White paper on creativity - ebla center

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IndexPart IV..................................................................................... 25011 The Cultural Heritage ............................................................ 255Martha Friel, Guido Guerzoni, Walter Santagata, with the collaboration of Paolo Leon and AndreaGranelli11.1 Creativity, the cultural heritage and the cultural industry...........................................25511.2 The national heritage as a cultural industry ..................................................................25711.3 Cultural tourism and art cities.........................................................................................26111.4 The economic impact of institutions and cultural events...........................................26311.5 Growing visitor demand..................................................................................................26811.6 Conclusions........................................................................................................................27312 Architecture............................................................................ 275Erminia Sciacchitano12.1 The creative sphere...........................................................................................................27512.2 Creativity and architectural quality.................................................................................27612.3 The Italian model..............................................................................................................27912.4 The bricks of creativity ....................................................................................................28512.5 The wings of creativity.....................................................................................................28612.6 Conclusions........................................................................................................................29313 The Performing Arts: The powerless stage ........................... 297Michele Trimarchi, Alessandra Puglisi13.1 The performing arts and creativity : introductory remarks ........................................29713.2 Opera, Italiana ma non troppo.......................................................................................29813.3 The production structure: lavish sets and union restraints ........................................30113.4. Italian opera houses: income and expenses .................................................................30413.5 The performing arts: bureaucracy in the limelight.......................................................30713.6 Education for the performing arts: “an ass, but a solemn ass!”................................30913.7 Towards a reform law ......................................................................................................31213.8 The recording industry: weaknesses and potential ......................................................31413.9. Conclusions.......................................................................................................................31714 Contemporary Art .................................................................. 319Pier Luigi Sacco, Angela Vettese14.1. Contemporary art as driver and mirror of post-industrial change ...........................31914.2 The effects of selection. Italy in the international context.........................................32114.3 Elements for a contemporary art policy in Italy ..........................................................32214.4 The difficulties of young Italian artists and shortcomings in the education system......................................................................................................................................................325WHITE PAPER ON CREATIVITY 6
Index14.5 Repercussions on art collecting.....................................................................................33014.6 The corporate view of contemporary art.....................................................................33114.7 Museums and raising public awareness about contemporary art..............................33214.8 A radical change in language..........................................................................................33415 Creative Italy.........................................................................340Criastiano Antonelli, Enrico Bertacchini, Annalisa Cicerchia, Tiziana Cuccia, Martha Friel, AndreaGranelli, Guido Guezoni, Paolo Leon, Gian Paolo Manzella, Peppino Ortoleva, Stefano Rolando,PierLuigi Sacco, Severini Salvemini, Walter Santagata, Erminia Sciacchitano, Emanuela Scridel,Michele TrimarchiAmbitions and Key Decisions ...............................................................................................341Creative cities and local territories.........................................................................................349Giving more space to creativity in the world of information, communications and theproduction of content.............................................................................................................359Increasing the value of the historic and artistic heritage ....................................................365Bibliography…………………………………………………...379Authors…………………………………………………...........392Appendix….…………………………………………………...394WHITE PAPER ON CREATIVITY 7
Page 1 and 2: White pape
Page 3 and 4: IndexAcknowledgements .............
Page 5: IndexPart III......................
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
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
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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
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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
Page 85 and 86:
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
Page 95 and 96:
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
Page 107 and 108:
Chapter 4Table 4.1 - Companies in t
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Chapter 4From an initial interpreta
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Chapter 4profession, which combines
Page 113 and 114:
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
Page 127 and 128:
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
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
Page 163 and 164:
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
Page 189 and 190:
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
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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
Page 255 and 256:
Chapter 11Chapter 11The Cultural He
Page 257 and 258:
Chapter 11requires processes of co-
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Chapter 11potential in 153 communal
Page 261 and 262:
Chapter 11image and a primary sourc
Page 263 and 264:
Chapter 11important for the success
Page 265 and 266:
Chapter 11meticulous process of gat
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Chapter 11cultural institutes to ac
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Chapter 11in cultural consumption -
Page 271 and 272:
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
Page 281 and 282:
Chapter 12works published in at lea
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Chapter 12Figure 12.3 Technical fir
Page 285 and 286:
Chapter 1212.4 The bricks of creati
Page 287 and 288:
Chapter 12individuals, then the gre
Page 289 and 290:
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
Page 297 and 298:
Chapter 13Chapter 13The Performing
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Chapter 13photostories, soap operas
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
Page 323 and 324:
Chapter 14driving the growth of gal
Page 325 and 326:
Chapter 14income for the state woul
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
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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
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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
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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
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Chapter 15ObjectiveSupport the inte
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Chapter 15local authorities in orde
Page 373 and 374:
Chapter 15important invitation (for
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Notescountries must incorporate the
Page 377 and 378:
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,
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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