CREATIVE SUSTAINABLE INCLUSIVE

06

September 2012

GEOGRAPHY OF CREATIVITY

Nº 06. SEP. 2012

EDITORIAL

FOCUS GEOGRAPHY OF CREATIVITY

MAPPING OF CREATIVE SPACES

ÓBIDOS CRIATIVA – FUTURE HISTORY[ MIGUEL SILVESTRE ]

CREATIVE CITIES, TOURISM AND URBAN REVITALIZATION[ HELIANA MARINHO ]

A PUBLIC POLICY FOR THE CREATIVE ECONOMY IN GOIÁS[ DECIO TAVARES COUTINHO]

CASE STUDIES

FOR A CREATIVE BRAZIL

INTELI NEWS

BRIEFS

EVENTS

SUGGESTIONS

Mapping the creative economy

INTELI has been participating in various initiatives related to the promo-tion of the creative economy in the territories, both at the European and national level. With the support of the European Union, we were partners in projects such as CITIES - “Creative Industries in Traditional Intercul-tural Spaces” (INTERREG IVC) and CREATIVE CLUSTERS - “Creative Clusters in Low Density Urban Areas” (URBACT II). In cooperation with the municipalities in Portugal, we have supported the development of lo-cal strategies based on creativity, contributing with knowledge about in-ternational best practices.

In this context, we conducted mapping exercises of creative industries, seeking to quantify the weight of the sector in the local economies in terms of wealth, employment and exports. But more important has been the fieldwork on the identification of invisibilities, informalities and nov-elties that go beyond official statistics. It involves identifying, within the communities, talents, projects, activities, itineraries and creative spaces that materialize on an information and knowledge basis to support the definition of local development strategies.

This work led to the development of local creativity itineraries that may be useful in attracting new residents, tourists and investors because they allow identifying the critical mass that exists in territories. And, as the evidence shows, the presence of talents and creative activities in a place contributes to the capture of other talents and creative activities. Óbidos, for example, developed an “Innovation and Creativity Guide” that works as a platform for creative knowledge assets and as a stimulus towards en-trepreneurship for the village. On another scale, São Paulo (Brazil) has recently developed a “Creative City Roadmap” which is a guide for the creative and cultural tourism in the city.

For these reasons, INTELI has been working in the Geography of Creativ-ity in Portugal, both in quantitative and qualitative terms. In this edition of Citiesbrief we seek to present some of the strategies and creative spaces that exist in our country. If you are an artist, entrepreneur or creative pro-fessional you can discover the available offer!

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GEOGRAPHY OF CREATIVITY

The creation of creative spaces has been a strategy followed by several cities in foster-ing the creative economy

We cannot say that in Portugal there is a national policy for the creative economy, as in the UK and more recent-ly in Brazil. But there have been some regional and local dynamics betting on creativity as an engine of develop-ment for cities and regions.

And we’re not just talking about the big cities, such as Lisbon or Porto, but mainly small towns or villages such as Óbidos, Paredes, Guimarães or Serpa, which have based their development strategies on endogenous as-sets and differentiating factors of the territory, in an alli-ance between tradition and innovation. In fact, as stated by Munoz (2010), “local authorities should think, plan and act, based on the city’s specific features and assets, which have to be used as foundations in the search for their own urban creativity”.

CREATIVE STRATEGIES

Óbidos bet on a global strategy of boosting the creative economy, with a focus on attracting and retaining tal-ent and creative businesses, leveraging the attractiveness factors of the territory, such as the natural and cultural amenities. Serpa, on the other hand, used the intangi-ble assets associated with the Alentejo singing (cante alentejano) to work on the affirmation of a city of music, combining arts education with business promotion in the value chain of the sector.

Under the aegis of the European Capital of Culture, Guimarães bet on the definition of an extensive cul-tural program and the creation of several cultural and creative facilities within a creative urban revitalization strategy of the city. Also in the North, Paredes found dif-ferentiating factors in the industrial heritage associated with the furniture industry, choosing the design as an engine of development and combining an economic re-vitalization strategy with a program of urban regenera-tion of the city centre.

Underlying these strategies there are different forms of intervention of local policies in fostering the creative economy in the territories. The study “Strategies for Creative Spaces” (London Development Agency, 2005) presents the following typology (adapted):

- Stimulation of creative clusters in urban spaces, neigh-bourhoods, quarters, etc.;

- Creation of micro spaces dedicated to creative activi-ties, such as incubators, co-working spaces, live-work houses, etc.;

- Providing specialized services to support the creative industries such as marketing, management, training, etc., for example through development agencies;

- Specific funding for creative businesses and entrepre-neurs, such as grants, loans, etc.;

- Tax incentives in order to support the setting up and development of creative business;

- Provision and improvement of physical infrastructure such as buildings, public spaces, environmental qual-ity, information technology, etc.;

- Creating an enabling environment (soft infrastruc-ture), in terms of education, training, innovation, etc.

CREATIVE SPACES

The creation of creative spaces has been one of the forms of intervention most used by local authorities to promo-te the creative economy.

Guimarães © INTELI

In fact, according to the Green Paper on Cultural and Creative Industries (CE, 2010), there is a need to create new spaces for experimentation, innovation and entre-preneurship in Europe, such as convergence spaces and open innovation and experimentation labs, where vari-ous disciplines and fields of knowledge articulate. This assertion is supported by Leonel Moura, Portuguese conceptual artist, who argues that cities play a decisive role in promoting creativity and innovation through the provision of physical spaces intended, in particular, for younger people for the development of projects and ex-perimentation.

These spaces have emerged under different names and formats, from creative industries incubators and co-working spaces, artist residencies and live-work houses, to the fab labs.

Creative industries incubators:

These are accessible spaces in terms of price for emerg-ing artists, art groups and companies in the creative

sector, comprising individual and collective services: office space, communication

services, shared spaces, front-desk services, etc. Worth highlighting

are the services associated with the business launch and development such as: analysis of business ideas, entrepreneurship training, busi-ness plan preparation, assistance with selection of partners, legal,

financial management, and mar-keting advice, etc. The promotion of

interaction and cooperation between creative businesses through networking

events seems to be one of the most valuable assets of the incubators.

Co-working spaces:

The concept of ‘co-working’ refers to working in a com-mon space, or hiring a workplace or hours of use per month, with access to office equipment and common services. These are very flexible spaces used by freelanc-ers, small creative businesses and independent profes-sionals. They are also places of cooperation and sharing

of information and experi-ences, where individualism is mixed with the spirit of com-munity, promoting the devel-opment of common projects and business.

Artist residencies:

These are spaces where artists and creative people live and practice their art for a period of time, away from their usual environment. They provide cultural professionals and creative people with accommodation, studios and work-shops, technical equipment and communication platforms, areas of production, exhibition and dissemination in order to maxi-mize the creative work develop-ment. They are also spaces for sharing and learning, focusing on exchanges and the sharing of cultural expressions as a stimulus of cultural diversity.

