Part IVThe historical and artistic
Page 253: Part IVLastly, the intangible goods
Page 257 and 258: Chapter 11requires processes of co-
Page 259 and 260: Chapter 11potential in 153 communal
Page 261 and 262: Chapter 11image and a primary sourc
Page 263 and 264: Chapter 11important for the success
Page 265 and 266: Chapter 11meticulous process of gat
Page 267 and 268: Chapter 11cultural institutes to ac
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Page 271 and 272: Chapter 11period of 8%. Someone mig
Page 273 and 274: Chapter 1111.6 ConclusionsAs we hav
Page 275 and 276: Chapter 12Chapter 12Architecture12.
Page 277 and 278: Chapter 12Architectural quality and
Page 279 and 280: Chapter 12sustainability. In this c
Page 281 and 282: Chapter 12works published in at lea
Page 283 and 284: Chapter 12Figure 12.3 Technical fir
Page 285 and 286: Chapter 1212.4 The bricks of creati
Page 287 and 288: Chapter 12individuals, then the gre
Page 289 and 290: Chapter 12designs. Exchanging ideas
Page 291 and 292: Chapter 12periods abroad thanks to
Page 293 and 294: Chapter 12harmonious insertion of a
Page 295 and 296: Chapter 12work, linking up and inte
Page 297 and 298: Chapter 13Chapter 13The Performing
Page 299 and 300: Chapter 13photostories, soap operas
Page 301 and 302: Chapter 13These experiments, seen a
Page 303 and 304: 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
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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
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AppendixConception andProductionDis
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AppendixPUBLISHINGConception andPro
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AppendixConceptionand ProductionARC
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