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Key inspirational elements included:
The Leonardo example of bringing toge-
ther the best of the arts and science
worlds to increase creativity.
First-class editorial content as a vital ele-
ment for creative technological solutions
in practice - bringing the two worlds of
the `Creative Communities' and
Technology R&D together can achieve
greater success.
general including:
- Cooperation using `creatives' and
`enhanced publications' [international
and multilingual] and international
games for children contributing `local
unique objects' and thus learning.
- Defining technological requirements
in `creative communities'.
- `Develop multilinguality, usability and
personalisation - with key criteria
including authenticity, understanding
and co-contextualisation'.
- `More dialogue with users to increase
social inclusion and access' to promote
learning, including in a fun way.
- `We are in the Human Comedy - we
have to have more fun, creativity and
communication and to live in peace'.
- `Emotion is a subject for creative
- World-class creative communities [including art, music,
design, film,TV, theatre and advertising, etc.].
- Cultural and linguistic richness, diversity and closeness
(including tradition), `creative conflict'.
- Strong technological capabilities, e.g. in industrial labora-
tories and universities.
- World-leading Museums (& Galleries), Archives & Libraries
seen not only as memory institutions (cemeteries/burial
grounds) but as sources of artistic and scientific creativity
today and tomorrow.
- Excellent links with other continents.
- Multilingual, multicultural difficulties in co-operation - no
common language [NB General opposition to a unilingual
- Most insidiously (even in the same language) differing
`discourse language' between the different communities, e.g.
Arts, EC, Science & Heritage etc.
- Difficulties in facilitating best/good/interesting technology
transfer in creative/cultural technology across Europe (some
successes, e.g. Digital Library Guidelines).
- No adequate pan-European (EU) structure to bring the many
existing (creative communities and technology) networks
- Very small size of almost all arts-oriented organisations and
relatively (compared with Hollywood) weak film and TV
- To create more jobs including those in conjunction with
overlapping/related areas, e.g. education, entertainment,
media and tourism, by raising the creative communities'
roles in EC Culture & Technology R&D.
- To help create `critical mass' on a global scale in the
European communities and industries, but avoid threat.
- Use of touring arts exhibitions to help in cross-border
technology transfer.
- A single, bland European (Euro-American) creative
community and culture.
- Continued alienation of many of the ~80% of citizens
who do not visit cultural institutions - especially ethnic
minorities, other disadvantaged groups and children.
- Continued fragmentation of the European cultural
communities and industries by a `do nothing' or `too
little' approach.
'Strengths and weaknesses' discussions revealed some 'double-edged swords'
ersonal visions as starting-point inputs
ranged from the pragmatic to the