Fab Labs – Fabrication Laboratories:

These are digital manufacturing platforms that encour-age local entrepreneurs and the community to take their ideas from the initial design to a prototype stage, stimu-lating them to create small local businesses. A fab lab may grant any user/citizen anywhere in the world the ability to conceptualize, design, develop, fabricate and test almost everything locally, in a logic of open innovation and democratization of innovation. It integrates a set of industrial rapid prototyping tools such as milling machines - large and small -, laser cutting and vi-nyl cutting machines, and also a workbench with electronic de-vices, computers and their com-puter programming tools sup-ported by open source software and by CAD and CAM freeware.

© CM Paredes

© CM Óbidos

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Despite the categorization, there are spaces that have been integrating various aspects, such as incubation, fab lab or co-working, sharing in the same place. This is the case of EPIC - Space for the Promotion of Creativity and Innovation in Óbidos, or the fab lab and co-working facility being set up in the ‘Forno do Tijolo’ Market in Lisbon.

In the mapping led by INTELI and presented in the fol-lowing pages, you can find a preliminary list of creative spaces that exist in Portugal, where you can create and set up your business, work in a common space, spend time developing an artistic project or build an innova-tive object. Will there be sufficient demand for these spaces?

Creative Space – Common Characteristics

• Accessible spaces in relation to the market price• Rehabilitation of buildings, giving them new uses,

such as old industrial buildings or historic buildings, with a special atmosphere

• Preserving the history and memories of places, but creating an innovative atmosphere, often with minimal investment

• Flexible spaces which can be used on a temporary basis

• Spaces for cultural and creative creation, production and exhibition

• Areas of convergence and sharing, with areas of networking and interaction events

• Multifunctional spaces that integrate different valenc-es, such as spaces for living and working

Bibliographic Notes

CE (2010), Green Paper on Unlocking the Potential of Cultural and Creative Industries, CE.Coworking Community Blog - http://coworking.word-press.com/.London Development Agency (2005), Strategies for Creative Spaces – Phase 1 Report.Munoz, P. (2010), Beyond Talent, Diversity and Technol-ogy: Transforming Small Cities into Creative Places, Masters in Innovation, Creativity and Entrepreneurship, Newcastle University.

© CM Serpa

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This mapping is intended to illustrate the spaces, in Portugal, for setting up artists, creative professionals, entrepreneurs and micro-companies associated with the cultural and creative industries.

Note: The mapping was not carried out thoroughly, and intends only to present some creative spaces in Portugal. If you know any such space that has not been considered on the map, you can send the information to: citiesbrief@inteli.pt

MAPPING OF CREATIVE SPACES

CITIES

AlcobaçaAlmada

AmadoraAveiro

BejaBraga

Caldas da RainhaCoimbra

FaroGuimarães

Lagos

SPACES

• Armazém das Artes• Quarteirão das Artes• Centro Nacional de Banda Desenhada e Imagem• Performas - Estúdio de Artes• Laboratório de Arte e Comunicação Multimédia• Bandas de Garagem• Velha-a-Branca Estaleiro Cultural• Centro Cultural e Congressos das Caldas da Rainha• Casa da Esquina • XDA• Laboratório de Artes e Media do Algarve• Obras de Portugal • FabricAsa• Plataforma das Artes e Criatividade • Centro de Arte e Arquitectura• Instituto do Design• Laboratório de Actividades Criativas

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Lisboa

Loulé

Matosinhos

MértolaMiranda do CorvoMontemor-o-Novo

Nodar (S. Pedro do Sul)Óbidos

OvarParedes

PenelaPorto

Póvoa de LanhosoSão João da Madeira

Santa Maria da Feira

Santo TirsoSerpa

Tondela

Vila Nova de Cerveira

Vila Nova de Famalicão

• Startup Lisboa - Incubadora de Empresas• Restart• Seu Vicente Residências Artísticas • Residências Artísticas - Companhia Olga Roriz • LX Factory • ZDB• CEM• Red Bull House of Art Lisboa• Forum Dança• Chapitô• Mercado do Forno de Tijolo• Pólo Criativo do Campo de Santa Clara• Fábrica do Braço de Prata• Espaço Alkantara• AltLab • Centro de Experimentação e Criação Artística de Loulé• Incubadora de Empresas e Projectos do Quadra• Laboratório de Criação Digital• Residências Artísticas Convento de São Francisco de Mértola• Casa do Design e do Artesão• OficinasdoConvento• Espaço do Tempo• Centro de Residências Artísticas de Nodar• Parque Tecnológico de Óbidos • ABC - Apoio de Base à Criatividade• Habitações e Espaços Criativos• EPIC - Espaço de Promoção da Inovação e Criatividade• Habitat de Experimentação e Criatividade de Ovar • Fábrica do Design• IncubadoradeDesigneOficinasCriativas• Casa das Indústrias Criativas (Smartes)• Hub Porto• INSERRALVES• Palácio das Artes - Fábrica de Talentos• Aquário do Som e Imagem • Maus Hábitos - Espaço de Interveção Cultural/Cowork Criativo• Pólo das Indústrias Criativas • Casa da Música• Hard Club• Plano B• Centro Criatividade Digital• Opo Lab - Laboratório de Experimentação Criativa• CACCAU - Centro de Apoio à Cultura e à Criatividade em Ambiente Urbano• ÁRVORE XXI• Artes em Partes• Centro de Criatividade da Póvoa de Lanhoso• Casa da Criatividade• Oliva Creative Factory• Centro de Criação de Teatro e Artes de Rua • Caixa das Artes• Incubadora de Negócios Criativos• Musibéria• Residências Internacionais ACERT• ARTErra – Residências Artísticas Rurais • Incubadora de Indústrias Criativas Bienal de Cerveira• Atelier Gondar - Residências Artísticas• Casa das Artes

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ÓBIDOS CRIATIVA – FUTURE HISTORY

Miguel SilvestreCreative Economy Coordinator of Óbidos Criativa EEM

In June 2012, Óbidos made a strategic option by merg-ing the two existing municipal companies: Óbidos Re-qualifica and Óbidos Patrimonium. From this action Óbidos Criativa appears, a unique example of political commitment with Creativity and Innovation. We have now brought together, under the same umbrella, areas such as education, our local events calendar, as well as companies and entrepreneurship policies, all connected by a creativity induced methodology. As in every or-ganization, we have to fight against sectors and cabinet fossilization. The mechanization of the same solutions is one of the major issues why medium and larger or-ganizations often lose their creative edge, a characteris-tic responsible for their growth curve until then.

To all those who thought we were trend hunters… guess what? We are in 2012 and we still believe, talk and apply creativity as one of our major resources. Yes, we also try to be green, innovative, smart, horizontal, but in the end, what really drives us is creativity. In any strategy, coherence or commitment is always a major strength if you apply it with the right balance of flex-ibility and understand change. We believe this is one of the reasons why we are now entering a different stage, probably more mature, less loud, more ear-to-ear, more seductive. It’s probably not different from the current paradigm of creative industries where the positioning is more balanced, because we finally understand that the path must link to the creative and traditional industries, from manufacturer to services.

EPIC - Space for Innovation & Creativity Promotion © CM Óbidos

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Our level of commitment with creativity is probably our major achievement

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One of the most important things that we accomplished in Óbidos was not to let creativity be exclusively affiliat-ed with culture or technology. Creativity is broader than creative industries; it should be a natural inexhaustible resource that individually or collectively makes a com-munity and territory develop. The concept of a creative footprint that we launched during the URBACT net-work - Creative Clusters in low-density urban areas - is an example of how we believe that this idea of creativity should be instilled in every citizen of Óbidos. Our focus at the moment is in what we are and what we want to be, in other words: deal with the real and you will have the real deal.

