City, Culture and Society 3 (2012) 229–233

Contents lists available at SciVerse ScienceDirect

City, Culture and Society

journal homepage: www.elsevier.com/locate/ccs

Introduction

The resurge of the ‘‘societal function of cultural heritage’’.

An introduction

1. The evolution of the relationship between culture, economy followed by another shift in which culture enhances the
and society economy (Table 1).
As the new digital economy rapidly asserts itself, imma-
In the new global competitive context, European coun- terial values determine material ones, and the capacity to
tries face an increasingly fierce wave of competition both create experiences and social networks becomes a primary
from their traditional competitors and from emerging factor of competitiveness. Creative clusters and districts are
economies; this problem is exacerbated by the current eco- a phenomenon that has diffused across European cities and
nomic crisis. In Europe, it is debated whether economic regions; together with networks (Belussi & Staber, 2012)
development will draw on the ability of places to adapt and creative industries (Power & Nielsen, 2010), these clus-
and react to internal and external shocks using local ters and districts have become a point of reference for
resources; this ability alludes to the application of the European strategies oriented toward ‘‘smart, sustainable
concept of resilience, or the capacity of a system to absorb and inclusive’’ growth (European Commission, 2010a).
disturbance and reorganize itself, to social systems (Walk- The relationship between economics and culture
er, Holling, Carpenter, & Kinzig, 2004). According to Holling becomes broader including both the safeguard and
(1973), resilience is not only the capacity to absorb shocks enhanchment of tangible and intangible heritage assets
and maintain functions, but it also includes a second aspect (UNESCO, 2003). Increasingly, culture serves creativity
concerning the capacity for renewal, reorganization and when it is able to generate ideas and innovations to revital-
development, to be taken into consideration for redesign- ize existing knowledge or produce new knowledge. Culture
ing a sustainable future. finds its motivating power in the identities embedded in
A new path for success and the creation of future eco- the artistic and landscape heritage of cities, districts and
nomic opportunities encompasses promoting creativity communities (UNCTAD, 2010).
and innovation by sustaining talent and excellent ideas to Cultural economics and the economics of creativity inte-
make Europe an attractive place for the best researchers grate and jointly contribute to the new combinations
in the world. Whereas human capital is undoubtedly offered by the experience economy to extend Florida’s
acknowledged as a key strategic resource, artistic heritage (2002) concept of the creative city not only to large metro-
is also an important asset to consider, especially if it is eco- politan areas in Northern America but also to urban periph-
nomically enhanced through the application of science and eries, small towns and rural areas of ‘‘old’’ Europe
technology. Therefore, material and immaterial heritage (Andersson & Andersson, 2006). The traditional approach
becomes a catalyst for innovation and development, offer- of the creative class, while gaining wide recognition, is sub-
ing a competitive advantage in terms of both resources ject to sharp criticism, bringing cultural and creative indus-
endowment and competencies (KEA, 2009). The fact that tries to the front of debate once again (Pratt, 2008).
this type of heritage is also widespread regarding clusters, The same definition of creative industries evolves, shift-
districts, cultural and creative industries makes it all the ing from the narrow approach of the English Mapping Doc-
more important (Lazzeretti, 2013). ument (DCMS, 2010) to a more inclusive one. This shift
In this context, culture has recently asserted itself as a recovers the distinction between cultural and creative
driver of economic development in both industrialized industries, acknowledging the presence of different forms
and developing countries. While culture was first consid- of creativity in each country; however, the new definition
ered as an asset to safeguard (Towse, 2011) and then as a also encompasses related activities such as tourism, leisure
flywheel for economic development (Cooke & Lazzeretti, and the experience economy (European Commission,
2008), it is now increasingly seen as an important resource 2010b).
for innovation in the wider economy (Jeffcutt & Pratt, Cultural and creative industries are not only assigned a
2009). In other words, we have witnessed a passage from strategic role in ending the current crisis, but they are also
the preservation to the economic enhancement of culture,
1877-9166/$ - see front matter Ó 2013 Elsevier Ltd. All rights reserved.
http://dx.doi.org/10.1016/j.ccs.2012.12.003
230 Introduction / City, Culture and Society 3 (2012) 229–233

Table 1
The evolution of the relationships among culture, economy and society: the resurgence of the ‘‘Societal function of Cultural Heritage’’.

