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  This is an Open Access Journal Open Access journal
   ISSN (Print) 1974-563X
   Published by Monti &Taft Homepage  [2 journals]
  • Alessandra Scandella

    • Authors: redazione
      Abstract: Alessandra lives in Milan working with watercolor for advertising and publishing.   In 2004 she co-founded Studio Container, in Milan, that deals with illustration, graphic design, web design,animation. Alessandra’s watercolors appear at Triennale di Milano. She works for Tod’s and Bulgari and realized the illustrations for Lavazza Calendar, with photos by Steve Mc […]
      PubDate: Wed, 15 Mar 2017 15:30:53 +000
  • What will remain of the Days ?

    • Authors: Maria Cristina Vannini
      Abstract: Free entrance to museums on the first Sundays of each month seems to have been a great success till its launch in July 2014. It has seen the average increase of visitors throughout Italy of some 260thousand units per month in 2016. More or less as half the yearly visitors in region Marche museums for the same year, following the data of the Mibact or as if the same number of population of the Greater Milan area visited museums or archaeological sites and parks during the twelve free Sundays. Surely it looks like a great success. Overall, it demonstrates that museums arise interest and curiosity in a large number of population. But these numbers don’t tell us anything about the people they represent or about the related “visitors’ journey”. What is the level of loyalty to these events? Are the same people traveling throughout the country planning a free visit to the Italian museums or is mainly a locally-based phenomenon? Can the visitors be profiled at least on the basis of the traditional demoscopic categories?Above all, these numbers don’t say anything about the kind of experience the visitors live and what remains of it, to both actors involved: visitors and museums. It should be time for the national cultural policies to clarify the meaning of success pursued, since the investment required for running the Sundays free entrances or similar openings (i.e. last March 8th ) on national or local level is significant for the public administrations and since lately it has been replicated in other sectors of the cultural production. In facts, the trade-off of this kind of operations is highly worthy if they can help defining further cultural strategies in audience development and in cultural production, and if they can collect valuable feedbacks and data on which cultural institutions can improve their cultural offer and develop new creativity.
      PubDate: Wed, 15 Mar 2017 15:30:38 +000
  • Music Industry: between indie productions and innovative startups

    • Authors: Lara Limongelli
      Abstract: In these times we used to talk about every kind of art expression as performative acts: for visual arts and also for music. Like all performing art, also music introduces itself as a theatrical experience, an all encompassing and communal experience – the involvement of spectators for first, feelings, the emotional power from the rituals surrounding these shows, the experience.In this cultural landscape, in our times, two things seems in opposition, but they don’t: on the one hand, the introduction and the diffusion of new technologies creates open space to experimental form, sort of mash up between music, video and interactive systems ( it results from the tradition of the experimental music from 1970, with personality as Philip Glass, Laurie Anderson, Meredith Monk, Steve Reich, Robert Wilson, Peter Gabriel, Brian Eno and many more), even introducing AI (artificial intelligence[1]) or VR (virtual reality), the simple streaming vision of a live show, and also more relevant implications for music business.On the other hand, economic crisis put every musicians in the necessity of embracing new ways of sharing, creating and selling music.This necessity often is a translation of a new kind of diy (“do it yourself” practice) for musicians, producers, promoters, helped by digital technology: this is not valid only for live events (different places from the institutional ones, as record store, Blutopia [2] in Rome for example, or clubs, different tour management or self-promotion with the use of social media and video sharing) but also for single musicians, emerging bands or labels and associations.As an interesting article writes about music business – which we can extend also to music and musicians in general: “the music business has been through a number of changes in the last fifteen years, and has often found itself at odds with emerging technology (…) Decimated by piracy and services like Napster, record companies tried to adapt, first by selling mp3s and then finally agreeing to join forces with commercial streaming services like Spotify and Apple Music. Those services represent an ever-growing portion of revenue for labels and artists, but one big problem remains - they fail to make up for the loss of income due to declining CD sales. Fortunately, there are a number of new technologies that will bring major changes - and significant financial gains - to the music business.[3]”
      PubDate: Wed, 15 Mar 2017 15:30:20 +000
  • Museums’ visitors in Italy

    • Authors: Silvia Cacciatore
      Abstract: In a country where cultural participation generates alarming negative numbers (in 2015, 68.3% of the Italian population has never entered a museum [1] ), it becomes crucial to understand the new public and study suitable strategies for a cultural proposal able to better reflect their interests. Indeed, although this percentage is on the rise compared to the trend of recent years, there is a kind of cultural impoverishment, which concerns not only the museum, but also publishing, theater, music and dance. The 88.3% of the total population of our country in 2015 has never attended a classical music concert, 78.8% have never seen a play, 51.9% have never read a newspaper, 56.5% has never opened a single book [2]. It has often been attempted to reduce analysis of public museum culture to a series of data, more or less accurate, more or less exemplary, rather than to a basic theory that you intend to demonstrate and posit as a significant idea and a related cultural marketing strategy. It will be to demonstrate, id est, with the data, the validity of an idea, sometimes deforming the correct reading and interpretation. What is sometimes forgotten is the exact opposite: the need to gather facts on a phenomenon under investigation, and then let the data talk, so that a sense can be drawn from their links and their possible interrelationships. In his "L'analyse des données", Jean- Paul Benzecri, founder of a scientific discipline related to data analysis, wrote: «The model must follow the data, not vice versa [3] ». It is then the daunting task for the researcher to find a connection, if any, between numbers which may be sometimes discordant or present apparently low affinity.
      PubDate: Wed, 15 Mar 2017 15:30:08 +000
  • Gamification Tourism