It’s time for a social equation: you and me=us, us and them=all. Collaborative skills, ‘coopetition’ or peer pres-sure, it’s all about involvement, interaction and most of all, about results and how we should accomplished them. True partnerships are growing in Óbidos in some of the projects that will be mentioned in this arti-cle, based on objectives and design thinking processes where public and private sectors try to be compatible.

Schools: a creative lab for a new model of education

If there is an area where our country should invest, but also be open to new perspectives and methodologies, it is undoubtedly Education. Since we started the pro-cess of building and opening our three new schools, the first one awarded by the OECD as an educational equipment of excellence, we always had a much wider spectrum… the creation of a new model of education, not only in infrastructures or in technology, but also in the relation with the community, in the participation in the discussion process, completely focused on children and in their needs. In just a few years the results have been impressive. We went from having poor results in learning skills to a model that is already referred to as a case study in the involvement of children and creative intelligence. The school is now much more than a class-room and a teacher; it is a community of sharing and new lectures of our reality, at the same time, it prepares children to be part of a fast changing and wider world. And in this world the success will prevail from intelli-gence, adapting to change and creation capacity. It is in this context that we will have our future makers.

With Creative Ateliers in each school we began a com-plementary process to the curriculum provided by the Ministry of Education, taking advantage of the students’ free time and beginning to show them that School could be much more. It is important to show that their ideas are worthy and they shouldn’t take for granted what they see. There’s a new world beyond every object or word, beyond colours and shapes that could be used

to communicate ideas and that this world belongs to a much bigger one. Therefore, from ideas, we created a factory, a creative one, where children make animation movies or light painting, create sculptures or sustain-able furniture, listen and play all kinds of music and share those with audiences. Schools are now more open spaces with ideas labs for parents to participate in the management, with international networks with other practices and case studies, such as Reggio Emilia (Italy) or Gentofte (Denmark). Right now Schools are more than a priority, they are the heart of Óbidos Criativa, the space shuttle of the vision, passing and capturing what is the most important to the community and its future.

Creative Upgrades: from tourism and events to the traditional economy

With a starting point in all the projects mentioned in education, we recently decided to challenge our chil-dren to help us design a new Óbidos Vila Natal, our Christmas event. In an open innovation session, we presented our point of view and our needs, listened to their ideas about the subject and then created a story and concept of this old/new event. And we did this after the last year’s edition became the most visited ever!

Our level of commitment with creativity as we men-tioned previously is probably our major achievement and has lead us from school classrooms and company incubators to new projects with the simple purpose of using creativity as a resource, not only with new pro-jects, but also projects and programs that are already in progress. The present times demand other forms of solving old problems. It is not a question of injecting more money and buying time, hoping that the situation evolves and maybe the problem will be solved. We fre-quently say that creativity, for us, is doing more with the same resources. We probably have to rewrite this sentence changing it to something more adapted to our reality… creativity is doing more, or at least the same, with fewer resources. We could also say in a more mo-tivational approach that the challenge is No money is twice as funny.

When we launched the Creative Breaks program one of our goals was that creative people and tourism compa-

Schools are more than a priority, they are the heart of Óbidos Criativa, the space shuttle of the vision.

nies could work together and we, as a public company, could support them in a more logistical manner. In the first ten minutes of our first meeting, we understood that the general opinion was that we should be respon-sible for the program. This position reflects, a bit, a ver-tical relation between people and public entities. The model has changed to a more horizontal one, but nev-ertheless, in Portugal, we are still far from the levels of entrepreneurship that are crucial for our future. That’s why a program such as this one could upgrade us to a different level than the commercial success of the con-cept. Learning to network, sharing ideas and visions, generating common business, and positioning Óbidos as a learning destination are also very important and linked objectives.

At the present stage of the project we have more than 30 proposals that were submitted to a testing phase during the Creative May event. In a second phase they were evaluated with objective and more subjective criteria, providing a basis that we think is the strongest to start the commercialization of the product.

The induction of creativity in regular projects has been an organic process. One of the best examples that we have on the power of creativity blended with public and private initiatives can be told in a few words. Three years ago we researched funding opportunities to rehabilitate an old church inside the castle walls. In a country with-out funding programmes for heritage conservation, our challenge was to find a cultural and economic dimen-sion that could respect the history of the building and at the same time create a new and specific cultural centre inside Óbidos. With the premise of creating a project that was worth a visit, we started working on a book-store inside a church. Since then, we have a restored space, a unique bookstore where the shell is a sculpture that could be taken out easily. At this moment a public competition is underway and in a stage of evaluation. The private sector’s interest in the project goes beyond a bookstore; they want to create a network of bookstores

in Óbidos, making us a literary town. Despite the idea that this is a passing sector it is a very interesting po-sitioning for Óbidos, because of the cultural relevance that it could bring, because of the touristic differentia-tion, but also by the economic dimension of the corre-lation of this area with digital publications. First, let us create the atmosphere and the rest will follow.

From working spaces to new cultures of work

With policies oriented towards the creation of work-ing spaces, rehabilitating old buildings, or new ones made by renowned architects, communities didn’t leave behind the old paradigm of having a building to inau-gurate or one that could become a political landmark. Some of these spaces are success stories, others are iso-lated initiatives, with no integration in a global strat-egy, and this is not a major problem in a metropolitan area, because demand is bigger than the offer. If you are working in a small urban area this could became a fac-tor of weakness of a project.

Anyway, we think that in these cases we are already talking about the past. Local authorities and entities that managed spaces of incubation or companies re-lated should be aware that the paradigm where we all should be focused on the need of having new work cul-tures. Space is not the major issue anymore, but a cloud of spaces and minds is…

Collaborative culture, horizontal governance, social activation or peer pressure are more than trends, they are concepts to face a strong competitiveness of an in-dustrial world focused on the low cost of human re-sources and low prices of the products produced. But if you think that ideas are not worthy of these dangerous days, let us tell you that you are wrong. Don’t pause your brain for the better days to come. Use all your brain-power now, and use it amplified by other people’s ideas.The new spaces that we have in Óbidos are related to this concept, and let’s use the fact that we are a small town to activate them.

EPIC – Space for Innovation & Creativity Promotion is one of the examples of this blending of wills and collab-orative spirit between people and companies. This space was not conceived to offer separate areas for companies to work in, but are intended as areas of work or produc-tion. The purpose is to open the work process to the col-laboration of those who are interested in sharing skills. It’s not consultancy, but true cooperation. The program has different levels to this cooperation, from co-work spaces to companies, to an area of workshops and lab and an area of commerce to test public acceptance of those products and services created here. Attached to this concept and space we also have an ancient bodega that today will be something that we could define as a

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Central buildings of the Technological Park © CM Óbidos

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made gallery: a showroom of creativity and innovation in Portugal. With more than one million tourists each year, with a small scale for visitors, Óbidos has every-thing to become a spot where creative and entrepre-neurs are in contact with audience or clients. Basic idea: we own the building, you own the cloud.

