White paper on creativity - ebla center

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Chapter 12Michelangelo Pistoletto “House on a human scale (minusobjects)” 1965-1966Wood and enamel, 200 x 100 x 120 cmFrom the exhibition: Le porte di Palazzo Fabroni, 1995 PistoiaPhotograph: A. Guaitoli
Chapter 12Chapter 12Architecture12.1 The creative sphere“Architecture… means the moulding andaltering to human needs of the very face ofthe earth itself, except in the outermostdesert” liiiIn the collective imagination, architectsare creatives par excellence, together withartists and designers. The product of thearchitect’s intellectual work is all aroundus. Architects mould the space we livein, give form to houses, cities andlandscapes. They meet people’s needsand desires for places in which to live,withdraw in solitude, meet others, work,be entertained, trade, study, or pray. Byresponding to social requirements andthe conditions of context, architectsleave an historical document, reflectingtheir age, system of knowledge, habitsand customs.And when the echo of mathematicalknowledge is figured in the landscape orin architecture, as in the Pantheon orHagia Sofia, or the narrative of peacefulcoexistence of different peoples isexpressed, as in the Bridge of Mostar,architecture represents cultures, theidentity of places and people whoinhabit them, and is a testimony to besafeguarded as a collective heritage.Arguably more than in any othercountry, in Italy architecture pervadesthe national culture. The country has asmany as 43 sites in the UNESCO WorldHeritage list and has acknowledged thevalue of its own landscape by protecting46% of the whole national territory.Moreover, Italy has pursued anextensive policy for the restoration andredevelopment of its own architecturalheritage.Italian creativity in architecture is adistinctive feature on the internationalscene. This solid reputation has beenbuilt up through the centuries thanks tothe work of exceptional architects and awidespread high-quality architecturalheritage, which has been universallyacknowledged by the experts anddeserves to be highlighted anddeveloped further.In addition to this indisputablereputation focusing world attention onour initiatives, the country has theinvaluable potential of numerous youngarchitects (49% of architects registeredwith the obligatory social insurance andpension fund are under 40), who havestarted up practices, investing energy,talent and money. This gives us a goodidea why the sector deserves specialattention in terms of defining strategiesand actions for the growth andinternational positioning of Italy in theeconomy of creativity and the culturalindustries. After years of stagnancy, thenumber of ideas and designWHITE PAPER ON CREATIVITY 275
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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
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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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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
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Page 235 and 236: Chapter 10advertising, re-launched
Page 237 and 238: Chapter 10Current creative practice
Page 239 and 240: Chapter 10Communications and creati
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Page 243 and 244: Chapter 10Public relations and corp
Page 245 and 246: Chapter 10In Italy political commun
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Page 249 and 250: Chapter 10flags in the past). But a
Page 251 and 252: Part IVThe historical and artistic
Page 253 and 254: Part IVLastly, the intangible goods
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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
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Page 265 and 266: Chapter 11meticulous process of gat
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Page 271 and 272: Chapter 11period of 8%. Someone mig
Page 273: Chapter 1111.6 ConclusionsAs we hav
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Page 283 and 284: Chapter 12Figure 12.3 Technical fir
Page 285 and 286: Chapter 1212.4 The bricks of creati
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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
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Page 301 and 302: Chapter 13These experiments, seen a
Page 303 and 304: Chapter 13Table 13.2 - Diversificat
Page 305 and 306: Chapter 13Figure 13.1 presents the
Page 307 and 308: Chapter 1313.5 The performing arts:
Page 309 and 310: Chapter 13developments. Moreover, t
Page 311 and 312: Chapter 13programmes to changed soc
Page 313 and 314: Chapter 13education colleges”) pr
Page 315 and 316: Chapter 13Table 13.5 - The Italian
Page 317 and 318: Chapter 13emblematic. The company r
Page 319 and 320: Chapter 14Chapter 14Contemporary Ar
Page 321 and 322: Chapter 14similar phenomena are now
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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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