Cultural tourists desire an immersive and customized experience, effective pre- and post-experience services, on-line and off-line relations, trust. For the territory, this means building a more complex relationship, almost a partnership, where empathy and value-building exceeds the consumption of resources. Cultural projects also reveal roots and create new ties that change the relationship of citizens with the territory and transform them into ambassadors, testers, lenders, designers, and suppliers. The impacts are therefore on economic, occupational, social, and environmental levels and as such should be designed, evaluated, told to generate further positive results.

1. Impacts of cultural projects on
citizens and territories..
Andrea Pugliese
IED Venice,
18-19 of June 2017

2. Summary
• Territorial Storytelling
• Identity vs. Globalization
• The Primacy of Contents.
• New technologies for the
enhancement of the Cultural
Heritage
• Toward New Business Models
• Measuring Impacts
• The basics of project design
• Best and Worst Cases.
2

3. Culloden Battlefield (Scozia)
• Something happened here in 1746 (and – with me - in 2009)
• A large, green, anonymous Battlefield brings life.
• Audio guide activated by GPS signals broadcast historical and narrative
contents.

4. Museum of Broken Relationship (Zagabria)
• Crowdsourcing of objects and stories, sent and left by visitors.
• Essential and traditional setting
• Beware of Designing Conversations.
• https://brokenships.com/

5. http://www.cluetrain.com/#manifesto
Cluetrain Manifesto.
1. Markets are conversations.
Thanks to the web, we become
more informed, smarter and more
demanding.

6. 9. These networked conversations are
enabling powerful new forms of social
organization and knowledge exchange to
emerge.
11. People in networked markets have
figured out that they get far better
information and support from one
another than from vendors.
40. Companies that do not belong to a
community of discourse will die.
78. You want us to pay? We want you to
pay attention.

7. Because…
a. Dialogue creates trust and crosses
borders;
b. The dialogue highlights and resolves
the mistake and allows innovation;
c. Technology facilitates
experimentation, measures impacts
and allows scalability.
d. A mix of skills frees the economic
and social potential of narratives.

8. This brings visitors and citizens to
be:
• Users
• Designers
• Ambassadors
• Evaluators
• Providers
• Funders

9. Tell me where
• Territories, institutions, museums, are
first of all publishers.
• Their responsibility of a narration does not
arise to convince but to involve, include
and create a different conception of
places in 'cultural citizens' wherever they
are actually resident.
• Not only to inform but to stimulate
curiosity by activating lateral thinking and
the connections with the lived to activate
the desire to be there again and soon.
www.visittrentino.info

10. Storytelling.
a) Not to persuade but to engage and educate
b) Create a conception of the event, of the place.
c) Linking to identity values (with the risk of dividing);
d) Turn on side thinking and live connections
e) Activate the urge to interact, to be there.

11. Spill-over effects of CCIs
CCIs (Cultural and Creative Insustries) produce many different
types of positive spill-overs on the economy and society as a
whole:
a. inspiring and nurturing creative and innovative
entrepreneurism
b. designing new public service transportation
c. designing new interactions between patients and health
service staff,
d. promoting innovation in other sectors of the economy
e. promoting behavioral shifts
f. fueling digital devices and networks,
g. promoting a more quality-oriented tourism in regions
and cities
h. helping social regeneration of deprived areas
i. providing innovative forms of teaching,
j. Art and Culture as management tool for improving
working relationships in companies
etc.

12. Identity vs Globalization
Music
Taranta Power http://www.lanottedellataranta.it/en/
I suoni delle Dolomiti
http://www.isuonidelledolomiti.it/EN/sounds-of-the-dolomites/

13. Food
• Cous cous San Vito Lo Capo http://www.couscousfest.com/
Cheese Bra http://cheese.slowfood.it/en/

14. Contemporary Art
• Farm Cultural Park Favara
http://www.farmculturalpark.com/EN/
• Tor Marancia http://www.bigcitylife.it/

