White paper on creativity - ebla center

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Chapter 2Michelangelo Pistoletto - “Europa tra Mediterranei” 2009Computer processing over manual processing
Chapter 2Chapter 2The Italian model of creativity and international positioning2.1. Italy’s position inEurope and in the worldPossessing distinctive features bothmarks out differences and assigns anindependent position. In the case ofnational states, the position a countryachieves in a given field turns out to bepolitically significant because it willattract alliances and contribute to asubjective sense of identity.In the field of creativity, the model ofcreativity for social quality positionsItaly on the international scenealongside those countries who valuethe use of culture and creativity inimproving the quality of individual andcollective life.By contrast, in Italy the concept ofcreativity as a phenomenon totallydriven by the impetus of technologicalinnovations is weaker.Since Italy is one of the majorindustrialised nations, we must have apositive view of the component oftechnological creativity – certainly alsoa feature of the country but which onlypartially identifies its content.The two models – creativity forinnovation and creativity for socialquality – are also an example of theNorth-South geographical divide of thecreative issue which features on theinternational agenda. In fact, whereasthe model of creativity for innovation andits insistence on technological aspectsis typical of North European andNorth American countries, the modelof creativity for social quality and itsreference to culture, territory, society,cultural districts and creative citiesseems to interpret better the trend ofcreative processes in Mediterranean,African, Latin American and Asiancountries. In this division of the worldaccording to models of creativity, Italyhas an interesting bridging positionbetween those who aspire to move thecutting edge of technologicalinnovation towards even greatersuccess and those who want theprogress of creativity to be constantlyinformed by ethics, the aesthetic andsocial quality of collective life.Lastly, both models acknowledge thepotential of the creative economy togenerate economic development,income, exports and jobs.WHITE PAPER ON CREATIVITY 41
Page 1 and 2: White pape
Page 3 and 4: IndexAcknowledgements .............
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: Chapter 1Figure 1.6 - Comparison wi
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
Page 53 and 54: Chapter 2measure the sectors of eco
Page 55 and 56: Chapter 2publishing and architectur
Page 57 and 58: Charter 3Michelangelo Pistoletto -
Page 59 and 60: Chapter 3physical setting of our ho
Page 61 and 62: Chapter 3morphology and peripherals
Page 63 and 64: Chapter 3moving raw materials, manu
Page 65 and 66: Chapter 3world. But it is also a ve
Page 67 and 68: Chapter 3society” also involves t
Page 69 and 70: Chapter 3outcomes. The problem is n
Page 71 and 72: Chapter 3greatly empowered in terms
Page 73 and 74: Chapter 3widespread crime and pover
Page 75 and 76: Chapter 3The Harvard economist Edwa
Page 77 and 78: Chapter 3This means that consumptio
Page 79 and 80: Chapter 3concentrate in larger and
Page 81 and 82: Chapter 3Cultural openness towards
Page 83 and 84: Chapter 33.7 Concluding remarks :It
Page 85 and 86: Part II
Page 87 and 88: Part IISymbolic goodsThere is no ra
Page 89 and 90: 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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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
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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:
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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
Page 341 and 342:
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
Page 347 and 348:
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
Page 381 and 382:
BibliographyAntonelli, C. e Barbiel
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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
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AppendixConception andProductionDis
Page 399 and 400:
AppendixPUBLISHINGConception andPro
Page 401:
AppendixConceptionand ProductionARC
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