Roberto Grandi a SCE 2012

Intervento di
Roberto Grandi

Al convegno

[lb.05] Smart City: il ruolo della creatività e
dell'industria creativa / Smart City: the role of
creativity and of the creative industries

Di Martedì 30 ottobre 2012 Consulta il programma di SCE2012

Roberto Grandi

Smart City: the role of creativity and of the
creative industries

Smart City Exhibition
Bologna October 30 2012

ALMA MATER STUDIORUM – UNIVERSITA’ DI BOLOGNA

Materiale riservato e strettamente confidenziale

1 Globalitation and the Crisis of the Urban
Development Models. Factors:

Copyright©2003 - Materiale riservato e strettamente confidenziale2

The response of the cities has developed on several
level


Creativity

The concept of creativity has been considered in recent years more and
more important in different fields.

The European Union has declared 2009, European Year of Creativity and
Innovation. The objective of the year was:

“to promote creativity for all as a driver for innovation and as a key factor
for the development of personal, occupational, entrepreneurial and
social competences through lifelong learning”

Until neurobiology and psychology reveal the physical mechanisms (brain
and body, mind and emotions) of the production of creativity, we cannot
rely on a general theory of creativity.


Creativity related to:


Creativity

For practical purposes we will refer to creativity as a process and to its
dependence on emotions and the outside environment.

I will highlight two characteristics:

the alternative to instrumental thinking

a capacity for problem-solving.


Creativity as an alternative to instrumental thinking

Charles Landry and Franco Bianchini (The Creative City) considered
creativity as

an alternative to instrumental thinking:

“genuine creativity involves thinking a problem afresh and from first

principles; experimentation; originality; the capacity to rewrite rules; to

be unconventional; to discover common threads amid the seemingly

disparate; to look at situation latterly and with flexibility”.


Creativity as a capacity for problem-solving

For the Nobel prize winner for economics Herbert Simon creativity basically
lies in the capacity to solve problems.

"Acts are judged to be creative when they produce something that is novel
and that is thought to be interesting or to have social value. Interesting
or valuable novelty is the touchstone of the creative" .

This definition has the advantage of describing a process or a procedure
involved in producing creativity.

In fact, according to Simon to be creative, a person must

be trained, have expertise, and know how take risks;

and these objectives can be reached through the tacit or explicit
transmission of knowledge.


The creative environment

If creativity is a fundamental resource for post-modern society, which needs
growing intellectual capital to face up to the challenge of the knowledge
society, the question arises:

can we produce creativity?

The creative process is strongly influenced by the cultural milieu in which it
develops.

This is the key to the production of creativity.

In fact, the freer and more interdisciplinary and stimulating a cultural
environment (school or community) is,
the greater the production of creativity and talent.


The creative milieu as a precondition of creative cities

“A creative milieu is a place – either a cluster of buildings, a part of a

city, a city as a whole or a region – that contains the necessary

preconditions in terms of a ‘hard’ and ‘soft‘ infrastructure to generate a

flow of ideas and inventions. Such a milieu is a physical setting where

a critical mass of entrepreneurs, intellectuals, social activists, artists,

administrators, power brokers or students can operate in an open-

minded, cosmopolitan context and where face-to-face interaction

creates new ideas, artefacts, products, services and institutions and as

a consequence contributes to economic success.” (Laundry)

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10

I milieu creativi sono caratterizzati da:

Elevato capitale intellettuale e sociale/relazionale

Tessuto imprenditoriale innovativo, base finanziaria (venture
capital) adeguata, regolamenti non rigidi e burocratizzati

Classe creativa

Consumi evoluti legati ad attività creative, ricreative e culturali.

Ambiente multidisciplinare e sinergicamente dinamico

Instabilità strutturale

Varietà e convivenza di culture e stili di vita diversi.

Forte apertura culturale


The risks of creative cities

To set up a process of gentrification

‘Banalisation’, of urban experiences thus undermining
the distinctive creative potential of a place

Creative divide


How to avoid the risks: multidimensional strategies
and balance

The harmonious growth of a city often requires multidimensional
strategies which begin from or move on from its attractiveness,
followed or accompanied, however, by other measures to encourage
processes of social inclusion and capability building .

To introduce social inclusion and capability building can avoid the
creative gentrification of the city ending up transforming it into a ghetto
for the rich.

The challenge of creative cities, therefore, is to find a balance which, on one
hand,
supports development and the acknowledgement of creative forms,
the value of culture and its exploitation,
but on the other
guarantees the conditions for the continuous regeneration of the
“creative” urban ecosystem made up of diversity and crossovers.

. Copyright©2003 - Materiale riservato e strettamente confidenziale
13

How to avoid the risks: cultural, social, political,
economic creativity

Creativity, which constitutes a fundamental aspect of artistic
production, must be gradually extended from the cultural industry
to other areas of the territory’s social, political and economic life.

Today in the various fields of human activity - from the economic to the
social sphere, from culture to politics, from urban planning to training -
new problems constantly emerge that cannot be dealt with merely by
following routine procedures or conventional means.

For this reason, creativity (with its dual meaning as an alternative to
instrumental thinking and as problem-solving) must be adopted by those
in charge of the decision-making processes.

14

How to avoid the risks: Civic Creativity

This widespread creativity takes the form of a civic creativity

This new way of facing the challenges of 21st Century cities can only be
implemented if it is a common objective shared by both the citizens, on
one hand, and the public and private institutions and organisations
on the other.

The city “sets up a system” where everyone relinquishes just a little of their
individual, associative or corporate selfishness and regains a sense of
community

Only then can it become a development plan and, at the same time, a
strong and identifying character within and without the city.

15

Roberto Grandi a SCE 2012

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