Also related to this concept we are working on another project that proposes to be a solution to what we con-sider as one of the major problems of creative indus-tries: the absence or the lack of management skills. The Gate Project is a space concept located at Porta da Vila of Óbidos for companies that aren’t creative industries, but want to work with and for them. From Accounting to Law firms, from tourism to commerce, everybody should be interested in the economy of creativity.

Since 2010 the Municipality of Óbidos has been reha-bilitating several houses inside the castle walls to a live and work concept. The Creative Spaces, with names of historical artists from music to painting (José Joaquim dos Santos, Josefa d’Óbidos, André Reinoso and Bal-tazar Gomes Figueira), are spaces for rent to the crea-tive class and the main concept of the project will be: the best project wins, simply that. From Arts to soft-ware, from indoor activities to outdoor programs, the spaces allow flexibility of use while having Óbidos as background. Yes, it’s true. Theses houses aren’t located

on Rua Direita (Main Street), but they are in one of the residential streets of Óbidos. It’s possible to have a store or an office or an atelier or performing in the garden or… just live there.

There is more to come in other areas such as food, such as a fully equipped restaurant for rent, where our de-mand will be a project that could make the difference when compared to the existing offer. Food Design, slow food and organic food are concepts and ideas that will lead our evaluation of the proposals. The same concept will be applied to the upgrade of a project that is very dear for us. We want to connect producers and consum-ers with some projects, for example, the organic mar-ket of Óbidos, but also with new concepts of cafeterias that could transform and sell organic products with ex-tra economic value, all in the same space, on the main street, linking business and people.

Once again it’s not only a space to rent, it’s a space for a new idea and work projects, with the objective to raise the standards and move our border a little bit forward. Making tradition a source of innovation.

In conclusion… Yes we have the ideas, the strategy… we know exactly what we want. So, what awaits us in the next few months? It will be all about finding the right people to develop some of these and many other ideas, checking their relevance, and letting them work and change the core of Óbidos. Basically, we need that all the readers of this article feel inspired and look to Óbidos as a dream come true.

One of the most important things that we accomplished in Óbidos was not to let creativity be exclusively affiliated with culture or technology.

© CM Óbidos

More info: silvestremiguel@me.com

CREATIVE CITIES, TOURISM AND URBAN REVITALIZATION

Heliana MarinhoDevelopment Area of the Creative Economy, Sebrae Rio de Janeiro (Brazil)

The creative city concept is still in a formulating process and its understanding involves the reinterpretation of the urban sites as a complex object of analysis, in con-stant change. One must have a multidisciplinary look over this object. Therefore, to call a creative city an ur-ban agglomeration brings on, among other things, the challenge to promote interconnection between different areas of knowledge. Thus, much more than a new ap-proach, the understanding of the meaning and signifi-cance of creative cities requires the articulation of ur-banism sciences, sociology, anthropology, philosophy, history, geography, economy, management, psychology and communication.

The interaction between these fields of knowledge chal-lenges scholars and public and private agents in the search for new models for the economic and social-environmental growth. This is a typical phenomenon of the post-industrial and postmodern society, whose the anchor of discussion and appropriation refers mainly to recognising that culture fuels a new economy and is nowadays, a pillar for the society development in the knowledge era.

THE CREATIVE SECTOR

Creative cities and territories are, first of all, spaces of articulation of the various forms of manifestations and cultural segments. The integration of physical and im-material infrastructure, in technological supports, cre-ates new intelligences and generates economies of scale difficult to measure. Creative cities expand opportuni-

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ties of cultural offerings; they use symbolic elements for the generation of products, services and businesses; they create new markets for a supposedly responsible consumption.

In general, a creative city:

- Provides unlimited potential for development because its resources are inexhaustible, and stimulates the ser-vices and leisure sector, such as tourism, fashion, tech-nology centres, media and entertainment.

- Uses creativity as main input of productive activities, investing in artistic and intellectual creation. It also in-vests in innovation and clean production, with results of high economic added-value.

- Displays positive externalities in production seg-ments, creating jobs at all levels of the value chains and promotes the construction of multi-faceted identities, where affinities - tribes and interest groups - outweigh the social and economic stratification.

- Develops cultural goods and services tied to symbolic universes, ideas, ways of life, information, values and identities that differentiate and qualify the territory in the globalization process.

A city that stimulates and is stimulated by a specific economy, based on culture and technology, becomes a smart city. By appropriating innovation in economic cycles, the creative territories transform supply chains into value chains, qualifying the processes of creation, production, fruition, distribution and consumption of

goods and services. These territories are differentiated from traditional cities once they use the knowledge, creativity and intellectual capital as primary production resources.

GOOD PRACTICES

For a better understanding of the creative cities phe-nomena in the contemporary world, it is important to use two basic conceptual axes: culture economy and culturalization of the economy.

The first axis refers to the set of activities whose essence is the interaction between intangible heritage and tech-nology. The concern is centred on the development of mechanisms to guarantee intellectual property: How much is your talent worth? How to measure it? Who pays for it? How to pay business in the virtual world?

An example of this trend is the case of Barcelona. The Barcelona Media Project was set up in a degraded area, revitalizing it with the creation of physical spaces con-nected in meshes of advanced technology. The objec-tive was to attract smart businesses, articulated in social networks. In this sense, the cultural economy got closer to the so-called creative industries with investment in media and generation of unimaginable businesses at the turn of the 21st century.

This current of thought bets on technological tools and turns primarily to the productive chains of music, au-dio-visuals, media, animation, visual and performing arts, and advertising, as sectors to boost the economy. In 2002 the United Kingdom established the Ministry of Creative Industries; France, USA, Canada, Mexico, Chile, Ecuador, India and Nigeria are examples of im-portant countries in this context.

In the second conceptual axis, culturalization of the economy, the effort is on the use of cultural informa-tion for adding value to traditional industries: tourism, fashion, decoration, crafts, and architectural heritage, among others. It is within this model that cultural tour-ism emerges, mainly derived from the revitalization of historic areas and the preservation of architectural her-itage.

European cities of Italy, Portugal and Spain have bet on this process in order to increase the flow of tourists and increase revenues from trade and services related to food and entertainment. In Central America, Cuba

Culture is regarded as the new development pillar.

Segments of the Creative Industries

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stands out for its investment in the rescue of its archi-tectural built heritage. Old Havana is being re-qualified to promote the tourism circuit in the region.

Buenos Aires, in South America, invested in the for-mation of a design cluster. Replicating this example, in the revitalization of the port area of Rio Madeira, Bra-zil invested in the urban regeneration around the Bay of Guajará in Belém do Pará, attributing a function of entertainment to the architectural ensemble from the harbour area to the Ver-o-Peso market.

This same direction, even if belatedly, the country has mobilized the Rio de Janeiro State for the implemen-tation of the project called Porto Maravilha. There are major investments planned for the city port area, budg-eted at about R$200 million just for the first phase in 2010. The revitalisation of the urban mesh, the archi-tectural equipment and the proposed new uses, will certainly put Rio de Janeiro in the select group of cities such as Barcelona, Bilbao, Berlin and New York.

