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Business models for theeducational and cultural     digital content   cross-border market      Raphael Mayer Aboav  E-mail...
A unique Euro-Adriatic marketof the educational andcultural content (digital andnot digital) could supportthe rising of a ...
“In the twentieth century culturalexperience was mainly associatedwith watching, listening andreading. The dominant mass c...
                             
Increasing the investments in digital educationalstory telling will generate more jobs in the fieldof creative economy    ...
In the ipothesis of an existing unique market for theeducational and cultural digital object how you imagine              ...
During our debate session we could tryto discuss this simple business model                                       ...
ICT and Cultural Heritage:Research, Innovation and EU PolicyThe ‘European Competitiveness Report 2010’ identified thecultu...
ICT and Cultural Heritage:Research, Innovation and EU PolicyThe   ‘European   Competitiveness    Report   2010’identified ...
ICT and Cultural Heritage:Research, Innovation and EU PolicyFinancing R&D and innovation: In 2011-12, theCommission is inv...

Business models for the educational and cultural digital content cross-border market
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Business models for the educational and cultural digital content cross-border market

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BARCAMP | Business, Culture, Innovation.
Musei e Scuole come risorse economiche e leve per l'innovazione sociale.
5 dicembre 2011 - Università degli Studi di Foggia, Dipartimento di Scienze Umane - Laboratorio ERID
via Arpi, 155 - Foggia

Published in: Education, Technology, Business
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Transcript of "Business models for the educational and cultural digital content cross-border market"

  1. 1. Business models for theeducational and cultural digital content cross-border market Raphael Mayer Aboav E-mail: raphael.aboav@tin.it
  2. 2. A unique Euro-Adriatic marketof the educational andcultural content (digital andnot digital) could supportthe rising of a new sense ofcommon Euro-Adriaticcitizenship, but
  3. 3. “In the twentieth century culturalexperience was mainly associatedwith watching, listening andreading. The dominant mass culture– television – is engaging withoutbeing too demanding.It offers stimulation while peopleare at rest. As a result it is “ But now anotheroften wonderful but oddly hollow.” alternative is emerging, a mass culture which is more participative and “The traditional collaborative, which alternative to this is about searching, mass culture of doing, sharing, enjoyable watching was making, modifying. It the more demanding and is stimulating educative high culture because people become of intellectual active participants, inspiration and makers of culture not challenge.” simply receiversSource: Cloud Culture - The future of global cultural relations Charles Leadbeater
  4. 4.  
  5. 5. Increasing the investments in digital educationalstory telling will generate more jobs in the fieldof creative economy La filiera del gusto in Italia, definita come l’insieme delle organizzazioni con i relativi flussi materiali che concorrono alla formazione, distribuzione, commercializzazione e fornitura di un prodotto agro-alimentar Source: British Council  
  6. 6. In the ipothesis of an existing unique market for theeducational and cultural digital object how you imagine that can be generated value?
  7. 7. During our debate session we could tryto discuss this simple business model                 
  8. 8. ICT and Cultural Heritage:Research, Innovation and EU PolicyThe ‘European Competitiveness Report 2010’ identified thecultural and creative industries as one of Europe’s mostdynamic sectors, accounting for 3.3% of EU GDP and 3% ofemployment. Beyond this important contribution to GDP,the creative and cultural sectors are indeed a vehicle ofsignificant lifestyle changes and progress, including thedevelopment of modern skills, adapting teaching andlearning and inter-generational and interculturaldialogues.Digital technologies continue to radically transform ourapproach to creativity and culture. They modify not onlythe way we access and preserve cultural assets but theyalso provide us with unique tools to better create andcommunicate. ICT has become a major vehicle for enrichingour "creative capital" that underpins our societalvitality, our economic growth and ability to compete on aglobal scale.
  9. 9. ICT and Cultural Heritage:Research, Innovation and EU PolicyThe ‘European Competitiveness Report 2010’identified the cultural and creative industries asone of Europe’s most dynamic sectors, accountingfor 3.3% of EU GDP and 3% of employment. Beyondthis important contribution to GDP, the creativeand cultural sectors are indeed a vehicle ofsignificant lifestyle changes and progress,including the development of modern skills,adapting teaching and learning and inter-generational and intercultural dialogues.
  10. 10. ICT and Cultural Heritage:Research, Innovation and EU PolicyFinancing R&D and innovation: In 2011-12, theCommission is investing around 100 M€ per year intechnologies for digital content and culturalheritage. Support goes to research and innovationin tools for content creation, access andpreservation. It targets application areasspanning from cultural arts to entertainment andeducation. The underpinning technologies includecomputer vision, advanced graphics, simulationand visualization tools, 3D immersiveenvironments, cognitive systems, multi sensorialinteractions and semantic based content search.
  11. 11. 

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