    • Authors: Enrico Marchesi
      Abstract:       The tourism experience during a holiday or a trip is surely an amazing situation and, for some aspects, it could be compared to the gaming experience. Both of them, in fact, are characterized by the combination of positive emotions and pleasant moment. These common peculiarities are fundamental for the application […]
      PubDate: Wed, 15 Feb 2017 16:30:03 +000
  • Abecedario. Come Proteggere e Valorizzare il Patrimonio Culturale Italiano

    • Authors: Stefano Monti
      Abstract: Abecedario is the new book written by Roberto Cecchi, architect and former Undersecretary of the Italian Ministry of Culture Heritage and Activities and Tourism, published by Skira. The book faces topics that are extremely interesting as well as relevant for the future of our Cultural Heritage.For this reason, we have the pleasure to publish an excerpt of an interview with the author about the book, and in a wider perspective, about the future of our Cultural Heritage.I would like to start this interview with a simple question: why you decided to write this book? It’s quite simple, indeed. There are some things in this book that I couldn’t write during my mandate within the Public Administration for both non-disclosure-agreement rules and for communication needs. Leaving the administration, and thus, leaving my direct responsibilities, I’m now again a free thinker and it is in such a role that I speak in my book. Furthermore, many of the arguments included in the book has been the subject of various articles that I wrote in the beginning of my mandate. I tried to change many of the topics but unfortunately I drew a blank.
      PubDate: Fri, 27 Jan 2017 17:30:52 +000
  • Culture Change: A neuroscientific Analysis

    • Authors: Maria Di Bello
      Abstract: The art and health nexus has always existed, from art as a representation of healthy and sick body to art as a therapeutic tool, to accommodate an ecological conception of human-environment dynamics and becoming "context" in hospitals and healthcare facilities. In recent decades it has received more attention and art began to be the action of changes which follows the state of health, as it has been defined by the WHO (World Health Organization): not merely the absence of disease and infirmity, but a state of physical, mental and social wellbeing. The growing awareness of the social dimension of experiencing art and participation in culture, generated artistic proposals in illegitimacy areas and they became vehicles for the interpretation and transformation of the human and social reality.Interactions thus generated have opened different paths and contexts of meaning capable of building a new paradigm of reality’s knowledge. Artistic and scientific exploration have contributed to emergence of a culture of health that attempts to overcome the diversification and geographic, demographic and social stratifications of wealth. The Culture conceived in this way is a guide of public and private decision-making process, in which everyone has the opportunity to make choices towards healthier lifestyles.This metaphorical reorientation of the categories of thought and ideologies has placed art and culture as a point of interest, in an international context, of different systems: economic, political, educational, technological. In the Italian, cultural system seems to have fully transposed this paradigm shift, becoming an active subject.In a world in which the arts are increasingly forced to justify their shrinking funding, against public accusations of elitism, it is comforting to take note of insights and planning actions that museums and various cultural institutions are producing as a coherent response of "civilization" to an attentive reading of needs.
      PubDate: Sun, 15 Jan 2017 15:30:25 +000
  • A call for a European Model of Culture

    • Authors: Stefano Monti
      Abstract: Recent events, such as the election of the provocateur Mr. Trump as President of United States, the increasing migrations phenomena or the rise of new forms of terrorism, ask for a concrete answer from Europe in one of most important characteristics of our political history: the role and the implementation of the so-called Welfare State.When we talk about Welfare State we describe a set of policies, services and other actions that the public bodies of a Country set up in order to improve the life conditions of its own citizenship. Among the benefits that European Countries most frequently provide to citizens, Culture represents a peculiar object, not only for its structural characteristics (intangible assets and so on) but also for the different ways that governments are interpreting this important resource for human and social development.The implementation of the welfare state often includes also culture and cultural policies, but in most of cases, there is no a common interpretation of how (and which) culture should be provided: this is, to our point of view, one of the central key tasks for the European Agenda. Briefly, from one hand we have the most important traditions about cultural heritage but, on the other hand, Europe forgets that culture is, first of all, a contemporary matter of concern. Since ’50s Europe left to the U.S. the role cultural leader and from then, U.S. showed to the world the ideology of the western, developed countries. We divided the world in rich and poor countries, and our culture was the medium through which we stated that yes, we were in the right place of the world.
      PubDate: Sun, 15 Jan 2017 15:30:17 +000
  • Valentina Biletta

    • Authors: redazione
      Abstract: Since 1997, Valentina Biletta is involved in creating and managing for kids and children. She is also engaged in realizing workshop for teachers proposing different artistic technique, creative activities through the re-usage of waste materials. Furthermore, she coordinates the artistic printing house “Inchiostro Libero” within the Casa di Reclusione di San Michele di […]
      PubDate: Sun, 15 Jan 2017 15:30:15 +000
  • The territory and the small museums: The Case of Piemonte

    • Authors: Valeria Minucciani
      Abstract: In the overview of the museum offer, are the “small museums” a separate category? What are the characteristics of a “small museum” and what are the specific necessities? What are the weaknesses and the strengths? The example of Piemonte shows the extreme prosperity of the “small museums” heritage and also their tight relationship with the territory, but it highlights some points still unresolved.The paper enlightens some scenarios on which it is necessary to intervene with specific actions, underlining the profiles on which it is important to reflect.
      PubDate: Sun, 15 Jan 2017 15:30:00 +000
  • Giordano Poloni