However, experience shows that some care must be taken. By reinventing urban functions, with changes or incentives for certain uses, it is essential to balance out the proposals with the infrastructure available and the necessary one. It’s also needed to neutralize estate valu-ations that expel the local population and attract that investors with little sensitivity towards the dynamics of occupation and the preservation of architectural and immaterial heritage.

The challenges for creative cities are many and the les-son is in innovation and design of new productive con-figurations that simultaneously generate locational ad-vantages and opportunities in the new clean economy: the creative economy in smart cities.

THE UNIQUE PATHS OF TOURISM AND CULTURE IN RIO DE JANEIRO

Rio de Janeiro is a synthesis of the economic, politi-cal, social and cultural history of the country. To map the events that impacted the state, in 2003 SEBRAE/RJ instituted the “Inventory of Cultural Heritage Project- Unique Paths of the State of Rio de Janeiro”, in partner-ship with UNESCO and the State Institute for the Cul-tural Heritage of Rio - INEPAC.

One of its objectives was the search for information to integrate actions of tourism, crafts and culture through the identification of material traces that survived the occupation process of the Fluminense territory. This motivated the recording of elements - landscapes and architectures - that constituted the built heritage in Rio de Janeiro over the centuries.

Rio de Janeiro vision is unique in the intertwining of economic activities, overlapping in time and space, such as the salt exploitation in the coastal region; the implantation of the sugar culture, in the north and northwest of the state; the circulation and flow paths of gold, in Paraty; and finally, the coffee economy, in the Paraíba Valley. All these activities stimulated pro-duction models, everyday stories and lifestyles, and, as a whole, the contribution of various ethnicities - white, black and Indian people. The races mixing and the re-sulting socio-cultural transformations contributed, and can still serve as input, for the development of tangible and intangible assets with territorial identity.

Culture, being woven throughout time in the unique paths of Rio de Janeiro, shows traces that can be ob-served in the light of the iconography, of the natural

© Flip Festa Literária

and built landscape. These elements are important for the development of original tourist developments, an-chored in a cultural landscape.

Thus, the natural paths of the Rio de Janeiro Tourism and Culture, with the aggregation of important values of land use, fulfil the function of rescuing the plot of the story and the cultural fragments that feed the develop-ment of chains of productive skills of the Fluminense creative economy.

In summary, the spatial area, territorially configured by the unique paths of Rio de Janeiro, is the so-called “region of lived space”. They are territories that can be referenced in the fabric of the social, economic, cul-tural and environmental relations in permanent con-struction. The patterns of occupation and land use, the housing typologies, the communal ties and kinship, the beliefs and myths, the legacy of tangible and intangible assets, among others, are important elements for en-dogenous development, with a focus on genuine crea-tive output and with identity.

THE NEW CULTURE ECONOMY

Overall, the actions in creative cities should presup-pose the acceptance of culture as a universal right that allows the (re)construction of identities and ventures. From this perspective, the public sector plays a key role in creating social cohesion mechanisms, in the creation of goods and the distribution of wealth, via regulation of the market for the healthy exercise of innovative business.

Culture is regarded as the new development pillar. In this context, the combination of culture and educa-tion plays a central role in the process of construction and consolidation of the knowledge society. Culture becomes a system that fosters interdependence and re-lationships between the public and private sectors and civil society, to establish a differentiated economy in the 21st century. For this, it is fundamental to: (1) articulate different forms of cultural events that complement each other, thus generating economies of scale, (2) increase opportunities for cultural offerings in certain regions, attracting consumers looking for responsible tourism and entertainment, (3) promote the convergence of ac-tions to create new markets, and (4) validate the fact that the basic inputs of that market are innovation and immateriality for the generation of new products and businesses.

For these paradigms to be consolidated, you need to balance culture with an aesthetic tradition; as an an-thropological vision where everything is culture; and the vision of cultural markets, as the place of trade. The new economy is based on the logic of cultural diversity, giving subsidies to conceptualize the creative economy

and creative cities, as a contemporary means of produc-tion in the knowledge society.

The knowledge and creativity economy needs to iden-tify new productive forces; using labour that is pre-pared and trained and aware of its beliefs and values. Cities and territories are seen as scenarios that facilitate cultural diversity through architecture, entertainment equipment, museology and archaeology. These factors favour the interchange and exchange, and stimulate competitiveness from value chains.

Moreover, the absence of more assertive theoretical def-initions contributes to the creative cities study field be-ing still quite cloudy. Overlapping concepts emerge and blend in the use of terms such as: cultural industries, creative industries, creative economy, culture economy and culturalization of the economy.

As the knowledge society - and relationship networks - models the creative city, the emphasis is to seek com-pensation from that which is symbolic, intangible and immaterial. Among the challenging topics for a consist-ent work in this field, you have:

- The tangible and intangible heritage as a sustainable and remunerable resource, by enhancing creativity to generate new business. Metamorphoses between global and local diversity come into play, with the centrality of cultural movements in the city suburbs.

- Cultural industries and technological exchanges in building social networks of interactivity, sharing, in-tersectorality and governance. The dilemma of identity, hegemony, and the use of culture as economic sector is evidenced.

The arguments reinforce that the modelling of creative cities, as well as theoretical references that guide their activities, are under construction. Scholars, entrepre-neurs and industry professionals need to mature strate-gies and establish lines of work that are consistent with the concepts and expectations of the present moment: building cities, or revitalising their uses, with creativity.

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http://portomaravilha.com.br

CREATIVITY IS THE PASSWORD FOR INNOVATION:

A PUBLIC POLICY FOR THE CREATIVE ECONOMY IN GOIÁS

Decio Tavares CoutinhoExecutive Superintendent of the Secretary of State of Culture in Goiás, Brazil

There are two words that are “coupled” with particular vehemence when we speak of the potential for innova-tion: entrepreneurship and creativity. With a significant-ly greater persistence, the latter begins to emerge in stud-ies and economic reports showing how companies and institutions propose to tackle the crisis that the world is experiencing.

Goiás is a peculiar and singular state of Brazil that has all the conditions for a new path and to open this innova-tive “window of opportunity”. It has a range of cultural architectures and creative activities that are disseminated throughout the major urban centres and rural areas of the state, but there is still the need for establishing “con-nectivity” and giving a new “leverage”, repositioning the state with its expertise in weaving nets woven by its rhi-zomatic diversity.

Our state is currently experiencing an environment that is particularly conducive to experimentation and the practical implementation of some measures that allow for undertaking new paths. Our heritage is a fantastic field. We associate with this argument the movement of people from other states to Goiás and also the return of many Goiás people, as can be seen in the streets and new spatial and functional occupations.

Another key aspect that facilitates creativity and en-trepreneurship is the economic growth experienced in Goiás, above Chinese indices. See it in http://issuu.com/marconiequipe/docs/jornal?mode=window&backgroundColor =% 23222222.

From the point of view of culture, we have iconic exam-ples of cities or regions of Goiás that came to be known, generating and distributing income and occupation from the realization of cultural productions and talent attraction. We can cite as examples, among others, the

Author’s photo

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Chapada dos Veadeiros, Goiânia and Rio Quente. When captured by the film lens, they spread as a tourist des-tination, attracting visitors interested in elements seen in movies or soap operas, as we experience here in the Araguaia region, City of Goiás and Pirenópolis.

