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- Home
- New technologies for Culture and Heritage
- From Creativity to the specific Cultural production
- Virtual Archeological Tourism
- Museum of the Future
- Product/Cultural/Location placement
- Film Induced Tourism
- Cultural Diplomacy
- TransMedia
- Feature Film Project for Cultural & Location Placement
- Location Based Project
- ARTE - Augmented Reality Technology Experience
- Holographic performance
- Knowledge bank
- Disclaimer
- Contact
FROM CREATIVITY TO THE SPECIFIC CULTURAL PRODUCTION
The objective of Artecnologia/Rebel Alliance’s Cultural Heritage project is to cooperate with local and national government institutions, accademia & centers of research, training centers, cultural institutions, no-profit & profit organizations in the creation of sustainable work programs aimed to exploit the country's cultural heritage in order to develop cultural tourism and in time gain additional revenues, through:
The benchmark setting [1]
The concept of multimedia can be expressed as the result of the technological pooling between the Telecommunication, Computer Science, and Communication industries. Specifically, the process that led to the possibility of receiving words, data, images and sound in digital compression, and to interact with its origin [2], too.
The concept of multimedia distribution is involving between each others “actors” that, to this moment, worked in in different and finely specific market, kept different or parallel before from their technological diversity which typified production processes and distribution of their own products/services.
We are attending directly to the binding need to develop productive and distribution strategies (through the creation of ad hoc partnerships and/or alliances) capable of integrating between each others (not overlapping though) the principal operators of the Computer Sciences and Telecommunications industries with the ones form Television and Publishing industries for the purpose of defining development strategies for the creation of new products/services with a high surplus value, which is the replacement of the “mature “ ones on new markets.
The market, in association to services and products concerning new media (after a first period portrayed from failure, poor returns and unrewarding [3] businesses, which decreed the official failures of the so-called “dotcoms” in the early 2000’s) today is estimated to be in progressive and constant expansion from all of the observers of the field.
The lack of an adequate professional formation to new technologies found in many experts of traditional media resulted as a scant involving of the mentioned in the developing of the new businesses related to the application of the new techs for Communication and Entertainment.
In this background, many Publishing enterprises, either Italian and European, are trying to catch up in the definition of competitive industrial plans (being strategic to the new scenarios of Audiovisual and Multimedia Industries that are getting shape)
To be considered: the whole Italian broadcasting system (private and public) is STILL supporting (often with high production costs) many productions proned to the cultural-based “lack of foreign interest” [4], at the expense of quality productions which could form effective libraries which could be distributed on foreign markets and, as a consequence, being source of direct economic resources.
This productive strategy, irrespective of quality and quantity monitoring enforced by the international demand, and oriented mostly on the NATIONAL market, is leaving raw and exposed some market niches which are coming out as more and more significant, either for volume and for worth.
Situation and perspectives from the market
A great part of analysis and assessments referred to the market, related to production and distribution of Digital Information, forecast settings where the technological overlapping will portray a market in which demand will be more and more conditioned from the offers.
The offer (constantly increasing) of Tv channels with conditioned-access [5] shows and the transit from the mature phase of on-line distributing systems (example: internet) is outlining new attitudes in the consumption of Information.
So we can see a phenomenon which is basically marking the transition from the age of mass media to the age of personal media, facilitating the development of the pay-per-view premium contents [6] or hyper-niche [7], at the expense of the general offer.
Moreover, in the near future we will observe the passage from the mature phase of new offers of digital services, distributed hybridly on the new media.
The supply/demand relationship will be founded on the interactive dialectic production-consumption same as the development of Virtual Economy.
Creation of products for the ultimate, evolved audience; the Humanistic Raw Material: the Italian Cultural Heritage
The cultural heritage is one of the most capable activities in generating “price” in the industry of Digital Content.
The planning and the realization of an Integrated Multimedia Project (IMP), performing and capable of evolution in the argued technological scenario, cannot be independent from the choice of a Content which could have a market potential as powerful and expanded as it can be.
Equally, it's impossible to refute the assumption based on which the Italian Cultural Heritage represents one of the raw material on which our country could (or even better: should) base the planning a the development of contents with a high symbolic value for the new Global Trading Market, which is moving towards new forms of production and fruitions of contents.
