On April 19th-20th Bruxelles hosted the European Culture Forum, the biennal flagship event organised by the European Commission, this year focused on “Talent and creativity for a stronger and more inclusive Europe”. Different sessions highlighted the role of culture and creativity in society. Three plenary sessions were devoted to these topics:
Plenary Session 1: Can culture help to overcome the fragmentation of society?
Plenary Session 2: Can culture help re-launching economic growth?
Plenary Session 3: Can culture improve Europe’s standing in the world?
In addition to these, other 15 sessions, among which the n.5 concerning “Our Future European Cultural Heritage: Engage, Share, Co-create”. The importance of the participatory issue is stressed also because the sustainability of cultural heritage “depends on our ability to adopt new cross-cutting approaches to unlock its economic and social potential, turning heritage sites into drivers of economic activity, centres of knowledge, focal points of creativity, culture and social innovation”. An important edition that of 2016, also thanks to the announcement of a European Year of cultural heritage by Tibor Navracsics, EU Commissioner for education, culture, youth and sport: “I’m delighted to announce that the Commission is proposing to make 2018 the European year of cultural heritage. It will be an opportunity to promote knowledge and understanding about cultural heritage”. The final decision will be taken by the European Parliament and the Council.
Concerning the impacts of culture, in October 2015 an important report was published on the topic of “Cultural and creative spillovers in Europe: Report on a preliminary evidence review”, authored by Tom Fleming Creative Consultancy (TFCC) and commissioned by an international research partnership made up of Arts Council England (ACE), Arts Council of Ireland, European centre for creative economy (ECCE), European Cultural Foundation, European Creative Business Network e Creative England. The project aims at elaborating an international evidence library, through the analysis of 100 case studies and their spillover effects, in order to identify conditions to enable spillovers and to list related indicators. In this report, cultural and creative spillovers are defined “as the process by which activity in the arts, culture and creative industries has a subsequent broader impact on places, society or the economy through the overflow of concepts, ideas, skills, knowledge and different types of capital”. They are classified into 3 categories: knowledge, industry and network spillovers, according to the different impacts, that can be of course interrelated.
On April 5th, the European Commission launched the creation of a European Network of Creative Hubs, in order to reinforce networks of creative hubs at European level, since “by facilitating co-creation, creative hubs can help to cope with the sharing economy”.
In December 2015, the Working Group of EU Member States’ Experts on the development of the Key Competence Cultural Awareness and Expression published an important document aimed at providing policy-makers with recommendations and inspiring practices: “Cultural awareness and expression handbook”. As a matter of fact, it is one of the eight key competence identified by the European Union in 2006, defined as the “appreciation of the importance of the creative expression of ideas, experiences and emotions in a range of media, including music, performing arts, literature, and the visual arts”. It acquires a great importance not only with regards to appreciation and expression skills, but above all because “a solid understanding of one’s own culture and a sense of identity can provide the basis for an open attitude towards and respect for diversity of cultural expression”.
On April 2016, Europa Nostra, a European network of 250 member organizations,150 associated organizations and around 1500 individual members, delivered its annual cultural heritage Awards, in partnership with the European Commission. Besides celebrating excellence, Europa Nostra constitutes an important lobby at the European level and it is active also in the field of endangered cultural heritage and landscape. The Awards are given from 2002 in different categories: 1.Conservation, 2.Research, 3. Dedicated service by individuals or organizations, 4. Education, Training and Awareness-Raising. The fourth one rewards “outstanding initiatives related to education, training and awareness-raising in the field of tangible and/or intangible cultural heritage, to promote and/or to contribute to the sustainable development of the environment”. In 2016, the winners in this last category are:
- “The Great War through the eyes of a child”, Roeselare, Belgium
- “Star in School”, Karlovac, Croatia
- “Adopt a Monument”, Tampere, Finland
- Preserving and promoting dance heritage, Berlin, Germany
- “The Little Museum of Dublin”, Dublin, Ireland
- Cultural Heritage Education Programme: “Apprendisti Ciceroni”, Milan, Italy
- Sustainable Development of Mourela Plateau, Peneda-Gerês National Park, Portugal
- “Heritage Schools”, Bristol, United Kingdom
At the European level, there is evidence of an increasing awareness of the role of culture in overall society, of how pervasive cultural spillovers are. We just need effective policies giving priority to these long-term objectives both at the national and at the local level.