Safeguard Economic enhancement of culture

– Culture as a resource to preserve (repository) – Culture as a production factor in cultural clusters and districts
– Focus: safeguard of heritage – Focus: economic local development
Cultural enhancement of the economy Social enhancement of culture
– Culture as a set of capacities and resources for innovation in cities, industries, – Culture as a safeguard of identity and authenticity
districts and creative clusters
– Focus: innovation process and growth – Culture for social cohesion and integration
– Culture for democracy and well-being
– Focus: sustainable cultural capitalism

Source: our elaboration.

acknowledged to have a fundamental function in the tran- economic crisis– a societal function of cultural heritage
sition to the green economy model (European Commission, where the primacy of social aspects over economic aspects
2010b). Likewise, a growing body of literature underscores in cultural policies is explicitly being acknowledged.
these industries’ innovative capacity, which manifests itself Arts and culture have the power to connect people and
in the ability to intersect the innovative processes of other become a strategic tool for the safeguarding of the identity
manufacturing and service activities and cultural organiza- and authenticity of places and local communities facing the
tions. Additionally, this intersection is associated with cre- rise of the excesses of the entertainment society. Addition-
ative and innovative outcomes and has important ally, the countervailing factors of social exclusion, the gen-
implications in terms of employment (Bakhshi, McVittie, eration of new clusters of high-value productive activities
& Simmie, 2008). and jobs, and the pursuit of an inclusive urban society are
The open innovation paradigm asserts itself, enhancing important objectives to which art and culture can signifi-
the role of creative contexts, external knowledge sources cantly contribute. In this context, the new goal seems to
and the knowledge created internally in Research & Devel- be a closer integration of the economic and social values
opment laboratories (Chesbrough, 2003). Regarding the of heritage, within a model of sustainable growth that aims
innovation cycle, the focus shifts from the phase of technol- at social inclusion and cohesion (Sasaki, 2010).
ogy transfer that has dominated the end of the last century, The societal function of cultural heritage underscores
and shifts towards a new start that is nurtured in places of the capacity of culture to ‘‘share value’’. In this sense, mate-
living and work; these locations are where the search for rial and immaterial heritage becomes a source for democ-
new ideas, firms, entrepreneurs, combinations of sectors, racy and well-being and an asset for designing new forms
and value ecologies occurs. The debate revolves around of ‘‘sustainable cultural capitalism’’ (Scott, 2008) (see
innovations that emerge from core/periphery prespective Tab.1).
to become general objects of reflection and research. In
the closed innovation paradigm, the sectors of defense 2. Main trajectory to follow: back to the past for a sustainable
and high technologies were the main fields of experimenta- future
tion; however, in the era of open innovation, the creative
industries initiate innovation, as demonstrated by the In an era characterized by the progressive urbanization
emblematic case of Hollywood movies (Cattani & Ferriani, of the world, the lesson we can learn from artistic heritage,
2008). places and communities, concerns the ‘‘capacity to recom-
Evolutionary economic geographers apply the tradi- bine tradition and modernity’’, with a ‘‘redevelopment by
tional concept of a firm’s absorptive capacity (Cohen & Lev- tradition’’ (Kupka, 2012). Invigorating the current interna-
inthal, 1990) to clusters, cities and regional innovation tional discussion surrounding the conservation of urban
systems, following the transversal trajectories of innova- areas, it seems possible to merge the concerns that inspired
tions studied using the path-dependency and related-vari- the work of architects, planners, conservators, environmen-
ety approaches (Cooke et al., 2011). More recently, new tal managers, and cultural and creative economists. In this
contributions using ecological approaches have emerged scenario, one of the main trajectories for ‘‘heritage-driven’’
due to the surge of environmental concerns and the height- countries that are endowed with a strongly rooted cultural
ening of the current financial and economic crisis at a glo- identity, such as those of Southern Europe, is to look at
bal level. The concept of resilience is increasingly applied to their past history to create the capacity to resist threats
socioeconomic systems, investigating the absorption and and to transform critical situations into opportunities for
reaction capacity of urban and regional areas to external change and growth.
threats and to sudden changes – of differing natures – that In this context, I propose six main starting points from
often require deep adaptation (Cooke, Parrilli, & Curbelo, which to follow the main trajectory specified: city, identity,
2012). conversation, innovation process, human factors and com-
We are most likely observing the onset of a new evolu- munity. These points address the importance of the spatial
tionary relationship between economy, culture and society, and social dimension of creativity in tracing a new direc-
which seems to close the aforementioned circle that started tion for the third millennium. Creativity takes up an
with the safeguarding of cultural heritage. A new phase increasingly marked societal dimension due to the
characterized by a ‘‘social enhancement of culture’’ has acknowledgment that ideas and innovations develop more
begun to assert itself, revealing – also thanks to the current easily in informal settings (Perry-Smith & Shalley, 2003).
 Introduction / City, Culture and Society 3 (2012) 229–233 231