- development of policies, and strengthening of cultural institutions capacity to enable efficient and innovative management of national cultural assets;
- research & development, marketing of new cultural products, including promotion and communication tools;
- improving infrastructure and facilitate the enhancement of the cultural heritage, archaeological and historic sites with the support of new creative technologies to increase their appeal and tourism
The benchmark setting [1]
The concept of multimedia can be expressed as the result of the technological pooling between the Telecommunication, Computer Science, and Communication industries. Specifically, the process that led to the possibility of receiving words, data, images and sound in digital compression, and to interact with its origin [2], too.
The concept of multimedia distribution is involving between each others “actors” that, to this moment, worked in in different and finely specific market, kept different or parallel before from their technological diversity which typified production processes and distribution of their own products/services.
We are attending directly to the binding need to develop productive and distribution strategies (through the creation of ad hoc partnerships and/or alliances) capable of integrating between each others (not overlapping though) the principal operators of the Computer Sciences and Telecommunications industries with the ones form Television and Publishing industries for the purpose of defining development strategies for the creation of new products/services with a high surplus value, which is the replacement of the “mature “ ones on new markets.
The market, in association to services and products concerning new media (after a first period portrayed from failure, poor returns and unrewarding [3] businesses, which decreed the official failures of the so-called “dotcoms” in the early 2000’s) today is estimated to be in progressive and constant expansion from all of the observers of the field.
The lack of an adequate professional formation to new technologies found in many experts of traditional media resulted as a scant involving of the mentioned in the developing of the new businesses related to the application of the new techs for Communication and Entertainment.
In this background, many Publishing enterprises, either Italian and European, are trying to catch up in the definition of competitive industrial plans (being strategic to the new scenarios of Audiovisual and Multimedia Industries that are getting shape)
To be considered: the whole Italian broadcasting system (private and public) is STILL supporting (often with high production costs) many productions proned to the cultural-based “lack of foreign interest” [4], at the expense of quality productions which could form effective libraries which could be distributed on foreign markets and, as a consequence, being source of direct economic resources.
This productive strategy, irrespective of quality and quantity monitoring enforced by the international demand, and oriented mostly on the NATIONAL market, is leaving raw and exposed some market niches which are coming out as more and more significant, either for volume and for worth.
Situation and perspectives from the market
A great part of analysis and assessments referred to the market, related to production and distribution of Digital Information, forecast settings where the technological overlapping will portray a market in which demand will be more and more conditioned from the offers.
The offer (constantly increasing) of Tv channels with conditioned-access [5] shows and the transit from the mature phase of on-line distributing systems (example: internet) is outlining new attitudes in the consumption of Information.
So we can see a phenomenon which is basically marking the transition from the age of mass media to the age of personal media, facilitating the development of the pay-per-view premium contents [6] or hyper-niche [7], at the expense of the general offer.
Moreover, in the near future we will observe the passage from the mature phase of new offers of digital services, distributed hybridly on the new media.
The supply/demand relationship will be founded on the interactive dialectic production-consumption same as the development of Virtual Economy.
Creation of products for the ultimate, evolved audience; the Humanistic Raw Material: the Italian Cultural Heritage
The cultural heritage is one of the most capable activities in generating “price” in the industry of Digital Content.
The planning and the realization of an Integrated Multimedia Project (IMP), performing and capable of evolution in the argued technological scenario, cannot be independent from the choice of a Content which could have a market potential as powerful and expanded as it can be.
Equally, it's impossible to refute the assumption based on which the Italian Cultural Heritage represents one of the raw material on which our country could (or even better: should) base the planning a the development of contents with a high symbolic value for the new Global Trading Market, which is moving towards new forms of production and fruitions of contents.