We still have those localities that are revealed to the world by hosting events such as film and music festi-vals, in addition to popular and religious festivities that move thousands of people and Brazilian Reals, integrat-ing various activities, especially those related to crafts, gastronomy and tourism, aiming to strengthen the cul-tural identity of the territory centred on creativity and culture. Catalão, Colinas do Sul, Niquelândia and Trini-dade experience these realities.

We will only move forward in development policies to the Creative Economy in Goiás when we have a better understanding of the complex relationships that are es-tablished in the territories. We need to map the way that the various factors relate to each other so as to obtain positive results being not only a general or economist articulation, but a joint articulation that reconciles local and regional policies. The organic nature of the relation-ship between the various agents must be understood, as they influence each other. We are clear that creativity is a key factor for competitiveness, adding value to goods and services and thus creating innovative opportunities for developments such as employment, income and tax-es, building a “creative ecology”, an environment which includes well-being, sustainability and social inclusion.

A public policy for the Creative Economy in Goiás

In Goiás we find a wealth of resources and capabili-ties, fundamental to the establishment of this “creative ecology”:

1. History and heritage2. Pulsating economy 3. Young creative class4. Innovation culture steeped in society

In proposing the Creative Goiás program, we elaborate the axes that we deem most timely and potentiators of the wealth mentioned above, for this new model of de-velopment:

1. Strengthen state action in the planning and implementation of public policies for the creative industries;

2. Encourage, protect and enhance the cultural and artistic diversity of Goiás;

3. Universalize Goiás access to fruition and produc-tion in the creative industries;

4. Increase the participation of culture and creativity in sustainable development;

5. Consolidate systems of social participation in policy management for creative industries.

To reach them we have established the following prior-ity guidelines:

1. Training and assistance to the creative worker - primarily through the Creative Bureau of-fice, see http://www.aredacao.com.br/artigo.php?noticias=10844;

2. Encourage the development of Creative Economy and Digital Culture;

3. Cultural tourism - intersectoral development for Creative Economy;

4. Economic regulation - institutional consolidation of regulatory instruments;

5. Establishment of information systems and indica-tors for the Creative Economy;

6. Marketing, Branding and Communication.

It is precisely to try to discuss new models of innovation routes that we suggest the theme of creativity: not as the epicentre of the problems, but in the conquering of solu-tions. All this will only be consolidated and sustainable if society engages.

It’s time to adopt this central development approach for the communities of Goiás to make the most of these new opportunities proposed in the Creative Goiás Program. With this and for the following generations.

Decio Tavares Coutinho is Master in Management of Cultural Heritage by the PUC-Goiás. Specialist in “Post-Industrial Societies and Creative Organizations” at the S3 Studium - Italy, with the sociologist Domenico de Masi and in “Creative Economy” in the Barcelona Media Foundation - Spain. He was Coordinator of Culture at SEBRAE and is currently General Manager of the Ministry of Culture in Goiás.

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There is much talk of the creative economy in Brazil, but the institutionalization of the Creative Economy Secretariat under the Ministry of Culture, in 2011, gave a new impetus to a strategy based on creativity.

It is not just about betting on the creative industries, but to make culture a strategic axis of development of the Brazilian state. In a comprehensive concept, the Brazi-lian creative economy relies on innovation, sustainabi-lity, cultural diversity and social inclusion as guiding principles.

Innovation as a differentiating factor and wealth gene-rator in the Brazilian creative sectors, both in the in-tegration between new technologies and cultural con-tents, and in the arts in the strict sense.

Sustainability in its social, cultural, environmental and economic aspects, ensuring a beneficial development model for future generations, in the sense of betting on green economy and society.

Cultural diversity as an essential asset to a new un-derstanding of the development, based on dynamics of recovery, protection and promotion of the diversity of national cultural expressions as a social and economic resource.

Social inclusion in its dimensions of productive inclu-sion, to ensure equal opportunities in access to work, and the right of choice and access to Brazilian creative goods and services.

BRAZILIAN CREATIVE ECONOMY - GUIDING PRINCIPLES

CHALLENGES AND ACTIONS

In the Plan of the Secretariat of Creative Economy 2011-2014, a number of challenges for the Brazilian creative economy are pointed, as reflected in its areas of operation.

1st ChallengeGathering information and data on the Brazilian creative economy: A number of studies and resear-ches about Brazilian sectors of the creative economy are planned, with a view to generating information and knowledge to support decision-making of public policy.

FOR A CREATIVE BRAZIL

The Creative Brazil Plan will be delivered in October by the Ministry of Culture to President Dilma Rousseff with a view to stimulating and strengthening the creative economy in the country.

Source: Plan of the Secretariat of Creative Economy 2011-2014

sustainabilityinnovation

cultural diversity

Brazilian creative economy

social inclusion

2nd ChallengeArticulation and stimulus to the development of cre-ative businesses: Seeks to address the need for access to financial resources on the part of creative businesses as well as the development and replication of social tech-nologies.

3rd ChallengeEducation for creative skills: Guides to the promotion of the creative skills building, covering not only the technical contents but also those of organizational and personal skills as well as understanding the sociocul-tural and political dynamics.

4th ChallengeInfrastructure for the creation, production, distribu-tion/circulation and consumption/ fruition of crea-tive goods and services: It is about promoting infra-structure for the creation, production, distribution and consumption of creative goods and services according to cultural practices, productive processes and technol-ogies used by different creative segments.

5th ChallengeCreation/adaptation of legal frameworks for the cre-ative industry: It seeks to act in the creation of legal frameworks that understand the specificities of creative professionals and enterprises, in terms of taxation, la-bour, intellectual property, etc.

2012 ACCOMPLISHMENTS

Brazilian Observatory of Creative Economy

The Brazilian Observatory of Creative Economy (Obec: www.cultura.gov.br/economiacriativa) aims to pro-duce, gather and disseminate quantitative and quali-tative information on the Brazilian creative economy. Under the responsibility of the Secretariat of Creative Economy, it represents an investment of 12.4 million Brazilian Reals.

Apart from the national observatory, launched on June 1st, one still intends to implement, in 2012, 14 State Ob-servatories, 12 in the host-states of the World Cup 2014 (Amazonas, Bahia, Ceará, Distrito Federal, Mato Gros-so, Minas Gerais, Paraná, Pernambuco, Rio Grande do Sul, Rio Grande do Norte, Rio de Janeiro and São Paulo) and 2 in the states that have already agreed to set up Creative Bureaus (Acre and Goiás).

These are academic spaces linked to federal and state universities with the aim of producing information and knowledge and generate experiences and experiments on state and local creative economy.

One of the actions of Obec was the launch of the Brazil-ian Forum on the Creative Economy, which translates into a permanent instance that will discuss topics re-lated to culture, development and the creative economy of Brazil.

Creative Bureaux

The Creative Bureaux are state public equipments in-tended for service and technical support for creative businesses and professionals. Their goals are to pro-mote and strengthen the networks and clusters of the Brazilian creative sectors, through the provision of in-formation and offer of various consultancy services and legal and technical advisory services, training courses, among others.

Five pilot projects of Creative Bureaux have been launched since December 2011in the states of Goiás, Acre, Pernambuco, Minas Gerais and Rio Grande do Sul, with a planned investment of 6 million Brazilian Reals.