i. Back to the city the research and development process (the generation of
new ideas) (Staber, 2008). Thus, we shift from an engineer-
New and old scholars state that cities may be the privi- ing-driven vision of innovative thinking as a matter of
leged places for a new start. The change may come from the problem solving, to a creative-lateral-thinking-oriented to
so-called ‘‘city of the third wave’’ (Scott, 2011), which is problem finding (De Bono, 1971). New types of transversal,
characterized by a new ‘‘servile class’’ and digital technolo- path-dependent innovations emerge. By combining a Jaco-
gies combined with high levels of cognitive and cultural bian concept of ‘‘diversity’’ with its evolutionary variant of
labor. In these settings, we have a successful application ‘‘related variety’’, we discuss regional innovation strategies
of the ‘‘post-Fordism cognitive capitalism’’, characterized highlighting the importance of transversality, path depen-
by industries such as high-technology sectors, business dence and chance approaches for lateral innovation (Cooke
and financial services, media, and cultural industries from et al., 2011).
which change can extend to peripheries and to rural areas
(Scott, 2008). The return to the cities as a place of life and v. Back to the human factor
work, by virtue of their capacity to generate economic
and social development (Jacobs, 1969), represents an A general rediscovery of the human factors embodied in
opportunity to experiment with new models of sustainable artifacts – represented by the craftsman metaphor (Sennet,
cultural capitalism. 2008) – is currently underway. The creative economy has
the merit of underscoring the strategic role of human cap-
ii. Back to identity ital and combining it with the advent of new technologies
(Florida, 2002). Within the emerging paradigm, the neo-
The need to safeguard historical roots and cultural iden- Schumpeterian abilities to combine or recombine different
tities is increasingly perceived as being important. Places pieces of knowledge that are expressed by the different
that are rich in meaning, such as urban art centers and professional figures of the creative class (inventors, artists,
museums, are subject to the degradation caused by envi- entrepreneurs) are being re-valued and are becoming the
ronmental factors and tourist overload; however, they are drivers of new discoveries and innovation processes.
also subject to the risk of a loss of identity. Therefore, the
preservation of authenticity constitutes an important chal- vi. Back to the community
lenge. Zukin (2010) suggests that Jacob’s image of the city
(1969) as a site for bringing diverse people together for With the stagnation of industrialized countries such as
engaging in lively intimate interaction and building social European nations and the United States, a new need for
connections has been displaced by the city as the site for community involvement is beginning to assert itself. The
exercising enterprise, state power, among other things. theories of industrial districts (Becattini, Bellandi, & De Pro-
This idea also entails the need to face the risks induced pris, 2009), particularly the idea of working for a ‘‘capital-
by excesses in the application of experience-making strat- ism with a human face’’ (Becattini, 2004), can certainly be
egies (Pine & Gilmore, 1999) to cultural institutions and issues to be seriously reconsidered. Porter and Kramer
territories, which tend to convert cultural sites into enter- (2011), the theorists who developed the cluster approach,
tainment facilities, often becoming a material for ‘‘specta- have already affirmed the necessity of sharing and over-
cular’’ cultural marketing and branding practices. coming the business approach; they put forward the ‘‘big
idea’’ of ‘‘shared value creation’’, which focuses on the iden-
iii. Back to conversation tification and expansion of the link between societal and
economic progress. They explored social entrepreneurship
The social dimension of innovation requires that places in the context of a larger transformation of capitalism; their
enable an open conversation and multidisciplinary con- analysis suggests that social entrepreneurship is an impor-
frontations that may foster the exchange and development tant transitional vehicle for the creation of shared value
of ideas. The implementation of the new open innovation and a capitalist system in which meeting social needs is a
paradigm requires conversations in informal contexts, as core, as opposed to merely peripheral, aspect of every
Lester and Piore (2004) advocate; cities endowed with art business.
(Lazzeretti, Capone, & Cinti, 2011) and industrial districts
are some of the best-suited environments for this purpose. 3. The contribution of this special issue
Piore (2009) stresses the role of an open conversation to
maintain the vitality of a creative place and to generate Within this scenario, the contributions gathered in this
ideas and innovations; to accomplish this conversion, an Special Issue clearly show an important evolution in the
important role should be assigned to a ‘‘public space’’ relationships among culture, economy and society; this
where the community in action is a permanent active evolution views society as the new focal point of the socie-
supporter. tal function of a cultural shifting from a material to an
immaterial heritage (Vecco, 2010).
iv. Back to the beginning of the innovation process The origin of this Special Issue was the section I coordi-
nated, ‘‘Societal function of cultural heritage’’, in the EU Cost
After a period characterized by the dominance of incre- Workshop ‘‘The safeguard of cultural heritage. A challenge
mental innovations, there is a need for new discoveries from the past for the Europe of tomorrow’’; this workshop
and radical innovations. Therefore, the focus shifts from was held in Florence in 2011 (Mecca & Fioravanti, 2011).
the final phases of the innovation process (technology In line with the multidisciplinary approach, the
transfer and product development) to the beginning of researchers involved with this issue belong to various fields
232 Introduction / City, Culture and Society 3 (2012) 229–233