[1] Source: European commission, Market Definitions in the Media Sector. Comparative Legal Analysis, Saarbrücken, 2003; ALEXIADIS P., The concept of technology neutralità and the new ECNS regulatory framework, Bruxelles, 2010; ASSINFORM, ASSINFORM official report on computer and information sciences, telecommunications and multimedia content, Milano, 2009; EUROPEAN COMMISSION, New business sectors in information and communication technologies. The content sector as a case study, Brussels, ISTAG, 2007; EUROPEAN COMMISSION, An European Digital Agenda, COM (2010) 245 Bruxelles ultimate, 2010/05/19; CONFINDUSTRIA’S INNOVATION AND TECHOLOGIC SERVICES, Italian Digital Observatory 2.0, Innovation services for the Country, Roma, 2009; CONFINDUSTRIA SERVIZI INNOVATIVI E TECNOLOGICI, E-content 2010, 4th relation on the digital contents marketin Italy, Rome, 2010; DEPARTMENT FOR CULTURE, MEDIA AND SPORT, DEPARTMENT FOR BUSINESS,INNOVATION AND SKILLS, Digital Britain Report, London, June 2009; DI CHIO F. (a cura di), Mediamorfosi. Le trasformazioni della tv digitale raccontate dai protagonisti, Milano, 2006; FONDAZIONE ROSSELLI, L’industria della Comunicazione in Italia, Dodicesimo Rapporto IEM, Torino, 2009; JENKINS H., Convergence Culture, New York, 2006, trad. it. Cultura Convergente, Milano, 2007; LIVINGSTONE S., e-Youth: (future) policy implications: reflections on online risk, harm and vulnerabilità, London School of Economics and Political Science, London, 2010; MENDUNI E., Digital Media. Technologies, Languages Social Use, Roma- Bari, 2007; ROBERTI G. M., ZENOZENCOVICH V., Le linee Guida del d.lgs. 15 marzo 2010, n. 44 (“Decreto Romani”), in Diritto dell'informazione e dell'informatica, Volume n. 1 del 2010; EUROPEAN UNION – MINISTERS’ COMMITEE TO THE MEMBERS COUTRIES, Recommendation CM/Rec (2007)3 on the media of public service in information’s society mandate, January 2007; ZACCONE TEODOSI A., GANGEMI G., ZAMBARDINO B., L’occhio del pubblico. Dieci anni di Osservatorio Rai-IsI Cult sulla televisione europea, Roma, 2008; Libro Bianco Sui contenuti
[2] … whether an on-line or off-line origin.
[3] Recent studies highlighted that one of the reasons to look for in the general failure and unrewarding businesses of the “dotcoms” was due to reference context which was configuring businesses based and managed uniquely from experts in technologies, that is personnel with enough experience relationed to commercial applications of technologies and NOT to their proper application. New emerging theories related to managing an high-tech enterprise assume that intellectual capitals of start-ups, in fact, was simply unbalances. Indeed it wasn’t based on a multidisciplinary matrix and, being made of expertise originated from hyper-skilled in one only market branch, it couldn’t answer positively to a balanced management of the business, between different niches (complementary between each others) in operation of a proactive cross-functional strategy both market and costumer oriented. “Strategic problems, Executional problems and Customer relationship problems”, “ … more stories about computing as it really is, about projects that failed not trough technical incompetence but trough managerial ineptitude, misplaced confidence, uncontrolled enthusiasm and over- weening pride … D.W. Barron, Emeritus Professor of Computer Science, Visiting Professor in the LAM Researche Group, University of Southampton, Professor of Computer Science (1967-2000). The high-tech arena also places unique demands on management practices like motivating technical professionals, creating innovative climates, and managing technical teams (Katz 1997). Recent research (Atuahene-Gima et al., 2005; Narver, Slater & MacLachlan, 2004) has shown that a proactive market-oriented culture is more strongly associated with innovativeness and new product success than is a customer-led culture. A proactive market orientation involves a set of behaviors through which a business attempts to discover, to understand, and to satisfy the latent needs of customers. In order to successfully develop and commercialize disruptive innovations, not only does the firm need to conceptualize and develop the innovation in the first place; it must also be successful in reaching more than just a niche market of innovators early adopters. In other words, it must overcome the innovator’s dilemma as well as cross the chasm. These two problems faced by all firms - but especially those operating in high-technology markets or driven by technological innovations are related in that they both derive from the underlying skill set the firm brings to its marketing strategy.
[4] A product that not dealing with more culture; a very important element, based on the fact that a specific tv-show, movie, or video rooted to a specific culture, therefore more attractive for a national market in which audience share a common knowledge of a specific way-of-life, will have a reduced appeal in another country, because the audience will not find themselves placed in the lifestyle, values, beliefs, history, myths, institutions, physical environment and the behaving models which are obviously different from their own.
For these reasons, the foreign show will have fewer audience if relationed with a similar type of show which is inbound produced. The “lack of foreign interest” can be calculated in the following terms: [VN (VALUE OF THE NATIONAL PRODUCT) – VPI(VALUE OF THE IMPORTED PRODUCT)]/VNE (VALUE OF THE NATIONAL EQUIVALENT PRODUCT).
The “lack of foreign interest”, when significant, reduces the potential income in the foreign markets and consequently acts against trading, even though this occurrence varies with the “genre” of the product, and this is why the whole field orbits around few categories: action, drama, comedy.
[5] i.e. cable/satellite, DB at the end of global digital switching
[6] i .e. live B. sport event, feature film, TV series, factual entertainment, …
[7] i.e. specialized genre documentaries, …