    • Authors: redazione
      Abstract:     Giordano Poloni is an Italian-born illustrator and motion graphic designer. Among his clients: Il Sole 24 Ore, RCS Rizzoli, Saatchi London, HSBC, Wired Italy. His works are regularly included in art exhibitions in Milan, Berlin and New York.   Contacts:     This work is licensed under a Creative Commons […]
      PubDate: Tue, 15 Nov 2016 15:30:32 +000
  • Arts Management Industries and Value Creation

    • Authors: Enrico Marchesi
      Abstract: The increasing importance of the management in the Art Industries has focused the attention on the fundamental role of economic skills, but in order to manage a cultural organization a manager has to pay attention to other non-economic abilities.Everyday newspapers and media talk about the renewed interest in culture and tell about new possibilities to make up a business in the cultural sector, but they rarely explore the qualities that are required to be a good and trained cultural manager. Arts Industries, that are a part of the larger sector of CCIs (for more details about CCIs [1]), are a field in which management’s soft skills and attitudes as entrepreneurial, leadership and intuition are as important as managerial issues. This article describes the role of Arts Industries and the role of managers in the creation of value. The importance of cultural management is recent achievement, but in a brief period, this profession has reached a high consideration in the CCI sector [2].In the first paragraph, the article describes the role of Arts Industries and the role of Cultural managers in the process of value creation, focusing on the double goals that Cultural managers should aim at: the quality of the cultural proposal and the need to create economic sustainability for the organization they’re working for. Paragraph two introduces the kind of values that Arts Industries are able to produce. These are both economic and social, because culture can influence not only business, but also communities and territories. Last paragraph of the article concerns some examples of Art Industries and CCIs that have been able to create profits and jobs or social inclusion and social development.
      PubDate: Tue, 15 Nov 2016 15:30:24 +000
  • Taranto: a Social Innovation Lab

    • Authors: Giovanna Sonda
      Abstract: Since many years European policies have acknowledged culture as a key factor for the development of cities and regions and as a pillar of innovation and social cohesion (ECIA 2014; EU 2013). Nonetheless, it is not yet clear how to measure the impacts of cultural initiatives, especially with respect to intangible aspects such as sense of belonging, social capital, empowerment, and quality of life in peripheral neighbourhoods and post-industrial cities. The evaluation of the impacts of cultural policies usually refers to economic indicators, such as the increase of employment and the wealth produced by the so called ‘Cultural and Creative Industries’ (CCI) (Symbola 2015; Ernst&Young 2014; KEA 2012), or the contribution of big events, such as the European Capital of Culture (ECoC) to urban regeneration (Garcia e Cox 2013; Palmer et al. 2012, Garcia et al. 2010; Johnson 2009).There are several examples of industrial cities that experienced an economic renaissance and a redefinition of their identity and image thanks to specific cultural policies. Liverpool, Turin, Bilbao, Marseille, Genk are well known cities where culture played a strategic role becoming a real economic sector and a pillar of the new development model.If the results in terms of wealth, attractiveness and tourism are more evident and measurable, it is far more difficult to understand the role of culture as an agent of local development processes. This implies the observation of phenomena when they are still emerging and thus cannot be labelled within traditional classification frameworks or measured by means of statistics. Accordingly, the number of new cultural and creative enterprises or the increase of tourists are not useful indicators to measure the innovative potential and social impact of such initiatives. Instead, it is crucial to map the spontaneous clustering dynamics bringing local actors to aggregate, to develop projects and to cooperate with institutions and public administrations (Comunian 2011). This means to investigate what happens in the backstage to identify the preconditions enabling or impeding the emerging and strengthening of a creative milieu.
      PubDate: Tue, 15 Nov 2016 15:30:03 +000
  • The role of Cultural Management and its social and narrative relevance

    • Authors: Valeria Cantoni
      Abstract: In his last book La phrase urbaine, the French philosopher and author Jean Christophe Bailly wrote that the city is like a sentence whose meaning we can understand only if we know its grammar.The city is not only a web of functions and services, but also a narrative fabric that needs to be read and told, explained and shared.Every city has its own urban grammar, requiring a common alphabet in order to generate webs of narratives, of humanity, and of cultural action and citizenship.Today more than any other time in the past there is a need to be civis, and sense is created from partaking what it means to inhabit, work and be a citizen, from the shared meaning of education, civil law and civil rights, dreams and needs, values and of doing and being as culture. Culture is the primary building block of meaning man has ever found, and we must start from culture to help citizens find their own sense, as individuals and as a collectivity.Generally things are no different today than 70 years ago, during the age of totalitarian regimes, or 50 years ago, during the age of counterculture. What is different is the relationship with authority. Today one can no longer trickle something down from above and impose it as a truth for it to be welcomed.Present-day authority is no longer recognized as such – it requires consensus for what it does and not simply for what it is.A city’s grammar cannot be generated from the top-down, from the administration or from private institutions, whether they are businesses, universities or research centers. The role of politics is to create time, location and information opportunities so that the city’s residents can build together their vocabulary, and along with it their own narratives, from the bottom-up.
      PubDate: Tue, 15 Nov 2016 15:30:02 +000
  • Marco Goran Romano