of social sciences (cultural and creative economics, new consumption in various countries. Additionally, they iden-
evolutionary geography, sociology, management and mar- tify the strategies that could contribute to the international
keting studies) and come from North American and Euro- positioning of various heritage destinations. Zukin, a New
pean countries (USA, Canada, France, UK, Spain and Italy). York-based sociologist, presents the case of an upscale
With their studies, they contribute to a better understand- shopping street in Amsterdam, showing how feelings of
ing of the creative capacity of culture to generate innova- identity and belonging are formed around a reimagined ur-
tion and sustainable growth; these scholars also improve ban village. Local shopping streets mobilize aesthetics, col-
our comprehension of the development of the societal lective memory, and traditional forms of social interaction
dimension of culture. The authors offer original theoretical to create feelings of local identity and belonging. These
approaches, critical issues, research methodologies and feelings are endangered by economic modernization and
empirical findings related mainly to immaterial heritage; global consumer culture and are thus becoming a more so-
these contributions are quite useful for exploring the new cially inclusive, multicultural urban heritage. Finally, the
frontiers of the scientific debate. geographer Cooke presents a reflection upon the work of
The members of the first group of scholars are in the architects, designers and artists who display some type of
field of cultural economics and management and hail from ‘‘green aesthetic’’, starting from the rise of a green con-
Southern Europe. These scholars analyze the issues related sciousness in societies that has not yet fully emerged in a
to the enhancement of immaterial heritage and the contri- clear aesthetic form. Going back to some seminal contribu-
butions that culture can potentially offer to creativity and tions in organic architecture and land art such as those of
innovation. Frank Lloyd Wright, Zaha Hadid, David Nash and others,
Del Barrio, Devesa and Herrero seek to posit a methodo- the author presents ten principles that may inform a ‘‘green
logical proposal for evaluating cultural festivals, adopting a aesthetic design’’ in contemporary society.
three-fold analytical approach: calculating the value allo- In conclusion, the proposals and critical reflections of the
cated by individuals, estimating the economic impact, and papers collected here are various and multifaceted. This is
gauging the efficiency of the managing institutions. Cul- partially due to the multidisciplinary nature of the perspec-
tural festivals provide an emblematic example of immate- tives assumed, the experiences analyzed and the visions
rial heritage because they are experience goods at the adopted dealing with the safeguarding and enhancement
moment they are produced; however, they are also idio- of heritage. It is also partially due to the fact that these pro-
syncratic goods rooted in the tradition and identity of the posals focus on different levels of analysis, ranging from
place. single economic and non-economic organizations to inter-
Cominelli and Greffe bridge culture and creative eco- organizational networks and local, regional and national
nomics and stress the role of the intangible cultural heritage communities.
as a critical factor in creating new global and competitive Moreover, what seems clear is the search for a common
advantages that are rooted in territories and communities. direction by way of redevelopment by tradition that tries to
The authors explore various approaches to the safeguarding combine the past and the future on the basis of some crit-
of intangible heritage while taking into account the specific ical key points, such as identity, immaterial heritage,
nature of knowledge and cultural practices that constantly shared value and so on. In particular, two sub-trajectories
innovate and nourish the creative process. have emerged, focusing on
The issue of innovation is at the center of the two works
that follow. Sedita investigates the process of creativity by (i) the perspectives of the economic enhancement of intangible
knowledge reuse in creativity- and science-based indus- cultural heritage and on paths of rejuvenation of mature
tries; the concept of exaptation is introduced as a possible productive sectors and
way to create economic value by leveraging intangible (ii) critical issues regarding the potential negative effects of the
cultural heritage. Following the emergent debate on the cre- economic enhancement of culture.
ative capacity of culture, the author identifies four
exaptation processes on the basis of their nature: intra- or The first perspective continues the exploration of the
inter-domain technology-based and intra- or inter-domain advantages of economic enhancement and considers cul-
use-based. Alberti and Giusti explore the relationships ture as an important instrument for emerging from the cur-
among cultural heritage, tourism and regional competitive- rent crisis and boosting growth and innovation. A pivotal
ness. They study the formation and development of clusters role is assigned to the renewal of mature products and ser-
where tourism and cultural heritage engage in a virtuous vices: thanks to the contributions of culture and entrepre-
cycle for regional competitiveness. The authors present a neurial skills – both at the firm and regional scale – it is
longitudinal case study, the Motor Valley cluster (near possible to revitalize products and services by seeking dif-
Modena, in Italy), where tourism is synergic with cultural ferent combinations of new and old skills. For instance, the
heritage with respect to regional competitiveness. emerging ‘‘green economy’’ paradigm could be combined
The second group of researchers is composed of English- with creative economies.
speaking European and American scholars from various The second perspective critically considers the excesses
disciplines. They present a critical consideration of the eco- of the economic enhancement of culture; that is, it explores
nomic enhancement of culture, opening the way to the those aspects of the creative economy connected to the
resurgence of a societal function of cultural heritage. paradigm of cultural-cognitive capitalism and the risks of
The work of Canadian marketing specialists Colbert and the experience economy. Furthermore, this perspective ad-
Courchesne investigate the determinants of cultural con- vances a model of sustainable development that is free of
sumption to measure the factors that play a role in heritage the ‘‘aesthetization’’ excesses that currently affect the
 Introduction / City, Culture and Society 3 (2012) 229–233 233

