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DigiCULT
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Info
21
B
Y
J
A M E S
H
E M S L E Y
, N
AT I O N A L
M
U S E U M S O F
S
C OT L A N D
& VASARI
R
EPORTS ON
C
ULTURE
& T
ECHNOLOGY
E
VENTS
`C
REATIVITY IN
T
ECHNOLOGY
R&D': T
HE
PISTOIA,
T
USCANY
W
ORKSHOP
- R
APPORTEUR
'
S
R
EPORT
venue combined the indoors and out-
doors in a private house and gardens
(many thanks to the Gori family), both
with superb art collections, in order to
enhance the group's creativity on the sub-
ject of Creativity in Technology R&D in
a Tuscan setting, the Fattoria di Celle.The
modus operandi involved mainly small
group working sessions, beginning with a
plenary session of participants' personal
`visions' on the central issue posed by the
EC.The costs were generously supported
by the Pistoia Savings Banks, and organi-
sational help was provided by the
University of Florence (EVA Networking
- EVAN project). Bernard Smith of the
European Commission led the Workshop.
ded new arts, design, dance and music as
well as from computer science, physics,
mathematics, sociology, journalism, e-busi-
ness and administration - some of whom
were `bi-cultural', i.e. from different spheres.
A deliberate effort was made by the EC
to ensure that the selection would force
new connections with both pan-European
and international perspectives. It followed
a previous workshop at Darmstadt (May
2001) on Technology Platforms for
Contemporary Art and Culture.
T
he intention was not simply to esta-
blish `the next step' or `to come to a
collective, agreed or democratic conclu-
sion' but rather to enable many different
viewpoints to be seen and heard and to
interact in an open-ended manner.The
Introduction
T
he PISTOIA Workshop (23 & 24
March 2002) represented an inno-
vative approach by the European Com-
mission to obtaining inputs on key issues
for the Sixth Framework Programme
regarding the role of the `creative commu-
nities' such as: `to discuss the state of the
art and future trends in the field of infor-
mation technology for culture, in parti-
cular contributing to the next Sixth
Framework Programme, but also the role
of contemporary art and culture in tech-
nology research.'
T
he approach was to bring together
experts from across Europe from a
diverse set of constituencies which inclu-
DigiCUL
T