White paper on creativity - ebla center

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Cover image:Michelangelo Pistoletto “ConTatto” 1962 - 2007Screen print on polished reflecting stainless steel, 22 x 16 x 23 cmEdition for the Ministry of Heritage and Cultural ActivityPhotograph: J.E.S.English Translation by David KerrEditing by Federica CauItalian original version:Walter Santagata (Editor) “Libro Bianco sulla Creatività. Per un modello italiano di sviluppo”.Università Bocconi Editore, Milano. 2009Licensed under the Creative Commons Attribution – NonCommercial – ShareAlike 2.5license.To view a copy of this license, visithttp://creativecommons.org/licenses/by-nc-sa/2.5/ or send a letter to“Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA.”
IndexAcknowledgements ....................................................................9Foreword................................................................................... 10Part I ......................................................................................... 121 Culture, Creativity and Industry: an Italian model .................. 14Walter Santagata, Enrico Bertacchini, Paola Borrione1.1 Introduction...........................................................................................................................141.2 Creativity and social quality: building an Italian model...................................................151.3 Styles and models of cultural production and creativity.................................................211.4 The Macrosector of the Cultural Industries and Creativity in Italy ..............................291.5 Conclusions............................................................................................................................392 The Italian model of creativity and international positioning. 41Enrico Bertacchini, Aldo Buzio, Sergio Foà, Walter Santagata, Emanuela Scridel2.1. Italy’s position in Europe and in the world .....................................................................412.2 Creativity and the European Union : European policies for creativity and theproduction of culture..................................................................................................................422.3 Comparative analysis of approaches to creativity and the production of culture.......502.4 Conclusions...........................................................................................................................563 Creative Cities and Territory ....................................................58Guido Martinotti, Irene Tinagli, with the collaboration of Pier Luigi Sacco3.1 Changes to 20th-century urban systems............................................................................583.2 The “geography of creativity” and the role of cities........................................................723.3 Cities as places of attraction, consumption and sociality................................................763.4 Cities as places of production and dissemination ............................................................783.5 Beyond production and consumption: how to cultivate “creative milieus”................803.6 Risks and dilemmas for creative cities ...............................................................................813.7 Concluding remarks : Italian cities as a model of creativity ...........................................83
Page 1: White pape
Page 5 and 6: IndexPart III......................
Page 7 and 8: Index14.5 Repercussions on art coll
Page 9 and 10: AcknowledgementsThe White</
Page 11 and 12: We would like to thank Michelangelo
Page 13 and 14: Chapter 1Michelangelo Pistoletto -
Page 15 and 16: Chapter 1intellectual, literary and
Page 17 and 18: Chapter 1leisure, entertainment, cu
Page 19 and 20: Chapter 1systems, in which there is
Page 21 and 22: Chapter 1territory, a cultural dist
Page 23 and 24: Chapter 1Social qualitySocial quali
Page 25 and 26: Chapter 1intangible cultural goods
Page 27 and 28: Chapter 1and quality certification)
Page 29 and 30: Chapter 1In the case of “absorpti
Page 31 and 32: Chapter 1According to this classifi
Page 33 and 34: Chapter 1Figure 1.3 - The creativit
Page 35 and 36: Chapter 1Table 1.2 - Value Added an
Page 37 and 38: Chapter 1Figure 1.5 - Contribution
Page 39 and 40: Chapter 1Figure 1.6 - Comparison wi
Page 41 and 42: Chapter 2Chapter 2The Italian model
Page 43 and 44: Chapter 2interest”. Thus since 20
Page 45 and 46: Chapter 2intercultural dialogue for
Page 47 and 48: Chapter 2There is a strong interdep
Page 49 and 50: Chapter 2On this point the recommen
Page 51 and 52: 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 -
Page 59 and 60:
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
Page 93 and 94:
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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Page 115 and 116:
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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Page 133 and 134:
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
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
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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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Page 193 and 194:
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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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
Page 293 and 294:
Chapter 12harmonious insertion of a
Page 295 and 296:
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
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:
Page 309 and 310:
Chapter 13developments. Moreover, t
Page 311 and 312:
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
Page 341 and 342:
Chapter 15Ambitions and Key Decisio
Page 343 and 344:
Chapter 15Key decision 4On the dema
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Chapter 15Ambition 8. Culture and d
Page 347 and 348:
Chapter 15Ambition 10. Express an I
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Chapter 15Creative cities and local
Page 351 and 352:
Chapter 15Action 4 : Organise inter
Page 353 and 354:
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
Page 383 and 384:
BibliographyCreplet F., Dupouet O.,
Page 385 and 386:
BibliographyHall P. (1998), Cities
Page 387 and 388:
Morelli M. (2003), Teoria e tecnich
Page 389 and 390:
BibliographySacco, P.L., Tavano Ble
Page 391 and 392:
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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