    • Authors: redazione
      Abstract: Marco Goran Romano is an italian award winning illustrator. He currently works in his studio located in Jesi, a little town in the heart of Italy, where he had co-founded a type-centered studio called Sunday Büro with his wife and business partner Valentina “Alga” Casali. Previously, Goran worked as resident illustrator at Wired Italy, […]
      PubDate: Thu, 15 Sep 2016 14:00:44 +000
  • Reflections on the use of the territorial data and GIS in tourism: the
           Italian case

    • Authors: Andrea Spasiano
      Abstract: This paper focuses mainly on issues related to digital tourism with connection to the italian context, in an attempt to show the potentiality offered by the GIS for the development of the tourism sector. For this reason, it will be reported exemplifying cases, of which features and purposes will be highlighted. The digitisation represents a new challenge for the tourist offer in Italy. Some studies and proposals promoted by TD Lab (2014) and by the association ItaliaDecide (2014) have highlighted the need for innovation in the italian tourism sector. The digitisation of tourist services therefore offers the opportunity to reaffirm the competitiveness of an industry with enormous potentiality and resources, but that shows signs of criticality and stagnation. Before examining aspects closely related to digital, it will focus on the concept of tourism and its recent developments. The latter in fact, depend on the growing segmentation of demand, pivoted on the search for new experiences and authentic by the tourist. From this perspective it is seen how the tourist promotion is closely connected with the practices of cultural enhancement and marketing strategies, linked to digital communication.
      PubDate: Thu, 15 Sep 2016 14:00:26 +000
  • Regaining Spaces and Territories. Reflections about the blank side of

    • Authors: Giovanni Campagnoli
      Abstract: Just few years ago, Italy was a Country with more people than spaces. Nowadays, we’re living the opposite conditions: Italy is a Country full of spaces but without people. In Italy we build 8 meters per second, the urbanization rate grew of the 400% between the Post-War period and the 2000, in the same period, the population grew only of the 27%.Depreciation of real-estate goods, due also to the increment of the supply-side of the market, generated an over-production crisis that, as occurred in Spain and in US, has been the origin of other and more complex difficulties of the entire economic system, generating other structural crises.It is not a case, thus, that this economic phase is lasting since 2008 and that today in Italy we have more than 6 million real-estate goods that are unused or underused (that is two times the city of Rome completely uninhabited).These goods are residential buildings (5 millions), public, semi-public and private buildings as, for example empty factories or abandoned industrial buildings, abandoned schools, buildings owned by mutual aid societies or People’s House cooperatives, Winemaking Cooperatives, colonies, and other closed spaces owned by municipalities (hospitals, neighborhood branches, schools and other spaces donated by private citizens as e. g. bequests), abandoned rail stations, buildings confiscated to the mafia, ghost towns, unused road worker’s houses, and many other cases could fill in the list of the parts of Italy that we let go.
      PubDate: Thu, 15 Sep 2016 14:00:13 +000
  • Transforming Historical Cities in Smart Cities by Using Geospatial

    • Authors: Renzo Carlucci
      Abstract: The term geospatial in the Anglo-Saxon world – but also in the scientific and technical Italian elite – is slowly replacing the word Gis, acronym of Geographic Information System. Geospatial is interpreted as a synonym of geographical notions, in a system that can include more than two dimensions, normally represented by the latitude and the longitude, introducing geographical information in a landmark that could be developed in three, or, by now, also in four dimensions. The simplest examples are the google maps, which in the classical plane dimension of the chart sheet have put together the three-dimensional place with a fourth dimension time-slider. The impact of geospatial technology in our daily life has become rather relevant, showing itself as a global reference overview in our environment. The impact of all the innovations that form the Geospatial technology is increasing in our lives. It reached such a relevance to become a key point in our environment. This is particularly recognizable in urban envirornment, as it allow us in using Location Based Sevices technologies, which are able to transform every georeferenced object in a smart object, inserting it in a network of objects through position relationship among which the objects in the network transmit data and information each other.The common use of these networks of objects in our urban environment, could represent the structural network of the Smart Cities. When we use mobile devices in our trips, or when we share our feelings or other personal information on Social Network such as Twitter, Instagram or Facebook, we communicate also our geografical position (if we allowed it in our privacy agreement).Many of the services offered by search engines, using our position, are able in showing us restaurants, hotels, shops, banks, drugstores and everything we need, even classifying the showed results on the basis of the appreciation of other users.Thus, it is clear that geospatial technology is already present in the very core of our lives.
      PubDate: Thu, 15 Sep 2016 14:00:02 +000
  • Trust against fear. The Role of Culture and the Future of Europe

    • Authors: Alfonso Valentino Casalini
      Abstract: In a fragile political and economic framework, the attention to the role that culture can play in creating the bass for the future of Europe is growing rapidly. This paper investigates the impacts that culture create in several aspects of our lives: from the social cohesion to the economic development, from the mechanisms through which culture shapes our cities to the awareness of the sense of our lives resulting from knowledge. Finally, in this paper we would like to point out the links that relate culture, economic development and intangible assets such as feeling of identity and trust.The paper compare the evidence emerging from a recent paper commissioned by the European Economic and Social Committee with the insights provided by several literature reviews and the results of specific projects dealing with culture and social dynamics.In the first chapter, we present the study, comparing several ways to look at the phenomena involved in the process of trust building; in chapter 2 we will underline the relevance of intangible assets such as social cohesion, in Chapter 3 we will analyze, more in detail the necessity of a sustainable economic growth. Our conclusions will show how cultural interventions within the city territory can foster social inclusion, cohesion, and trust.
      PubDate: Fri, 15 Jul 2016 14:00:52 +000
  • Culture is Changing…Oops: already done!