 The other 7 key competences are: 1.Communication in the mother tongue, 2. Communication in foreign languages, 3. Mathematical competence and basic competences in science and technology, 4. Digital competence, 5. Learning to learn, 6. Social and civic competences and 7.Sense of initiative and entrepreneurship.
Cultura&Società, tema ormai al centro del dibattito a livello europeo. Aggiornamenti su progetti e studi recenti, dallo European Culture Forum ai premi di Europa Nostra, dagli studi sui cultural spillovers a quelli sull’ottava competenza chiave “consapevolezza ed espressione culturale”.
Dino Amenduni, political communicator and Proforma partner who first formulated the idea and the logo of the co-cities, was the star of the workshop organized by LabGov last February 26.
The topics covered in his lecture were Storytelling and digital reputation.
The practice of storytelling has gradually changed over the years, even with the changing of the objectives that communication has tried to achieve in meeting the needs of “commercial” society. Until 1990, the main goal of communication was the sale of a product, but in the subsequent years it was realized that the brand’s credibility depended on the success or failure of a product. So there has been a passage through a product communication to a brand communication. Since 2000 the most used technique in the world of communications is first to tell stories that can capture the attention of the advertising recipient to make such a product more “personalized” and not something completely objective and generalized. Look for and chasing original ideas that are affordable for everyone. How you answer a success story? With a story of the same calibre, the same characteristics, and never with different characteristics. Doing a good storytelling implies the awareness of having daily a good story to tell, even more if there is a witness aware of that story it would be better to make him tell the story so as to achieve better result. Needed is the consistency between the message and biography; even more important is the credibility of the narrator and the message itself. The most effective stories are those that promote the knowledge sharing , that incite to act, which impart values, the ones that talk about the future inspired by the past. An example of a successful storytelling was the ValigiaBlu Case, about the independent journalism, in which Amenduni himself was involved: built a crowdfunding campaign based on a series of compensations, on a written appeal explaining the project, the kind of journalism (of quality) promoted by Valigia Blu and the economic aim. Crowdfunding is not easy to realize, but if done right leads to excellent results. The campaign worked thanks to the reputation of Valigia Blu, compensations, transparency, a follow-up guarantee, preparatory work, solidity and homogeneity of the working group.
The digital reputation is instead what others think about a particular brand or product or records that can characterize the person of whom you are dealing. Very important is the self-irony and reveal first a point of weakness so as to make it become a strength point. What matters in the communication field is the speed of the proceedings, “staying on track” as journalists would say; It matters most a mediocre element but of immediate impact and dissemination, rather than a well done content but which has yet to be disclosed. The importance of the involvement of all members of the organization and the homogeneity in the actions of the same since the digital reputation is built in the same way by everyone. An example of what is called real time marketing occurred during the blackout that happened during the Super Bowl in the United States: the team of the famous brand OREO within only six minutes was able to make a compelling advertising of them cookies realizing ironic image that took over what was happening at that time ( OREO cookies can be soaked in the dark) capturing the attention of millions of viewers making sure a more than effective advertising. This all because in recent years there are creating random public that can only be intercepted through social and which are unrepeatable. Therefore the communication chain will need to be reviewed in the future.
How can this all be useful for us? In the process that is taking shape in Co-Roma, communication will play a major role in involving even more actors in the collaborative process also for establishing a relationship of trust. As Professor Iaione has repeatedly pointed out, the course that is being established in this “city of a hundred cities”, that is Rome, must be persuasive and for this in turn the communication must be captivating, since you can not always enter a city by the same door.
Dino Amenduni, comunicatore politico e partner di Proforma che per primo ha formulato l’ idea ed il logo delle co-città, è stato protagonista del workshop organizzato da LabGov lo scorso 26 Febbraio.
