- Conduct a detailed survey of existing
work (NB the existing idea of an
`Observatory' of the Creative Arts &
- Carry out/commission `cultural-socio-
economic' impact analyses for technology
R&D work involving `creative commu-
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
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
- 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
- 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