    • Authors: Stefano Monti
      Abstract: Since the 90’s, the world looks astonished at the power of culture as a strategical tool for the development of entire economies and territories. However, in last years, culture, and better said, cultural economics in Italy (but not only in Italy) is really changed.It’s clearly visible: look at the symposium, look in the universities. The great giants of this discipline are fading away, great entrepreneurial groups are changing their focus. Even the group I represent changed its primary market from a consulting to an advisory business model, in order to match the new set of needs that this market is now showing.Nowadays, cultural economics is a more mature market and there is a need for new and specialized skills: be able in designing cultural projects is no longer enough, now, who’s in charge in providing services in this cluster have to be able in funding projects too, or made them sustainable in the short period.This is the evidence that shows how We’re experiencing a great switch of the market. This kind of changes happens when a sector shifts from an emerging stage to a consolidating phase.
      PubDate: Fri, 15 Jul 2016 14:00:35 +000
  • Development of marginal destinations: the case of Menfi

    • Authors: Giovanni Messina
      Abstract: This paper aims to analyse the promotion development of Menfi’s territory. This paper fits the scientific debate about the critical role that Destination marketing and management play in the development of marginal destinations. This paper moves from a geographical approach and, trough a Stake Holders perceptions analysis, wants to emphasise the role of territorial milieu for Menfi’s competitiveness.IntroductionTo describe the theoretical horizon of this paper, we want to focus on the scientific debate about territory, the proactive space where the society acts (cfr Castelnuovi, 2002; Cusimano, 2003; Cohen et al., 2011; Dematteis, 1996; Farinelli, 2003; Landini, 2007; Loda, 2008; Olsson, 2003; Vallega, 2008).This definition of territory grounds on two crucial concepts of our research: territorial identity and territorial governance, meant as local development drivers (cfr. Buttitta, 2003; Dredge, Jenkins, 2001; Governa, 2005; Healey, 1997; Jessop,1995; Rossi, Vanolo, 2010).We have particularly stressed the strong link between identity - the image of a proper cultural, historical, traditional system- and territory. Territorial milieu (or genius loci) is the synthetic theoretical concept of our research. It represents the strongest element that allows to define a sustainable strategy for local development and to boost the competitiveness of a tourist destination (cfr Caroli, 2008; Carta, 2005; De Spuches et al., 2002 Ercole, Gili, 2005; Giliberto, Panetta, 2009; Haughton, Counsell, 2004; Kavaratzis e Ashworth, 2005; Martini, Ejarque, 2008; Pastore et al, 2002 ; Pioletti, 2006; Valdani, Ancarani, 2000; Williams, Millington, 2004).Tourism represents the social and economical phenomenon that, more than others, is referred to those elements. A tourist destination is bounded in a place (cfr Lozato Giotart, 1999) and represents a specific territorial organisation that needs a proper development strategy and involves the material and immaterial resources of the territory, the society and the inner community (cfr Bramwell, Sharman,1999; D’Angella et al., 2010; Dredge, 2006; Gulotta et al., 2004; Ritchie, Crouch, 2000).We have faced the governance of marginal territory issue (cfr Amin, 1999; Amato, 2014; Aru, Puttilli, 2014): we have chosen Menfi (in Sicily) as case study to describe the development of the tourism destination.Menfi is an interesting territory to be analysed. It has a specific geomorphological connotation, a specific productive branch and its public and private Stake Holders have convergent interests in its promotion and development.In this paper we want to describe the quantitative dimensions of tourism in Menfi and the destination management and marketing policies. We have also wanted to show the Stake Holder perceptions in order to understand how the local offer is going to be structured and to know which possibilities of local development can be implemented.We have supposed that in Menfi there is a shared vision and a strong synergy among the Stake Holders for the local development. The governance of Menfi can represent a good example of marginal destination management.The quantitative analysis has been based on Agrigento’s District data. The qualitative analysis on Stake Holders perceptions (cfr Corbetta, 2003; Hay, 2005; Phillimore, Goodson, 2004) has been implemented with semistructured interviews. The interviews have been copied and interpreted through a comparative approach (cfr Cusimano, Sabato, 2014, 68-84).
      PubDate: Fri, 15 Jul 2016 14:00:26 +000
  • Fausto Montanari

    • Authors: redazione
      Abstract:       Fausto Montanari is a freelance illustrator. After his first specialization as illustrator for children addressed products, He enlarged his interests, becoming even more involved in visual design and visual and video art. He is concerned about human being, and he found everlasting inspirations in the different behaviors and in the […]
      PubDate: Fri, 15 Jul 2016 14:00:19 +000
  • Giving new function to heritage building, and it is still a failure?! The
           case study of an unsuccessful transformation of a historic house to a
           multifunction cultural center in downtown Budapest

