La difficoltà di "collocare" le attività economiche derivanti dalla cultura e dalla creatività in un contesto di coerenza ed intelligibilità ha impedito agli studiosi e ai responsabili delle politiche economiche di giungere a conclusioni condivise sui criteri di definizione di questo settore economico. La mancanza di chiarezza nella terminologia raggiunse l'apice alla fine degli anni Novanta, quando le "industrie creative" sostituirono le "industrie culturali", termine fino ad allora ampiamente diffuso e utilizzato nelle politiche culturali nazionali e internazionali. Alla luce dell'intenso dibattito accademico sviluppato attorno alle industrie culturali e creative, la prima parte di questo libro analizza tensioni, dibattiti e divergenze nelle definizioni, nonché le peculiari caratteristiche di queste industrie. Vengono inoltre illustrati gli effetti dell'applicazione di diversi schemi di classificazione del settore culturale e creativo sul suo peso economico, e discusse le difficoltà che esso incontra nella competizione con altri settori per accedere ai programmi di finanziamento europeo. La seconda parte del libro indaga le molteplici relazioni che le industrie creative installano tra di loro e con il contesto urbano. I modelli di localizzazione delle imprese creative vengono analizzati in un caso di studio nella Città metropolitana di Roma. Le distribuzioni spaziali dei diversi settori creativi sono studiate utilizzando punti georiferiti come input per un modello statistico basato sulla funzione K di Ripley. Un'ipotesi nulla di distribuzione casuale viene verificata per le seguenti condizioni: analizzando la distribuzione spaziale di ogni singolo settore creativo rispetto al resto delle attività creative; confrontando a coppie i settori creativi per identificare quelli che rivelano attrazione reciproca; confrontando, per ciascun settore creativo, i modelli di localizzazione delle attività core-creative rispetto alla localizzazione delle rispettive funzioni di servizio. L'analisi empirica ha mostrato che, nella maggior parte dei casi, i settori core-creativi hanno la tendenza di raggrupparsi nello spazio a piccole distanze mentre i rispettivi settori di servizio sono dispersi internamente e disposti attorno al cuore. I confronti reciproci hanno rivelato l'esistenza di cluster creativi urbani caratterizzati dalla coesistenza di diverse attività creative. DOI: 10.13134/978-88-32136-80-7

This book crtitically examines the reciprocal relationship between creativity and the built environment and features leading voices from across the world in a debate on originating, learning, modifying, and plagiarizing creativities within the built environment. The Companion includes contributions from architecture, design, planning, construction, real estate, economics, urban studies, geography, sociology, and public policies. Contributors review the current field and proposes new conceptual frameworks, research methodologies, and directions for research, policy, and practice. Chapters are organised into five sections, each drawing on cross-disciplinary insights and debates: Section I connects creativity, productivity, and economic growth and examines how our built environment stimulates or intimidates human imaginations. Section II addresses how hard environments are fabricated with social, cultural, and institutional meanings, and how these evolve in different times and settings. Section III discusses activities that directly and indirectly shape the material development of a built environment, its environmental sustainability, space utility, and place identity. Section IV illustrates how technologies and innovations are used in building and strengthening an intelligent, real-time, responsive urban agenda. Section V examines governance opportunities and challenges at the interface between creativity and built environment. An important resource for scholars and students in the fields of urban planning and development, urban studies, environmental sustainability, human geography, sociology, and public policy.

This text provides a review and analysis of the rationale for public support of the arts, its development in the US and the policies and institutions through which public support is provided. The effects of public support in practice - on the major high-culture performance arts and disciplines, and on 16 more or less representative organizations - are analyzed, in relation to the expressed goals of the granting authorities, and substantial changes in policy as proposed.

An unconventional socio-economic analysis of the economic position of the arts and artists

Robert Mapplethorpe and Andres Serrano are now legendary, as much because of NEA support of their work as for the work itself. This is one example of what can happen when politics meets culture, and it provides an appropriate snapshot of the issues explored in this book. As in other policy areas, cultural policies develop within a particular political context, evolve as a consequence of government action or inattention, and affect a variety of publics and interests. In this volume, the contributors explore the inescapable politics accompanying public culture. Surveying the philosophical, economic, legal, and political underpinnings of cultural assistance, they articulate not only governments role in the support of the arts, but also basic questions for future cultural policy. Robert Mapplethorpe and Andres Serrano are now legendary, as much because of NEA support of their work as for the work itself. This is one example of what can happen when politics meets culture, and it provides an appropriate snapshot of the issues explored in this book. As in other policy areas, cultural policies develop within a particular political context, evolve as a consequence of government action or inattention, and affect a variety of publics and interests.Americas Commitment to Culture discusses government support of culture as a public policy area. The book focuses on the rationales underlying public support for the arts and examines the development and practice of government as an arts patron. The contributors explore the inescapable politics accompanying public culture. Surveying the philosophical, economic, legal, and political underpinnings of cultural assistance, they articulate not only governments role in the support of the arts, but also basic questions for future cultural policy.

Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers.

In the 1990s, amid political upheaval and civil war, the Socialist Federal Republic of Yugoslavia dissolved into five successor states. The subsequent independence of Montenegro and Kosovo brought the total number to seven. Balkan scholar and diplomat to the region Mieczyslaw P. Boduszynski examines four of those states—Croatia, Slovenia, Macedonia, and the Federal Republic of Yugoslavia—and traces their divergent paths toward democracy and Euro-Atlantic integration over the past two decades. Boduszynski argues that regime change in the Yugoslav successor states was powerfully shaped by both internal and external forces: the economic conditions on the eve of independence and transition and the incentives offered by the European Union and other Western actors to encourage economic and political liberalization. He shows how these factors contributed to differing formulations of democracy in each state. The author engages with the vexing problems of creating and sustaining democracy when circumstances are not entirely supportive of the effort. He employs innovative concepts to measure the quality of and prospects for democracy in the Balkan region, arguing that procedural indicators of democratization do not adequately describe the stability of liberalism in post-communist states. This unique perspective on developments in the region provides relevant lessons for regime change in the larger post-communist world. Scholars, practitioners, and policymakers will find the book to be a compelling contribution to the study of comparative politics, democratization, and European integration.

During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.