Transcript La formula organizzativa per le imprese di successo

Unesco World Forum on Culture and Cultural Industries
September 25th 2009
What Is the Role of
Formal and Informal
Education?
Severino Salvemini
Director CLEACC, Economics and Management of Arts, Culture and Communication
Bocconi University, Milano, Italy
Cultural and creative industries had remarkable
transformations since the early 1980s
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Cultural industries moved closer
to the center of the economic
action
Creative companies are no
longer seen as secondary to the
“real” economy
Cultural products increasingly
circulate across national borders
Cultural policy and regulation
have undergone significant shifts
Cultural tastes and habits of
audiences have become more
complex
But also “traditional” industries benefitted by cultural
development
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Benefitial effects of arts and
culture should not be seen only
as linked to the development
of cultural markets, but also as
drivers which produce spillovers
in the general economy
Products and services are more
and more often bought for their
evocative and symbolic values
(from durable, “useful” goods to
identitarian performance)
Cultural industries manage and circulate creativity
Cultural industries
are agents of economic,
social and aesthetical change
Substitution of industrial capitalism
with cultural capitalism
Creativity is a fundamental resource for the post-modern society,
which needs growing intellectual capital in order to cope with the
challenge of the knowledge society
The question is:
“Can we produce creativity?”
And, if yes:
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How can a society mantain a
high level of creativity in the
long run?
How can it be shared among
communities?
How can it be transmitted to the
future generations?
The creative Human Capital comes from:
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Tacit knowledge on the field
(learning by doing; contamination
in the creative cluster; role of a
creative master or menthor)
Formal education in academies,
technical schools, “factories”,
universities, where stones for
professional careers are built
Attraction policies of foreign talents
(role of creative cities or cultural
districts; role of mobility of talents)
Investments in technologies which
help productivity, knowledge
transfer, dematerialization, soft
transformations
But warning: not only education for humanistic and
artistic competences!
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The new patterns of production,
distribution, consumption
require specific management
skills
Arts and culture cannot be sold
like the production and
marketing of other goods or
services (they are merit goods)
Executive leaders and managers
must, in addition to
organizational and economic
competences, know the arts and
the artistic languages and
environments (and…and…
instead of either…or…)
And finally the last brick in the wall : the urban studies
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The creative process is largely
conditioned by the cultural
atmosphere where it develops
The more open, interdisciplinary,
cross-cultural, tolerant is the
environment (educational and/or
professional) the highest will be
the concentration of creative
talents
And the highest the concentration
of talents, the most creative will
be the local economy