    • Authors: Melinda Harlov
      Abstract: Change is essential to sustaining heritage sites, enabling them to meet new uses and evolving expectations, goals, and requirements. Rehabilitation for reuse is one of the steps to be considered in order to safeguard architectural heritage. [1] In this context heritage means only something from the past without any connection to UNESCO’s [2] or the European Commission’s [3] heritage notions and institutions. The category of architectural heritage, including both buildings with defined cultural heritage and the ones that are worthy to save for next generations due to their historical-documentary or artistic value, is a comprehensive set of buildings and consequently it is a considerable variety of characteristics, values and constraints.The reuse must always be investigated thoroughly, because it is the highest form of restoration. Such project unites past and present assuming the respect for environment, historical memory, identity and local culture as basic parameters in the final outcome of the architectural resolution. [4]Accordingly, the existing building is seen as a container in which new units should be placed that are defined by contemporary lifestyle. In a process of proper protection and conservation there is an ongoing challenge to search for balance between structure and shape or old and new. The aim of this challenge is to respond to the needs of modern men and women in the limits of the existing structure. [5] For this reason many questions have to be asked and discussed regarding for instance the management of economic sustainability, integration and hybridization of uses as well as absorption capacity or compatibility.The present case study introduces the most recent phase in the life of a historical building on one of the liveliest street of the Hungarian capital, Király utca (King Street). The building had been in a very bad condition due to the destructions in World War II and the neglect since then. A private company bought it from the municipality in 1999 and got transformed to a multicultural building complex. The grand opening happened in 2007 and it operated successfully at the beginning. More than a year ago, in January 2015 it got closed down and has been stayed closed and empty since then. It is unquestionable that there are multiple effects, human falls and outside circumstances that together lead to such a tragic end of an initiative and the building but such storyline is unquestionably not unique hence it is worthy to investigate it thoroughly to find out and to propagate the prevention of these causes in the future.
      PubDate: Sun, 15 May 2016 14:00:24 +000
  • Damiano Groppi

    • Authors: redazione
      Abstract:       Born in Codogno I live and work in Milan. I graduated as Illusrator designer at the Arte&Messaggio Institute after working as graphic designer for different company of visual design I now feel the need of dedicate my time exclusively to drowin. I’m currently working for Vogue Sposa (Brides) and Vogue […]
      PubDate: Sun, 15 May 2016 14:00:17 +000
  • Arts Equity

    • Authors: Tara Aesquivel
      Abstract: Diversity in the arts has been a topic of much discussion for many years and the discussion continues to become more profound, more nuanced, and more important. As Nina Simone stated, “An artist’s duty, as far as I’m concerned, is to reflect the times.” The population of the United States, and many countries, has never been more diverse in terms of ethnicity­­ which is typically the type of diversity that is implied in these discussions, although there are many types of diversity worthy of attention and action.In contrast, the history of western art has been dominated by rich white men for centuries, and this is seen in the canon: faces in galleries of European paintings through the Twentieth century are plump and white with rosy cheeks; classic plays, operas and ballets are based on stories of well­to­do and royalty, presumably white. It’s no surprise, then, when recent studies show that today’s arts audiences are not diversifying at the same rate as the general public.This is a serious problem for arts organizations. The classic canon, portraying wealthy white people, is becoming less and less relevant to an increasing percentage of the population. When programming isn’t relevant, audiences shrink. When audiences shrink, not only does revenue decrease and threaten sustainability, but many organizations’ missions, which are centered on interaction with community and audience, are also threatened.The issue is compounded by the fact that the leadership of arts organizations­­typically, staff and board members­­ is not representatively diverse in terms of ethnicity, age, and socio­economic status. Community voices are, therefore, less likely to be accurately represented in strategic planning and governance decisions that determine programming. In this scenario, the programming does not adapt with changing needs of the organization’s constituency and loses relevance.
      PubDate: Sun, 15 May 2016 14:00:15 +000
  • Before Web-Marketing. Digital research for cities and cultural

    • Authors: Simone Lucido
      Abstract: 1. Cultural sites Online VisibilityOnline visibility of a a cultural site can be considered a strong indicator of the institutional ability to activate the cultural heritage.Hand in hand with the spread of the Internet and its penetration into everyday social practices of millions of people, the search for contents relating to a travel destination or a specific monument, has gradually shifted in terms of strategic influence from traditional channels - such as print media, television broadcasts, word of mouth – to online information resources (websites, blogs, forums, social networks). This holds particularly true for Culture and Tourism search, generally conducted by people with medium-high education levels and some experience in the use of Internet.The spread of smartphones and the increased connectivity accelerate such trends, so that an ever growing number of people plan their trips via websites or mobile applications.A study on The Impact of Online Content on the European Tourism [1] highlighted a positive correlation between the presence on the internet, resulting in greater availability of data and information accessible online and the ability to some destinations to attract increasing flows of visitors:Destinations that make greater use of the internet in reaching customers have performed better than their peers in recent years. These destinations have gained market share from competitors, even after accounting for some other factors. Developed markets which have seen the largest gains in market share all have relatively high internet penetration, making good use of online channels to reach customers. Theory [...] suggests that this is largely due to improved information flow supporting the market. Greece, Italy and Spain all have low internet penetration and only Italy has experienced any notable gains in market share over recent years (Oxford Economics 2013, p. 17).
      PubDate: Sun, 15 May 2016 14:00:04 +000
  • Oro Dentro. Un archeologo in trincea: Bosnia, Albania, Kosovo, Medio
           Oriente [1]

