Strategic mapping of cultural and creative industries. The case of the Veneto region

Issue and Argument: What are the real and potential boundaries of cultural enterprise? How can we restore economic value and, at the same time, cultural value through the definition of a sector that seems to have no fixed borders? This paper intends to open up a reflection on the boundaries of the cultural industry, the nature of the chosen business and how the sector can become the hub in the dynamics of local development, innovation and competitiveness within the territory of reference. The concentric circles model will be the basis for a strategic mapping of the cultural and creative sector, realized starting from the funding calls for the sector in the Italian Veneto region. The Throsby's model is derived from the principle that cultural content is free from incorporating creative ideas into the production of goods, and that such ideas arise from the primary arts (music, theatre, dance, visual arts and literature). These make up the heart of the cultural industries, while the surrounding circles represent the ideas and influences that these creative activities radiate. The results of the strategic mapping will be put into dialogue with a new idea of entrepreneurship, which in part excludes the Core creative arts, i.e. the primary arts

Models for Art & Business Cooperation

This article aims to identify theoretical profiles and empirical evidence that have guided, in recent years, the study of artistic interventions in organizations. Based on 24 case studies carried out by the MacLab (Laboratory for the management of arts and cultures) of the Ca' Foscari University of Venice, and interviews conducted with the protagonists, artists, and companies of these interactions, we have identified art-based models capable of defining how collaboration between art and companies could take place. These theoretical models are compared with the case studies previously explored in order to analyze the impact of and the way in which the arts create a relationship with the corporate sphere. Finally, potential lines of research are outlined that could be useful to define optimal methods of collaboration between the art and business sectors, to strengthen interactions between both, and to ensure an impact on the medium to long-term development of both parties involved

Conoscere il pubblico della Cultura in Italia. Analisi e metodi per l’innovazione

In a context where the numbers related to public enjoyment of Culture in Italy are becoming increasingly meager, it is crucial to dedicate more attention to the study of the variables that most affect the collective preferences. The data analysis and the development of statistical models are therefore proving a fundamental lever to deepen the knowledge of the activities that people perform in their spare time, in order to improve the offer and propose strategies to increase public proximity to the world of Cultur

Genetic determinants in a critical domain of ns5a correlate with hepatocellular carcinoma in cirrhotic patients infected with hcv genotype 1b

HCV is an important cause of hepatocellular carcinoma (HCC). HCV NS5A domain‐1 interacts with cellular proteins inducing pro‐oncogenic pathways. Thus, we explore genetic variations in NS5A domain‐1 and their association with HCC, by analyzing 188 NS5A sequences from HCV genotype‐1b infected DAA‐naïve cirrhotic patients: 34 with HCC and 154 without HCC. Specific NS5A mutations significantly correlate with HCC: S3T (8.8% vs. 1.3%, p = 0.01), T122M (8.8% vs. 0.0%, p < 0.001), M133I (20.6% vs. 3.9%, p < 0.001), and Q181E (11.8% vs. 0.6%, p < 0.001). By multivariable analysis, the presence of >1 of them independently correlates with HCC (OR (95%CI): 21.8 (5.7–82.3); p < 0.001). Focusing on HCC‐group, the presence of these mutations correlates with higher viremia (median (IQR): 5.7 (5.4–6.2) log IU/mL vs. 5.3 (4.4–5.6) log IU/mL, p = 0.02) and lower ALT (35 (30–71) vs. 83 (48–108) U/L, p = 0.004), suggesting a role in enhancing viral fitness without affecting necroinflammation. Notably, these mutations reside in NS5A regions known to interact with cellular proteins crucial for cell‐cycle regulation (p53, p85‐PIK3, and β‐ catenin), and introduce additional phosphorylation sites, a phenomenon known to ameliorate NS5A interaction with cellular proteins. Overall, these results provide a focus for further investigations on molecular bases of HCV‐mediated oncogenesis. The role of these NS5A domain‐1 mutations in triggering pro‐oncogenic stimuli that can persist also despite achievement of sustained virological response deserves further investigation

Creativity and Leadership. How the Arts Can Improve Business Strategy.

Introduction. Recent studies consider creativity as a source of inno-vation for companies but have not yet clarified the key role that it plays concerning management and the underlying organisational processes. Recent studies also provide a foundation for a direct link between creativity, leadership, and corporate innovation. Purpose and methods.Therefore, the purpose of this article is to highlight the importance of creativity within the corporate context and stimulate an understanding of the dynamics underlying leadership as a hub for innovative ideas and proposals dissemination in organisations. The scientific research methodology is developed through the theoretical investigation of the theme of creativity with innovation and how it can pervade the organi-sational sphere through the leadership development. Results. The analysis of the main theoretical models allows us to identify strong dynamic connections between creativity, business innovation, and leadership and to develop and improve interventions guided by a different business vision. At the same time, I illustrate how an adequate leadership style can positively influence the work team, producing significant impro-vements in thoughts, feelings, and subordinates creative performance. Conclusions. Leaders who wish to sustain high performance should pay special attention to their daily behaviour towards employees, in particular by contributing to the dissemination of creativity in the company. Shared participation in artistic activities, in fact, by enhancing the indi-viduality of employees, contributes to the strengthening of the management image that supports initiatives and participates in them. Creativity thus finds fertile ground in the goodness of ordinary company practices