One intends to expand this network throughout Bra-zil by 2014. Plus the creation of International Creative Bureaux with the aim of promoting the distribution of Brazilian branded products, taking advantage of the opportunities offered by the World Cup and Olympics.

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Brazilian creative economy

macroeconomic vector

development and monitoring

creative territories

studies and research

legal frameworks

microeconomic vector

entrepreneurship, mana-gement and innovation

fostering creative businesses

training creative skills

networks and collectives

Source: Plan of the Secretariat of Creative Economy 2011-2014

Creative Brazil Award

The Creative Brazil award includes an edict of promotion for entre-preneurial and innovative initiatives and an edict for the support of research on the creative economy, both published in December 2011.

The first, with an investment of 3.6 million Brazilian Reals, aims to identify, recognize, foster and disseminate innovative and entrepre-neurial initiatives of civil society within the creative sector. 150 ini-tiatives will be awarded in the following areas: management models of enterprises and creative businesses and training for creative skills.

The second aims to select studies and research on the creative econo-my, with an investment of 180 thousand Brazilian Reals. 22 research studies will be awarded (PhD theses, Master’s dissertations and group productions).

Entries were submitted by applicants until April 30th. The results of the first phase were published in July, 376 entries having been quali-fied for the first edict and 42 for the second.

Brazilian Network of Creative Cities

By creating a Brazilian Network of Creative Cities, one aims to recog-nize cities that have established public policies of development based on creativity and culture.

The allocation of official stamps to cities will be held in November, on the occasion of the Day of Creativity, based on the evaluation of a set of criteria that highlight the cultural heritage and local assets.

These cities will receive support from the federal government for fostering creative enterprises in the territories, and we expect the appointing of developing agents who will provide advice to creative cities.

CREATIVE BRAZIL PLAN

The final product of the work of the Secretariat of the Creative Econo-my, in 2012, is reflected in the Creative Brazil Plan. This is the formal-ization of the challenge of building a new development alternative for Brazil based on the creative economy, and it seems to be complemen-tary to the plans “Brazil without Misery” (www.brasilsemmiseria.gov.br/) and “Greater Brazil” (www.brasilmaior.mdic.gov.br/).

It is a 20-year plan resulting from the articulation of policies and programs of more than 10 ministries, with a focus on regional and local development, promoting micro and small creative businesses, through the formalizing of businesses and innovative and entrepre-neurial training.

The document will be delivered to President Dilma Rousseff in Oc-tober 2012, claiming the Brazilian creativity as an engine of develop-ment.

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Some Goals for 2014

• National Observatory of creative economy

• 27 state Observatories of the creative economy

• Satellite Account of Culture• 80 cities in the Brazilian Network of

creativecitieswiththeofficialseal• 30 creative basins• 30 creative poles • 60 creative bureaux• 30 incubators of creative businesses• Creative credit • Formalization of 300,000 individual

creative entrepreneurs• Qualificationof60,000creative

professionals

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The Perfect City on debate in ‘Visão’ Magazine

‘Visão’ Magazine and Siemens, in partnership with INTELI, launched the project “Portuguese Cities Looking for Perfection”. Throughout the five weeks of August, 50 projects of excellence from 25 Portuguese cities that comprise the Living Lab RENER - Network of Cities for Urban Sustain-ability, were mapped and presented.

The project selection was made by INTELI, under the initiative “Smart Cities Index 2020” (http://www.inteli.pt/pt/go/indice-cidades-inteligen-tes-2020) which seeks to strategically position the Portuguese cities in terms of urban intelligence, resulting in a base of information and knowl-edge to support decision-making by public authorities and economic and social actors.

The index includes five dimensions: governance, innovation, sustainability, inclusion and connectivity. Thus, 10 projects were selected for each dimen-sion, which will be voted on by the public in order to select the best mu-nicipal initiative of urban intervention.

Furthermore, the launch of the “Cities Award” that aims to support an in-novative project that is viable, with great potential for being replicated and with obvious impact on citizens’ lives, with the backdrop of the concept of ‘smart city’. Interested parties may consult the regulation and registration form at: http://visao.sapo.pt/regulamento-do-premio-cidades=f677097.

The winning project will be publicly presented at a workshop on smart cities to be held in November, where the report of Smart Cities Index 2012 will also be released.

http://visao.sapo.pt/cidades-portuguesas-em-busca-da-perfeicao=f679189

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RE-GREEN Project organizes Conference in Potsdam

INTELI and the University of Potsdam (Germany) are organizing a con-ference focused on the rehabilitation and energy efficiency of buildings within the European project RE-GREEN – “Regional Policies towards Green Buildings”. The event will take place in Potsdam (Germany) on September 24th and 25th.

The RE-GREEN project, led by INTELI, aims to contribute to the im-provement of regional development policies targeted at promoting green regions within the new paradigm of Green Economy, with a focus on the rehabilitation of (public) buildings by promoting energy efficien-cy and renewable energy.

http://www.re-green.eu/en/noticias/go/news/potsdam-hosts-the-re-green-interre-

gional-workshop

Green Campus awards prizes to students

The Green Campus prize-giving ceremony – “Energy Efficiency Challenge in Higher Education” was held last July 5th; a partner-ship project between INTELI, Higher Technical Institute and Self-energy. It also has the institutional support of the MIT Portugal Program, and is funded through the PPEC - Plan for Promoting the Efficient Use of Electricity, an initiative promoted by ERSE - Energy Services Regulatory Authority.

The Faculty of Science of the University of Lisbon, the Higher Engineering Institute of Porto and the School of Tech-nology and Management of the Polytechnic Institute of Bragança, received in this order the first three prizes. The list of winners also included the Higher Institute Manuel Teixeira Gomes (Portimão) distinguished for the best technical measure and the Faculty of Pharmacy of the University of Lisbon, which stood out with the best behavioural measure. The initiative involved the participation of 81 teams with a total of 319 participants, including teachers and students.

The best measures proposed are being compiled in a book – “Energy Efficiency in Higher Education”. This book, to be distributed for free in the world of higher education, has the participation of numerous experts who will address various issues, such as lighting, air conditioning, thermal rehabilitation, renewable energy, management and maintenance, and behavioural factors. The book launch is scheduled for November.

http://www.greencampusportugal.info/

Year of Portugal in Brazil inaugurated on September 7th

The Years of Portugal in Brazil and Brazil in Portugal will be inaugurated on September 7th and end on June 10th 2013.

Portugal intends, through a multidisciplinary program, to show in Brazil the Portuguese creativity and knowledge in the arts, culture and thought, in the economy and technological innovation, in science and research.

At the opening of the event, in Brasilia, the Minister of State of Foreign Affairs announced the creation of an incubator for Portuguese companies in the city of São Paulo, which should start operating in 2013. One of the objectives is to support the installation of domestic companies in Brazil, supporting them with legal and customs advice.

http://www.anobrasilportugal.com.br/brasil-portugal/

European Commission publishes a call for proposals in the creative sector

On July 10th, the European Commission published a call for proposals under the 7th Framework-Program in different areas of research and innovation, including the cultural and creative sector.