    • Authors: Francesca Quadrelli
      Abstract: As shown by the ISIS attacks to the ancient cultural sites of Palmyra and Nimrud in 2015, cultural heritage in the areas of crisis is still today in great danger. Different reasons can explain why it becomes a fair game during the periods of serious instability. If ideological aspects – that is the will of strike symbols and remove the historical memory of any previous religion, culture or civilization – are fundamental, we should not forget that antiquities are a relevant source of enrichment during the periods of war. So taking into account this peculiar aspect of vulnerability it seems to be clear that the answering to some fundamental questions cannot be delayed anymore. Could we protect cultural heritage in the area of crisis? If yes, how? And who should carry out this task? Fabio Maniscalco has had no doubt. Cultural Heritage must be protected also in the war areas. So who was Fabio Maniscalco? Laura Sudiro e Giovanni Rispoli, authors of “Oro Dentro”, tell us the extraordinary story of “an archaeologist in the trenches”, as they called him.
      PubDate: Fri, 15 Apr 2016 10:00:24 +000
  • Big Exhibitions 2010-2014: Institutions, Themes, Circulation. A Global
           Overview and the Case of Italy

    • Authors: Ilaria Taddeo
      Abstract: Exhibitions are a central component of the contemporary art system, as one of the favourite tools for cultural distribution, attraction of public and visibility of cultural organisations. Important instruments for the communication of scientific results and new cultural views, they have become an irreplaceable element for institutions like museums, which have strengthened the practice of exhibitions to promote and enhance their cultural offer.At the same time, in the continuous quantitative and commercial development of the art system, museums have begun to resort to exhibitions in order to attract a larger public, and exhibitions have been affected by marketing techniques. The growth of “blockbuster” exhibitions - popular and often low-quality events - is consistent with the measurement of cultural success in terms of “figures”.The most visited exhibitions, as well as the most visited museums, represent cases of brilliant success that involve in a challenge old and developing cultural contexts, giving the possibility, to institutions and entire cities, of national and international prominence. Since exhibitions have become an increasingly important element of the cultural industry, in several cases a growth in the number of these events has been observed. If the escalation of the art festivals and Biennials is a worldwide phenomenon, in Italy the amount of the exhibitions has exponentially increased in the last ten years, producing a trend –observed in France and Germany as well - that has been defined as a real “mania of exhibitions” .
      PubDate: Tue, 15 Mar 2016 15:30:41 +000
  • Architecture without Architects: How architecture can improve the
           development of decision-making skills in childhood

    • Authors: Andrea DI Bello
      Abstract: Rational and irrational thought have had mixed fortunes in the formulations of the greatest thinkers, philosophers or science men, the one overriding the other scene perfectly consistent with the historical reality that was there as a background. So the exaltation of sentiment left space to positivist ideology, perfect frame of technological and scientific progress, in order to gain momentum when Freudian treatments emphasized that innovative and modern irrational which resulted irreverent even tangible world of the senses.In recent centuries it seems therefore that the Platonic allegory of the cave has created a constant tension between what can be thought and decided according to the lights of reason, and what instead expresses intention and action favoring instinct and feelings.Thus placing itself advocates rational pole it is estimated that you could make choices and act our freedom only by following the principle of a linear determinism that shapes to his will and imposes its objectives to that part of human nature more pervasive and complex, that staging emotions, instincts and needs acquires fame of a runaway horse that attempts to escape the domination of his squire, overturning the chariot. And in this fight between rationality will and irrationality without hesitation emerges a third, the body, separated from the structure of the psyche so outlined.
      PubDate: Tue, 15 Mar 2016 15:30:22 +000
  • Sharing Economy: All of Us in Wonderland

    • Authors: Monika Rut
      Abstract: Obviously, innovation is seen as very fashionable these days. With no surprise, we can search for “top innovators under 30”, “top start-ups to watch” and “top-gadgets” that can improve the way we live. These characterize the private sector well as the risk-friendly, creative, and flexible incubator, where the tendency for “ready-to-play” wealthy investors and ambitious entrepreneurs to gravitate to Silicon Valley dreamland has become the driving force for the birth of innovative solutions.Since Professor Clayton Christensen began using the term “disruptive innovations”, which refers to the selling of cheaper products that can eventually disrupt an existing market, it seems that everyone is now “disrupting” and that every day is seen as an instance of innovation. Similar to Professor Christensen, the German sociologist and philosopher Jürgen Habermas pointed out that our complex societies are clearly susceptible to interferences and accidents and that these offer ideal opportunities for a creating prompt disruption of normal activities. It seems to be natural, then, that while millions of innovative applications based on principles of sharing have proven to be of high economic value the Sharing Economy platforms predict to generate revenues of 335 billion by 2025, shaking the future of many traditional economic sectors.For example, UBER, the Sharing Economy prodigy child for transportation network, possessing no cars and without officially employing has already managed to disrupt taxi industry in over three hundred cities worldwide, bringing about lawsuits and causing employee protests. Though, in this emerging scenario of disruptive innovations and the Sharing Economy, it is obvious that the effectiveness of the public sector is diminishing, leaving important services uncovered and without innovation hopelessly leaving the sector of society impaired. As described in the latest innovation report on European Public Sector Innovation, the public sector is stereotyped as an “outdated infrastructure that lags behind the needs of modern citizens and today’s businesses”.
      PubDate: Tue, 15 Mar 2016 15:30:20 +000
  • Fabio Delvò

    • Authors: redazione
      Abstract:       I’m engineer. I live and work in Milan in the information technology consulting sector and as Illustrator, that’s my strong passion. Since 2015 I have followed an illustration workshop with Alessandra Scandella co-founder of the “Studio Container” in Milan. I like to work with watercolors and inks, due to their […]
      PubDate: Tue, 15 Mar 2016 15:30:19 +000
  • Culture and Citizenship