consumption of experiences. Improved safeguarding of the Holling, C. S. (1973). Resilience and stability of ecological systems. Annual Review of
Ecology and Systematics, 4, 1–23.
identity and authenticity of places and products is warmly Jacobs, J. (1969). The economy of cities. New York: Random House.
welcomed; in particular, such safeguarding can be pursued Jeffcutt, P., & Pratt, A. (Eds.). (2009). Creativity and innovation in the cultural economy.
through policies based on the protection of education and London: Routledge.
KEA (2009). The creative economy in Europe. EU policies and creative urban hubs..
heritage and through the regained cultural and environ- Brussels: KEA European Affairs.
mental conscience of corporations as enacted in communi- Kupka, K. (2012). Redevelopment by tradition. Urban renewal in World heritage cities.
Padova- Venezia: Libreria Cluva Editrice.
cation practices. Lazzeretti, L. (Ed.). (2013). Creative industries and innovation in Europe. London:
The debate raised in this issue thus represents a wide Routledge.
and deep reflection on the relationships among culture, Lazzeretti, L., Capone, F., & Cinti, T. (2011). Open innovation in city of art: The case of
laser in conservation of artworks in Florence. City, Culture and Society, 2(3),
economy and society, bringing society back to the center. 159–168.
Culture and cultural heritage, in particular, are tasked with Lester, R. K., & Piore, M. J. (2004). Innovation. The missing dimension. Cambridge, MA:
an ancient and renewed role, that of protecting society and Harvard University Press.
Mecca, S., & Fioravanti, M. (Eds.). (2011). The safeguard of cultural heritage. A
the system of values that it represents. Thus, culture can be challenge from the past for the Europe of tomorrow. COST strategic workshop, July
seen as a way toward a ‘‘new beginning’’ for the new mil- 11th–13th, 2011. Florence: Firenze University Press.
Perry-Smith, J. E., & Shalley, C. E. (2003). The social side of creativity: A static and
lennium; it can be a tool for emerging from the current eco- dynamic social network perspective. Academy of Management Review, 28,
nomic crisis and starting anew by building a new model of 89–106.
economic development rooted in the past yet open to the Pine, J. B., II, & Gilmore, J. H. (1999). The experience economy. Work is theatre and
every business is a stage. Boston: Harvard Business School Press.
future. Piore, M. J. (2009). Conceptualizing the dynamic of industrial district. In G. Becattini,
M. Bellandi, & L. De Propris (Eds.), The handbook of industrial districts
(pp. 259–268). Cheltenham, UK: Edward Elgar.
References Porter, M. E., & Kramer, M. R. (2011). Creating share value. Harvard business review,
89(1–2), 62–77.
Power, D., & Nielsen, T. (2010). Priority Sector: Creative and Cultural Industries.
Andersson, Å. E., & Andersson, D. E. (2006). The economics of experiences, the arts and
Stockholm: European Cluster Observatory, EC.
entertainment. Cheltenham, UK: Edward Elgar.
Pratt, A. C. (2008). Creative cities: The cultural industries and the creative class.
Bakhshi, H., McVittie, E., & Simmie, J. (2008). Creating innovation: do the creative
Geografiska Annaler, Series B, Human Geography, 90(2), 107–117.
industries support innovation in the wider economy? London: NESTA.