15. Passions
• Motor Valley
• http://www.motorvalley.com

16. ad hoc Technologies?
a. Technologies do not arise to enhance art and cultural assets but to play,
measure, orient, transmit, reproduce, memorize, seduce, astonish.
b. Aware of the dialogue potentials, they are more and more intrinsically bi-
directional
c. The final product/service is always customized on the users’ needs.
d. The output is often pure 'Digital Craftsmanship'
16

17. Examples
• Touchscreen
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> QR Codes, Tracking
Complementary information
Interaction with content
Complementary information
Interaction with content
Complementary information
Interaction with works
Educational Content
Interaction with content
Immersive experiences
> 3D

18. Examples
• Augmented Reality
18
> Geolocation
Complementary information
Interaction with places
Educational Content
Interaction with content
Immersive experiences
Complementary information
Interaction with the place
Complementary information
Interaction with works
Educational Content
Interaction with content
Immersive experiences
> Beacon

19. Examples
• Sensors and
monitoring tools
19
> Wearable
Interaction with works
Educational Content
Interaction with content
Immersive experiences
Complementary information
Interaction with works
Educational Content
Interaction with content
Immersive experiences
Complementary information
Interaction with works / places
Educational experiences
Interaction with content
> Robot

20. Examples
• Labs
20
> Web Platforms
Interaction the places
Educational experiences
Interaction with content
Immersive experiences
Co-Creation
Complementary information
Interaction with Stakeholder
Educational Content
Co-Creation
Co-Funding
> Virtual Reality Complementary information
Reproduction with places
Educational / playful content
Interaction with content
Immersive experiences

21. New business and revenue models
Specific merchandising
Pre and post visit services
Services for new targets
Premium and Freemium Services
Data Market
Crowdfunding (also for Art Bonus)
Revenue Sharing

22. The project design steps
1. Visitor Mental Map
2. Conceptual model of contents
3. Interaction Design
4. Main content and depth
architecture
5. User Interface for spaces,
objects, and technologies
(by Storyfactory.it)
22

23. Mapping and studying
Mapping exercises provide an overview of the situation and valuable data for
creating strategies.
The mapping of CCIs has more effects than purely statistical outcomes. These
effects include:
• Mapping is a tool for awareness-raising, both for the cultural and creative
sectors taking part in the exercise, public institutions as recipients of the
result and general public;
• It helps to create networks of cultural and creative institutions,
organisations and companies being involved in the mapping studies;
• The process is a basis for policy formulation;
• Mapping study consolidates the use of definitions and terminology,
creating common space for public discussion;
• It improves the quality of statistics;
• Visual mapping is a source for clustering initiatives, as well as a potential
tool for urban planning and city branding.

24. Increase awareness
To increase awareness, there are many activities that local or regional
stakeholders could do including:
a. organising study visits, conferences, seminars and workshops
b. disseminating results of mappings and studies;
c. collecting and disseminating good practices;
d. developing communication channels and providing public relations support;
e. involving citizens, expats, visitors in long term bidiretional relations

25. Social Innovation
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Social innovation refers to new strategies, concepts, ideas and organizations
that meet social needs of all kinds — from working conditions and education to
community development and health — that extend and strengthen civil society.
Social innovation can take place within government, the for-profit sector, the
nonprofit sector (also known as the third sector), or in the spaces between them.
First, innovations are new combinations or hybrids of existing elements, rather
than wholly new.
Second, their practice involves cutting across organizational or disciplinary
boundaries.
Lastly, they leave behind compelling new relationships between previously
separate individuals and groups

26. Social Innovation – 10 steps
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1. Solutions must focus on the beneficiaries, and be created with them, preferably “by
them”, and never without them
2. Focus on the “strengths” of individuals and communities rather than on their
“weaknesses”
3. Capitalizing on the diversity of ethnicities, ages, religions, gender, etc., and not just
combating discrimination
4. Developing a holistic approach, rather than fragmented responses, to people’s
diverse problems
5. Collaborative working and networking as ways to stimulate social Innovation
6. Creating outreach solutions based in the local community rather than “global”
solutions, remote from people and communities
7. Investing more in cooperation than in competition
8. Valuing not only certifiable skills, but also new skills associated with the innovation
and the discovery of what’s new, what has a future and what works
9. Recognizing and valuing “social artists”
10. A new governance for learning
(A. Pugliese form: Social Innovation, New Perspectives by Ana Vale)