    • Authors: Daniele Pittèri
      Abstract: Most Italian cities, both big cities and small cities, are experiencing a sort of identity crisis, which is the result of different but convergent factors. The failure of the urbanistic vision as a virtuous urban development model. The unresolved relationship between historic city centre and the peripheries. The bureaucratic resistance to the implementation of mid and long-term strategic plans. The tendency in concentrating the cultural production only into the main cultural production centres. The distance between the University and the places where the urban change process take shape.The lack of intercultural and intergenerational integration processes. The underestimation of the change potential expressed by culture and cultural and creative activities. These are all issues that affect the real development of a culture-oriented society. Furthermore, there is also another point to underline: the rise of an interpretation of cultural and creative phenomenon as a specific tool of the tourism economy: during last decades, this vision shaped both public and private intervention in culture, realizing processes into a “touristic attractors” perspective. Because of the scarce resources, the touristic addressed interventions the implementation of mid and long term strategies mainly addressed to a change and to a cultural-driven urban renewal.
      PubDate: Tue, 15 Mar 2016 15:30:03 +000
  • Megacities: Urban Form, Governance, and Sustainability

    • Authors: Ginevra Stuto
      Abstract: Recently we can see several changes in our society but one of the most important is the transformation of human settlement systems. It is important to consider that for the first time in the history of the human, more than half the world’s population is urban. The megacities are the effect of this […]
      PubDate: Mon, 15 Feb 2016 19:15:55 +000
  • A Babel for Children

    • Authors: Maria Di Bello
      Abstract: Reflection moves from the analysis on today's relations between the art field and science. The dialogue between the two cultures, focused on reciprocity and the plurality of explanatory codes, it tries the emergence of a third culture, founded on knowledge consilience.The epistemological premise on the discussion of the person’s development is enriched by contributions of neuroaesthetics and psychoneuroimmunology.The latest scientific fact highlights how exposure to an "enriched environment" prenatally determine the trajectories of the individual and influences the development of those skills and adaptive behavior needed to have a healthy psychological growth.The art and cultural participation, essential cofactors of this enrichment, rise to powerful motor of modulation of the epigenesis of behavior and embryological processes of maturation.Recent disquisition on the perception of the nature dichotomous of aesthetic object guides us in understanding how is essential to our becoming intentional culture subjects experiencing art since the early stages of life .The interaction between art and science is currently experiencing its environmental enrichment, thanks to the contribution of the cultural industries that not only are interpreters of this interaction, but also a vehicle for new motives of investigation and knowledge.
      PubDate: Fri, 15 Jan 2016 15:00:37 +000
  • Poets: Born or Made? About the utility to preserve some doubts

    • Authors: Elena Granata
      Abstract: Does the prenatal exposure to arts generates love and attitude for the arts? Individuals, that since the very childhood are used to be in harmony with nature, are more incline to become more interested in the environment topics? People living in a sacred context will become religious? Proximity with sciences will generate curiosity […]
      PubDate: Fri, 15 Jan 2016 15:00:27 +000
  • Maja Wronska

    • Authors: redazione
      Abstract:             Born on January 28th, 1989. Graduate of Warsaw University of Technology (Architecture faculty). I work as an architect and freelance illustrator.   My drawings are strictly connected to the architecture so, for sure, architecture is my inspiration. I started to draw ‘seriously’ during the drawing course on […]
      PubDate: Fri, 15 Jan 2016 15:00:20 +000
  • Arts and strategic communication in Italy and Spain: from sponsorship to
           corporate responsibility

    • Authors: Valentina Martino
      Abstract: The paper investigates the rise of business communication strategies based on culture and arts in Italy and Spain. As previous researches demonstrate, cultural communication can work as a strategic asset to develop corporate identity and reputation, enabling organizations to cultivate quality long-term quality relationships with their stakeholders.From this scenario and considering the lack of a systematic European comparison, the study presents preliminary data from a comparative research on the evolution of cultural communication models (patronage, sponsorship, partnership, investment), in order to evaluate similarities and original features of the phenomenon in the two countries by means of an explorative and multi-case study approach.Communication management in organizations and private companies stands as a strategic asset and is not immune to a changing context. While the investments tend today to concentrate on digital and social media strategies (Zerfass et al., 2015), there are other trends emerging in some countries and sectors. One of these is the phenomenon of business communication strategies based on and arts, which some scholars define “corporate cultural communication” (Martino, 2010) or “corporate cultural responsibility” (Azzarita et al., 2010): such approaches see a company including artistic activities, programs, or policies in its own strategic communication policies in order to develop corporate identity and reputation.
      PubDate: Fri, 15 Jan 2016 15:00:15 +000
  • Playing the Networking Game: Why You Should Know That Artist Residencies

    • Authors: Giorgia Gandolfini
      Abstract: Aspiring professional artists must undergo a tough struggle for the world to recognize them as such. Artists are increasingly required to follow qualifyingacademic and working career paths and are pushed to prove the originality and the necessity of their work, while demonstrating its consistency andfeasibility. Also, not only resources are scarce, i.e. the dimension of the market is still restricted, adequate spaces for exhibition and productions arefew and pricey, art production itself is very expensive – but also a great number of artworks saturates the art market. Despite being little known,sometimes entirely mysterious, to the non–‐specialized public, artist residencies play an essential role in the artistic and professionaldevelopment of artists today. As institutions, they are deeply entangled in a network of formal and informal relationships which build up what is called theart world. The benefits residencies generate by taking advantage of such networks have a great impact on artists’ career and is an important reason toknow why they matter in the art system.
      PubDate: Fri, 15 Jan 2016 15:00:02 +000
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