In this context, it is important to highlight the objective 8 – “ICT for Creativity and Learning” of the Cooperation Program - Communication and Information Technologies, which aims to produce interactive tools for the creative industries, promote the creativity of creative professionals and anticipate future trends in terms of research innovation and to encourage interaction between different segments of the creative industries.

The deadline for applications is January 15th, 2013.

http://ec.europa.eu/research/participants/portal/page/cooperation?callIdentifier=FP7-ICT-2013-10

The North is a finalist in the “European Creative Districts”

TheNorthernRegionofPortugalisafinalistinthecompetitionlaunchedbytheEuropean Commission “European Creative Districts”, with the application “Designort - From a design to a creativity driven North Region strategy”. The initiative is coordinated by the Committee for Coordination and Regional Development of the North (CCDR-N) and results in a partnership that includes the municipalities of Paredes, São João da Madeira, Santo Tirso and the Irish Region Border, Midlands and Western (BMW).

The application proposes a link between the Oliva Creative Factory (São João da Madeira), the Pole of Furniture Design (Paredes) and the Santo Tirso Incubator, seeking the renewal of the industrial economy of the region.

The Commission intends to support projects that promote the coordination between the creative industries and traditional industries, and the winning initiatives will be announced in the last quarter of this year.

http://www.ccdr-n.pt/pt/noticias/detalhes.php?id=2472

Territories’ Creativity, Strategies and PoliciesSão João da Madeira – September 20th and 21st

This is the 1st International Seminar of Oliva Crea-tive Factory dedicated to the creativity in the terri-tories. It will be attended by Paul Collard, and will include roundtables composed of representatives of some national incubators that will discuss the man-agement challenges associated with creative busi-ness incubators. It will also include three workshops entitled “Incubators: What services and manage-ment models?”; “Creativity in the territory: What strategies?” and “Network incubators of the North: Which cluster?” http://www.olivacreativefactory.com/noticias.html

Creative Economy Forum “Culture, Science and Technology, New Models of Development”Lisbon – September 21st and 22nd

This seminar is part of the Year of Portugal in Brazil and Year of Brazil in Portugal and will discuss new models of development based on culture, science and technology. The event will feature panels dedicated to cultural diversity and sustainability, development of new technology for creative businesses and legal frameworks of the Brazilian and Portuguese creative economy.http://canelaehortela.com/anno-de-portugal-no-brasil-e-anno-do-brasil-em-portugal-pretende--abrir-mentalidades

Rethinking Cities: Framing the Future Barcelona – October 8th to 10th

This is the 6th seminar within the framework of urban research and knowledge, organized by the World Bank, the City of Barcelona and some key partners. The seminar will once again discuss cru-cial issues for cities, with the aim of contributing to the decision-making in areas such as sustainability, economy, environment and social equity.http://www.rethinkingcities.org/

Cultural Quarters - Experiences and Challenges Santo Tirso – October 25th to 27th

This conference meets the strategy implemented by the municipality of Santo Tirso, focusing on urban regeneration and revitalization of some dilapidated buildings in the city, which gave rise to the Cultural Quarter. The event will include the exchange of knowledge and experiences of some national and international speakers, workshops and field trips. In parallel, exhibitions, fashion shows and an “after party” will be promoted.http://seminarioquarteiroesculturais.pt/pt-pt

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SITES & LINKS

European Creative Industries Alliance https://www.howtogrow.eu/ecia/

Creative Europe http://ec.europa.eu/culture/creative-europe/

The European Association for Creativity and Innovation http://www.eaci.net/

Rio Criativo - http://www.riocriativo.rj.gov.br/index.php

Criaticidades – Cidades Criativas do Brasil http://www.criaticidades.com.br/

Cemec – Escola de Negócios Criativos http://redecemec.com/

Creative New Zealand http://www.creativenz.govt.nz/en/

BOOKS & PAPERS

The Creative Industries: Culture and PolicyTerry Flew, SAGE, 2012

This book is a mix of new ideas and perspectives on the creative industries and the creative economy. It address-es various topics, ranging from economic innovation to cultural geography. It also presents a set of case studies in the creative sector, for researchers, policy makers and stu-dents.

Economia Criativa: Um Conjunto de Visões(Creative Economy: A Set of Visions)Fundação Telefônica/Vivo, August 2012

This publication is a compilation of papers presented at the seminar “The Network Society and the Creative Economy” that took place in June 2011. It brings together a range of information regarding the current state of the creative economy in Brazil.

Creative City IndexJ.Hartley, J. Potts and T. MacDonald with C. Erkunt andC.Kufleitner,ARC,February2012

With the intention of evaluating the concept and state of global creative cities, this publication aims to improve ex-isting indexes. It has a methodology based on eight key dimensions, with the influence of some indexes such as MORI or GaWC, aimed at the creative industries, the cul-tural amenities or the creative class. Its aim is to go one step further by adding indicators ranging from creative participation to networks of consumers.

Creative Knowledge Cities: Myths, Visions and RealitiesA. Fernandez-Maldonado and Roberto Rocco, April 2012

This book is a critical reflection on the cities, using some known case studies. It used an integrated and pragmatic approach to evaluate concepts, policies, key drivers and tools for the promotion and creative advancement in ci-ties.

Economia Criativa na Cidade de São Paulo: Diagnóstico e Potencialidades (Creative Economy in the City of São Paulo: Diagnosis and Strengths)Municipality of São Paulo/FUNDAP, June 2012

This book is the result of a study on the creative economy of São Paulo, and makes known a series of creative activi-ties and initiatives promoted and/or installed in the city as well as the methodology used in this mapping. Interest-ing indicators are revealed, such as the creative economy being responsible for 3% of employment in São Paulo, in 2009.

World Cities Culture ReportBOP, August 2012

This report reflects some key ideas about the role of po-litical culture in the cities. Berlin, Istanbul, Johannesburg, London, Mumbai, New York, Paris, São Paulo, Shanghai, Singapore, Sydney and Tokyo are the cities chosen for this analysis. The major objective is to show that culture is a dimension as important in cities as the economy. It edu-cates, generates business, employs and streamlines the life of cities. http://www.worldcitiesculturereport.com/

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TECHNICAL DATASHEET

Edition and Coordination: INTELI

Editorial Team: Catarina Selada, Daniela Guerreiro, Elisabete Tomaz, Maria João Rocha e Diana Reis.

Collaboration: Miguel Silvestre (Óbidos Criativa EEM),Heliana Marinho (Sebrae, Brazil) e Décio Tavares Coutinho (Secretary of State of Culture in Goiás, Brazil).

Graphic design: Mónica Sousa (INTELI)

Cover photo: Elisabete Tomaz (INTELI)

INTELI – Inteligência em Inovação, Centro de InovaçãoAv. Conselheiro Fernando de Sousa, 11, 4º1070-072 Lisboa – PortugalTel: (351) 21 711 22 10Fax: (351) 21 711 22 20Website: www.inteli.ptE-mail: citiesbrief@inteli.pt

INTELI is a think-and-do-thank that operates in the area of integrated development of territories at an economic, social, cultural and environmental level, by supporting public policies and the strategies of local agents.

It operates in the areas of culture and creativity, energy and mobility and social innovation, seeking to contribute towards the affirmation of more creative, sustainable and inclusive cities and regions.