Establishing ecosystems for disruptive innovation by cross-fertilizing entrepreneurship and the arts

The article explores cross-innovation between CCIs and SMEs. To enable such innovation, the DIVA project developed a set of tools and methods, based on an analysis of field-specific stakeholder requirements. By looking at specific cases of interaction between designers and artists on one side and business firms on the other, also leaning on the Cross Innovation project and considering a wide range of secondary research, the article captures both the existing mechanisms, as well as detects tacit potentials and new possibilities for deep cross-fertilization. Based on a theoretical reference framework presented in the first part of the article, the findings of a multi-stakeholder SWOT analysis carried out by the DIVA project indicate new innovative paradigms brought about by introducing art thinking next to the predominant paradigm of design thinking within traditional industry realms. Upon the empirical evidence of analyzed cooperation potentials, a Europe-wide selection of good practice cases and through focused interviews, the article digests a set of business-needs transformations that call for a profound cross-fertilization between art and entrepreneurship. These evidence-based guidelines present the potential of a new 'innovation catalyst' profile who facilitates the shift from unintentional spillovers to art-thinking based crossovers

Atmosfere creative per la collaborazione tra arte e impresa

Negli ultimi due decenni le possibilità di interazione tra arte e impresa sono state estese oltre le forme tradizionali e consolidate di filantropia, sponsorizzazione, attività di pubbliche relazioni, al fine di esplorare forme di impegno orientate all’apprendimento, meglio definite come interventi artistici nelle organizzazioni (Berthoin Antal 2009; Berthoin Antal & Strauß, 2016; Darsø 2004). Promuovendo nuovi modi di vedere, pensare e allo stesso tempo andare incontro alle necessità aziendali, tali interventi rappresentano vere e proprie esperienze estetiche in grado di coinvolgere completamente i sensi delle persone, guidando le decisioni e le azioni dei manager e dei referenti aziendali anche in condizioni incerte, sviluppando quelle capacità delle persone nei confronti dell’organizzazione quale organismo consapevole necessarie per affrontare “l’inaspettato”, ossia qualsiasi nuovo elemento in grado di mettere in discussione se stessi e gli stessi meccanismi decisionali (Berthoin Antal & Strauß, 2016; Weick & Sutcliffe 2007). Gli studiosi in questo campo hanno riconosciuto che l’effetto più promettente degli interventi artistici risiede nel potere del cosiddetto “apprendimento esperienziale”, sviluppato attraverso approcci artistici ed estetici (Darsø 2016), ossia mediante un processo di apprendimento che si svolge nei cosiddetti “interspazi” (Berthoin Antal & Strauß, 2016). Gli interspazi (o interspaces) sono stati definiti come “spazi di possibilità”, in cui i partecipanti sperimentano nuovi modi di vedere, pensare e fare cose diverse dal solito, che aggiungono valore per loro personalmente, spazi in cui le norme sono sospese per consentire la sperimentazione, dove l’energia e le emozioni sono elementi chiave per il loro stesso funzionamento. Arte ed estetica possono quindi potenziare processi innovativi di apprendimento e generazione di conoscenza nelle organizzazioni (Caré et al., 2018) in quanto consentono alle persone di acquisire sapere non soltanto in modo cognitivo, ma anche attraverso il coinvolgimento di elementi fisici ed emotivi quali sentimenti, desideri, ricordi, che hanno il potere di trasformare il semplice spazio di lavoro in uno spazio di lavoro estetico (Sutherland 2012). Il presente lavoro nasce da queste premesse e si propone di comprendere e definire le condizioni essenziali che facilitano e consentono l’incontro fecondo tra arte e impresa, inteso quale forma di impegno orientato all’apprendimento, vero e proprio processo di creazione e trasformazione della conoscenza

A model of cooperation between Art & Business

The article will examine the framework of reference within which art-business collaborations have developed in recent years and will attempt to trace the elements useful for the construction of a reference method for an art-based collaboration model that, starting from theoretical and empirical research, allows the innovative contents of the primary arts to be replicated in their collaboration with traditional industries. Based on the qualitative analysis of more than 25 case studies of interaction between companies and artists, the paper aims to define the interactions and processes that are activated when an artist enters the corporate sphere to join a shared project. The main results and effects that artistic interventions can have on the internal and external structure of organisations and on the processes of artistic creation will be outlined