BARCAMP | Business, Culture, Innovation. Musei e Scuole come risorse economiche e leve per l'innovazione sociale. 5 dicembre 2011 - Università degli Studi di Foggia, Dipartimento di Scienze Umane - Laboratorio ERID via Arpi, 155 - Foggia

1. Business models for the
educational and cultural
digital content
cross-border market
Raphael Mayer Aboav
E-mail: raphael.aboav@tin.it

2. A unique Euro-Adriatic market
of the educational and
cultural content (digital and
not digital) could support
the rising of a new sense of
common Euro-Adriatic
citizenship, but

3. “In the twentieth century cultural
experience was mainly associated
with watching, listening and
reading. The dominant mass culture
– television – is engaging without
being too demanding.
It offers stimulation while people
are at rest. As a result it is “ But now another
often wonderful but oddly hollow.” alternative is
emerging, a mass
culture which is more
participative and
“The traditional
collaborative, which
alternative to this
is about searching,
mass culture of
doing, sharing,
enjoyable watching was
making, modifying. It
the more demanding and
is stimulating
educative high culture
because people become
of intellectual
active participants,
inspiration and
makers of culture not
challenge.”
simply receivers
Source: Cloud Culture - The future of global cultural relations
Charles Leadbeater

4. 


5. Increasing the investments in digital educational
story telling will generate more jobs in the field
of creative economy
La filiera del gusto in Italia,
definita come l’insieme delle
organizzazioni con i relativi flussi
materiali che concorrono alla
formazione, distribuzione,
commercializzazione e fornitura di un
prodotto agro-alimentar
Source: British Council



7. In the ipothesis of an existing unique market for the
educational and cultural digital object how you imagine
that can be generated value?

8. During our debate session we could try
to discuss this simple business model


 
 


 


 





9. ICT and Cultural Heritage:
Research, Innovation and EU Policy
The ‘European Competitiveness Report 2010’ identified the
cultural and creative industries as one of Europe’s most
dynamic sectors, accounting for 3.3% of EU GDP and 3% of
employment. Beyond this important contribution to GDP,
the creative and cultural sectors are indeed a vehicle of
significant lifestyle changes and progress, including the
development of modern skills, adapting teaching and
learning and inter-generational and intercultural
dialogues.
Digital technologies continue to radically transform our
approach to creativity and culture. They modify not only
the way we access and preserve cultural assets but they
also provide us with unique tools to better create and
communicate. ICT has become a major vehicle for enriching
our "creative capital" that underpins our societal
vitality, our economic growth and ability to compete on a
global scale.

10. ICT and Cultural Heritage:
Research, Innovation and EU Policy
The ‘European Competitiveness Report 2010’
identified the cultural and creative industries as
one of Europe’s most dynamic sectors, accounting
for 3.3% of EU GDP and 3% of employment. Beyond
this important contribution to GDP, the creative
and cultural sectors are indeed a vehicle of
significant lifestyle changes and progress,
including the development of modern skills,
adapting teaching and learning and inter-
generational and intercultural dialogues.

11. ICT and Cultural Heritage:
Research, Innovation and EU Policy
Financing R&D and innovation: In 2011-12, the
Commission is investing around 100 M€ per year in
technologies for digital content and cultural
heritage. Support goes to research and innovation
in tools for content creation, access and
preservation. It targets application areas
spanning from cultural arts to entertainment and
education. The underpinning technologies include
computer vision, advanced graphics, simulation
and visualization tools, 3D immersive
environments, cognitive systems, multi sensorial
interactions and semantic based content search.

12. 