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DigiCULT
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- Conduct a detailed survey of existing
work (NB the existing idea of an
`Observatory' of the Creative Arts &
Sciences).
- Carry out/commission `cultural-socio-
economic' impact analyses for technology
R&D work involving `creative commu-
nities'.
Post-script
T
he Sixth Framework Programme,
especially in the areas of `multi-
modal interfaces', `networked audiovisual
systems and home platforms', `technology-
enhanced learning and access to cultural
heritage' and `cross-media content for
leisure and entertainment', appears to
provide good opportunities for the
`Creative Communities' to participate.
Some Future Steps
D
ivided into small working groups,
the participants developed a number
of suggestions although no attempt was
made to force consensus or majority
voting for a future course of action.
However, it seems useful to note some
of the ideas which emerged during the
discussions:
- Provide and disseminate actively infor-
mation on available tools so that they
`are not just available to those in the
know' as well as `good/best/interesting'
practice (with more help from Member
States) and the EC projects themselves.
- Establish key jobs as `Creative Arts &
Technology Evangelists' in the EC, as
has already been successfully done by
the Cultural Heritage Unit with a
museum person on a temporary con-
tract.The suggestion could also be
applicable to Member State administra-
tions and would help in the `discourse
language' problem.
- Co-operate with national arts organisa-
tions so that they can participate in
project evaluation processes and `pair'
with technology expertise.
- Increase access to the creative arts by
technological means as appropriate [NB
Relationships with `technology push',
e.g. Darmstadt Conclusions, the Florence
Agenda, Glasgow Response & Berlin
Conclusions in 2001].
- Encourage and assist `memory institu-
tions' to become sources/stimulators of
creativity, not just `cemeteries and tem-
ples'. `Cultural heritage and legacy is not
just a matter of bringing the past into
the present and future, but cultivating
creative activity in the present, illumi-
nated by the past and with an eye
toward the future'.
- Bring together creative institutions (to
reduce self-referential tendencies) and
also interested technology sources.
- Address the audience issues, e.g. who is
the `citizen artist' and `citizen curator'.
- Focus on the younger generation and
also intergenerational co-operation to ensure
that the `silver seniors' contribute and benefit.
- Most radical of the suggestions was that
of initially pursuing a `Doing Nothing
Positively' strategy, i.e. a kind of `creative
non-action' by forming a vacuum or
space , which would then doubtless be
filled by a torrent of ideas and sugges-
tions from a much wider set of people
than the Pistoia group.This course of
(non) action would be carried out in
the remainder of 2002 using as `creative
spaces', for example:
- The RADICAL project `MEDIA-
TEQUE' in July.
- EVA 2002 London's Symposia on the
Performing Arts, Film,Video & Broad-
casting and New Technologies and
Contemporary Art Documentation on
the [re]Construction of Creativity.
- Diffusion by all the PISTOIA partici-
pants to their own `networks' of the
opportunities for creative ideas.
Ideas Regarding Supporting Measures
by the EC
The role of the creative arts needs to be
better understood and contextualised.
Two possibilities for immediate action
were identified.
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