White paper on creativity - ebla center

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Simon H., (1986), How Managers Express their Creativity, “Across The Board”, n. 23.BibliographySimon, H., (1980), “What computers Mean for Man and Society”, in Tom Forester(ed), The Microelectronic Revolution, Blackwell, Oxford, 419-433.Simonton, D. K. (2000), Creativity: Cognitive, Personal, Developmental, and SocialAspects.Simonton, D.K. (1977) Creative productivity, age, and stress: A biographical timeTaine H. 1865-1926 Philosophie de l’Art, 2 vol., 20° ed. Pars : Hachette.SMI-ATI (Federazione Imprese Tessili e Moda Italiane), 2006 Il settore tessile-modaitaliano nel 2004, Nota a cura del Centro Studi SMI - Federazione Imprese Tessili eModa Italiane per Pitti Immagine.Soletti F., Turismo gastronomico in Italia, Touring, 2002.Solow, R. M. (1987), We’d better watch out, New York Times (July 12), Book Review,36.Sternberg R.J., (Ed.) (1988), The nature of Creativity. Contemporary psychologicalperspectives. Cambridge University Press.Stiles K. e Selz P., (1996), “Theories and Documents in Contemporary Arts”,California Press.Surowiecki J., (2005), “The wisdom of crowds” Anchor Books.Swedish Federation of Consulting Engineers and Architects. Sector ReviewNovember 2007. The Consulting Engineering and Architectural Groups. A Swedishand International Survey.Taiti F. (2007), “L’enogastronomia dà più gusto al turismo italiano” – La Rivista delTurismo n.2 Touring Club Italiano.Testa A.M. (2005), La creatività a più voci, Laterza, Roma-Bari.Throsby D., (2001), Economics and Culture. Cambrdige, Cambridge University Press.Tinagli, I., Florida R., Ström P. e Walqvist E., 2007 Sweden in the Creative Age, HandelsSchool of Business, Economics and Law, Göteborg.Tinagli, I., (2008), Talento da Svendere. Perché in Italia il talento non riesce e prendere il volo.Einaudi, Torino.Tirole J. (1988), The Theory of Industrial Organisation, MIT Press, 1988.Tocqueville A. de (1835), De la démocratie en Amérique, 1835 et 1840, réédition1986, Robert Laffont, Paris.WHITE PAPER ON CREATIVITY 390
BibliographyTorino Internazionale, (2005 Piano Strategico, www.torino-internazionale.orgTornqvist G. (1983), Creativity and the renewal of regional life, in A. Buttimer (ed.) Creativityand Context: A Seminar Report, 91-112, Lund Studies in Geography. B. HumanGeography, No.50 Lund: Gleerup.Travers T. e Glaister S. (2004), “Valuing Museum” Rapporto preparato per laNational Museum Directors’ Conferente (NMDC).Trimarchi, M. e R. Ponchio (2007), 79. “I fantasmi dell’opera: la lirica in Italia tranostalgia e imprenditorialità”, Ticonzero. Knowledge and Ideas for Emerging Leaders,n. 78 pag 9.Ubertazzi L. C., Ubertazzi B., Il diritto della pubblicità: norme e materiali, reperibile alseguente indirizzo: http://www.ubertazzi.it/it/codicepub/doc35.pdfUnalat (in collaborazione con INSOR), L'Italia dei formaggi DOC, Franco Angeli,Milano, 1993 Vizzardi.UPA (Utenti Pubblicità Associati) (2007) “Il futuro della Pubblicità”.Urquiola P., (2008), "Il nostro mestiere è spostare i limiti", Il Sole- 24 Ore, 18 Marzo2008, Rapporto Design.Urrutiaguer, D. (2002), “Quality Judgements and Demand for French Public Theatre”,Journal of Cultural Economics, vol. 26, n. 3 pag 8.Valentino P.A., (2003), Le trame del territorio. Politiche di sviluppo dei sistemi territoriali edistretti culturali, Sperling & Kupfer.Veblen T. (1899), The Theory of the Leisure Class. New York: MacMillan.Republished in 1970. London: Unwin Books, Théorie de la classe de loisir, trad.française, Gallimard, 1970.Vita (2008), Gli italiani e l'impegno sociale secondo l'Eurispes, 25/01 reperibile alseguente indirizzo: http://www.vita.it/articolo/index.php3?NEWSID=89296.Wenger E. (1998), Communities of Practice: Learning, Meaning, and Identity, Cambridge:Cambridge University Press.WIPO (World Intellectual Property Organization) (2003), Guide on Surveying theEconomic Contribution of the Copyright-Based Industries.Wirth L, (1938), “Urbanism as a Way of Life,” American Journal of Sociology, XLIV(July), 1-24.WHITE PAPER ON CREATIVITY 391
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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
Page 97 and 98:
Chapter 44.2 The roots of Italiande
Page 99 and 100:
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
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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
Page 191 and 192:
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
Page 249 and 250:
Chapter 10flags in the past). But a
Page 251 and 252:
Part IVThe historical and artistic
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Part IVLastly, the intangible goods
Page 255 and 256:
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
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Chapter 12harmonious insertion of a
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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
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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
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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
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
Page 367 and 368: Chapter 15visitors but also taking
Page 369 and 370: Chapter 15ObjectiveSupport the inte
Page 371 and 372: Chapter 15local authorities in orde
Page 373 and 374: Chapter 15important invitation (for
Page 375 and 376: Notescountries must incorporate the
Page 377 and 378: Notesxlviii The Doxa-Mercury-Tourin
Page 379 and 380: 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: BibliographySacco, P.L., Tavano Ble
Page 393 and 394: AuthorsAuthorsPriscilla Altili - Pr
Page 395 and 396: AppendixAppendixWHITE PAPER ON CREA
Page 397 and 398: AppendixConception andProductionDis
Page 399 and 400: AppendixPUBLISHINGConception andPro
Page 401: AppendixConceptionand ProductionARC
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