Sasaki, M. (2010). Urban regeneration through cultural creativity and social
Becattini, G. (2004). Per un capitalismo dal volto umano. Critica dell’economia
inclusion: Rethinking creative city theory through a Japanese case study.
apolitica. Torino: Bollati Boringhieri.
Cities, 27, S3–S9.
Becattini, G., Bellandi, M., & De Propris, L. (Eds.). (2009). The handbook of industrial
Scott, A. J. (2008). Social economy of the metropolis: cognitive-cultural capitalism and
districts. Cheltenham, UK: Edward Elgar.
the global resurgence of cities. Oxford: Oxford University Press.
Belussi, F., & Staber, U. (2012). Managing networks of creativity. London and New
Scott, A. J. (2011). Emerging cities of the third wave. City, 15(3–4), 289–321.
York: Routledge.
Sennet, R. (2008). The craftsman. New Haven & London: Yale University Press.
Cattani, G., & Ferriani, S. (2008). A core-periphery perspective on individual creative
Staber, U. (2008). Network evolution in cultural industries. Industry and Innovation,
performance. Social networks and cinematic achievements in the Hollywood
15(5), 569–578.
Film Industry. Organization science, 19(6), 824–844.
Towse, R. (Ed.). (2011). A handbook of cultural economics (second ed.). Cheltenham,
Chesbrough, H. W. (2003). Open innovation: The new imperative for creating and
UK: Edward Elgar.
profiting from technology. Boston: HBS Press.
UNCTAD (2010). Creative Economy Report. Geneva-NY: UNDP-UNCTAD.
Cohen, W., & Levinthal, D. (1990). Absorptive capacity: A new perspective on
UNESCO (2003). Convention for the safeguarding of intangible cultural heritage. Paris:
learning and innovation. Administrative Science Quarterly, 35(1), 128–152.
UNESCO.
Cooke, P., & Lazzeretti, L. (Eds.). (2008). Creative cities, cultural clusters and local
Vecco, M. (2010). A definition of cultural heritage: From the tangible to the
economic development. Cheltenham, UK: Edward Elgar.
intangible. Journal of Cultural Heritage, 11, 321–324.
Cooke, P., Parrilli, M. D., & Curbelo, J. L. (Eds.). (2012). Innovation, global change and
Walker, B., Holling, C. S., Carpenter, S. R., & Kinzig, A. (2004). Resilience, adaptability
territorial resilience. Cheltenham, UK: Edward Elgar.
and transformability in social–ecological systems. Ecology and Society, 9(2), 5.
Cooke, P., Asheim, B., Boschma, R., Martin, R., Schwartz, D., & Todtling, F. (2011).
Zukin, S. (2010). Naked city: The death and life of authentic urban places. New York:
Handbook of regional innovation & growth. Cheltenham, UK: Edward Elgar.
Oxford University Press.
DCMS (2010). Measuring the value of culture: A report to the department for culture
media and sport. London: DCMS.
De Bono, E. (1971). The use of lateral thinking. Harmondsworth, Middlesex, England: Luciana Lazzeretti
Penguin Books. Faculty of Economics,
European Commission (2010a). Europe 2020. A strategy for smart, sustainable and
inclusive growth. Brussels: European Commission. University of Florence,
European Commission (2010b). Green paper on cultural and creative industries: 50127 Florence, Italy
Unlocking the potential of cultural and creative industries. Brussels: European E-mail address: luciana.lazzeretti@unifi.it
Commission.
Florida, R. (2002). The rise of the creative class: and how it’s transforming work, leisure,
community and everyday life. New York: Basic Books. Available online 11 January 2013