27. Contemporary notions of economic development (i.e. R. Florida) put
emphasis on the link between open and diverse society and their creative
and innovative capacities, particularly so in an economic development
context
A range of indicators that link issues of openness, diversity and media
pluralism to the cultural domain. Of course, the cultural offering within a
certain territory is also vital to fostering openness and creativity.
The exchange between different people from diverse cultural backgrounds
increases the diffusion of information. Through a “learning by doing” effect
among creative people in a given territory innovative solutions and ideas
emerge.
Openness and diversity

28. The cultural environment – concert venues, galleries, book stores
and spaces, etc – are essential to the development of a creative
society.
They are the hotspots of disruptive debate and provide ground for
argumentation, idea development and networking beyond one’s
restricted circle of contacts. Creativity would not exist as successfully
or efficiently without its social world – the social is not the by-
product – it is the decisive mechanism by which cultural products
and cultural producers are generated, evaluated and spread.
Cultural Environment

29. The well being of societies and countries is
clearly linked to the transparency, accountability
and resilience of their regulatory institutions.
There are links between a country’s
competitiveness and several institutional factors,
including the rule of law, financial support, job
services and the appropriateness of public
policies
The institutional environment

30. Framework for local/regional development

31. Awareness-raising
• Awareness-raising is a continuous process
that is essential both in the start-up phase
of policy and strategy development and also
in fostering partnerships within the CCIs and
to the other sectors.
• Awareness-raising initiatives serve many
different aims, enhancing cooperation
between creative entrepreneurs, educating
both the entrepreneurs and the consumers,
bridging CCIs with traditional industries etc.

32. Enterprise Estonia, CCIs support value-chain
At the bottom there are activities for all (mapping, awareness-raising), in the middle there are
measures for some (skills development, incubation, trade fairs etc) and at the top there are measures
for few (grants, investments, export support etc). There is only one CCIs-specific measure (Creative
Industries support structures), all other measures target all the enterprises.

33. a. Stories from the Territory, via WhatsApp Broadcast Lists
b. 2 original stories, about 20 post each, photos, audio;
c. Written during the day, in the city, involving people
d. Delivered from 22 to 24 to 300 people enrolled;
e. Over 120 interactions: alternative versions, comments, photos ...
Maternale – Storie Cellulari (Matera 10-11 dicembre 2016)

34. • You are in ancient Rome, with Augustus
• Technology serving the archaeological rigor
• VR visors for individual fruition
• Business Model that optimizes your visit time
• Public-Private Respect for Roles
L’ARACOM’ERA
https://www.youtube.com/watch?v=4fq9TJ80x_U
https://www.youtube.com/watch?v=ESgc09rBe7U&t=6s

35. The Great Escape - Swiss
• Two-way connection from mountain railroad station
• Great viral media effectYoutube
https://www.youtube.com/watch?v=l8Y5MDVhZDQ
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36. Museo della Battaglia delle Egadi (Favignana)
• A conflict
• Few findings difficult to understand
• A powerful and unique story of soldiers
• Immersive room with projections, reconstructions, plots
36

37. Grotta di Chauvet (Francia)
37
Dimensions 1: 1
27 frescoes
2km from the original
Never open to the public
https://www.youtube.com/watch?v=svux1Sa28No
https://www.youtube.com/watch?v=y4WyM5phQJc

38. Via Francigena Entry Point
• The Journey, the Faith, the Beauty.
• You are the main character
• Immersive narrative of Via Francigena with videomapping, touch screens, etc
• New business model with hostel and restaurant
38https://www.youtube.com/watch?v=LxKo6KLwXjQ

39. Kapfemberg (Austria)
• A small country like so many, jumped to the attention of Austria
• Lipdub on the notes of "Life Is Life"
• Gamification for Crowdsourcing with over 6,000 people
• Youtube https://www.youtube.com/watch?v=A2thPGWVELE
39

40. Grazie
Andrea Pugliese
anpu313@gmail.com
www.andreapugliese.it