White paper on creativity - ebla center

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Chapter 14Michelangelo Pistoletto “Woman drawing” 1962-1975Screen print on polished reflecting stainless steel, 2 panels, each 250 x 125 cmPhotograph: P. Pellion
Chapter 14Chapter 14Contemporary Art14.1. Contemporary art asdriver and mirror of postindustrialchangeContemporary art is per se purecreativity and speaking about oneimmediately conjures up the other. Butwhen we enter the world of visual arts,we discover that social relations, themarket, production and institutions areimportant factors modifying the verymeaning of the concept of creativity.In the last six months, aninternationally acclaimed artist likeDouglas Gordon has had 22 soloshows, Jonathan Monk 25, and OlafurEliasson 32 (source: artfacts.net). Thisis without counting their participationin collective exhibitions: in ten years,Gordon has been involved in 200,Monk 160, and Eliasson 184. Andthese are conservative estimates. At atime when companies are changingtheir organisation models to create amore ludic and relaxed atmosphere inworking environments so as to makemore room for individual expressionand creativity, contemporary art, therealm of creative thought par excellenceand all the complex and elusivemodalities of its manifestation, seemsto be moving towards the Tayloristmodel of the production line, in aperpetual race with pressing deadlinesfor programmes of increasingly intenseand geographically widespread artevents. Many of the most successfulartists – and especially those who tomake their work require productionprocesses involving a large number ofinterdisciplinary skills – now rely onteams of collaborators, organised insmall or even small to average-sizefirms. We are thus dealing with aprofound change in the productionmethods of contemporary art andperhaps even in the making of art itself.But what drives these artists to work somuch? Why do they engage in suchfrenetic activity, running the risk ofburning up their talent and consumingthe time and energy required for theconception and development of new,profound original projects? Ultimatelythey risk sacrificing the long-termsustainability of their creative processesfor the sake of short to medium-termproduction efficiency. The answer issimple. An enormous quantity ofrequests coming from all quarters: fromtraditional art places, such as museums,galleries, foundations, fairs, privatecollections and publishing houses butalso an increasing number ofcompanies, public institutions,hospitals, universities and scienceparks. Artists are no longer only askedWHITE PAPER ON CREATIVITY 319
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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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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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Page 271 and 272: Chapter 11period of 8%. Someone mig
Page 273 and 274: 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
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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
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Page 321 and 322: Chapter 14similar phenomena are now
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Page 327 and 328: Chapter 14Table 14.1 - Accademie di
Page 329 and 330: Chapter 14and the perception of the
Page 331 and 332: Chapter 14situation. With very few
Page 333 and 334: Chapter 14completely. In other word
Page 335 and 336: Chapter 14find one’s find bearing
Page 337 and 338: Chapter 14Centro per l’ArteContem
Page 339 and 340: Charter 15Michelangelo Pistoletto
Page 341 and 342: Chapter 15Ambitions and Key Decisio
Page 343 and 344: Chapter 15Key decision 4On the dema
Page 345 and 346: Chapter 15Ambition 8. Culture and d
Page 347 and 348: Chapter 15Ambition 10. Express an I
Page 349 and 350: 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
Page 355 and 356: Chapter 15system. As the “global
Page 357 and 358: Chapter 15ObjectiveEncourage the en
Page 359 and 360: Chapter 15• stop agricultural and
Page 361 and 362: Chapter 152 Publishing, Radio and T
Page 363 and 364: Chapter 153 Computer, Software and
Page 365 and 366: Chapter 15ObjectiveRedesign the rel
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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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