I temi trattati nella sua lezione sono stati Storytelling e reputazione digitale.
La pratica dello storytelling è progressivamente cambiata nel corso degli anni, anche con il mutare degli obiettivi che la comunicazione ha cercato di raggiungere nel soddisfare le esigenze della società “commerciale”. Fino al 1990 l’obiettivo della comunicazione è stato la vendita di un prodotto, tuttavia negli anni successivi ci si è accorti che dal successo o dal fallimento di un prodotto dipendeva la credibilità del brand. Così si è passati da una comunicazione di prodotto ad una comunicazione di brand. A partire dal 2000 la tecnica maggiormente utilizzata nel mondo della comunicazione è quella di raccontare prima di tutto storie che possano catturare l’attenzione del destinatario della pubblicità per rendere così un prodotto maggiormente “personalizzato” e non una cosa del tutto oggettiva e generalizzata. Cercare e rincorrere idee originali che siano alla portata di tutti. Come si risponde ad una storia vincente? Con una storia dello stesso calibro, dalle stesse caratteristiche e mai con caratteristiche differenti. Fare un buon storytelling implica la consapevolezza di avere quotidianamente una buona storia da raccontare, in più se c’è un testimone a conoscenza di quella stessa storia è bene farla raccontare a lui così da ottenere risultato migliore. Necessaria è la coerenza tra messaggio e biografia; importantissima la credibilità del narratore e del messaggio stesso. Le storie più efficaci sono quelle che favoriscono la condivisone di conoscenze, che incitano all’azione, che trasmettono valori, che parlano di futuro prendendo spunto dal passato. Un esempio di storytelling di successo è stato il Caso ValigiaBlu, sul giornalismo indipendente, di cui lo stesso Amenduni ne è stato protagonista: costruita una campagna di crowdfunding basata su una serie di ricompense, su un appello scritto che spiegava il progetto, il tipo di giornalismo ( di qualità ) promosso da Valigia Blu e l’obiettivo economico. Il crowdfunding non è semplice da realizzare, ma se fatto bene conduce ad ottimi risultati. La campagna ha funzionato grazie alla reputazione di Valigia Blu, ricompense, trasparenza, garanzia di un follow up, lavoro preparatorio, solidità e omogeneità del gruppo di lavoro.
Le reputazione digitale è invece ciò che gli altri pensano di un determinato brand o prodotto o dei trascorsi che possono caratterizzare il personaggio di cui si sta trattando. Molto importante è l’autoironia e svelare per primi un punto di debolezza così da farlo divenire un punto di forza. Ciò che conta nell’ambito della comunicazione è la celerità della stessa, “stare sul pezzo” come direbbero i giornalisti; conta maggiormente un elemento mediocre ma di immediato impatto e divulgazione, piuttosto che un contenuto benfatto ma che tarda ad essere divulgato. Importanza del coinvolgimento di tutti i membri dell’organizzazione e un’omogeneità nelle azioni degli stessi dal momento che la reputazione digitale è costruita in ugual modo da tutti. Un esempio di quello che viene definito real time marketing si ebbe durante il black-out avutosi durante il super bowl negli Stati Uniti: il team del famoso brand OREO nel giro di soli sei minuti fu in grado di realizzare un avvincente spot pubblicitario dei suoi biscotti realizzando un’immagine ironica che riprendeva quanto in quel momento stava accadendo ( I biscotti OREO li puoi inzuppare anche al buio) riuscendo a catturare così l’attenzione di milioni di telespettatori assicurandosi una più che efficace pubblicità. Tutto questo perché negli ultimi anni si stanno creando dei pubblici casuali che possono essere intercettati solo tramite i social e che sono irripetibili. Bisognerà quindi rivedere in futuro la catena di produzione della comunicazione.
Quanto a noi può essere utile tutto ciò? Nel processo che si sta delineando in Co-Roma la comunicazione giocherà un ruolo importante nel coinvolgere sempre più attori nel processo di collaborazione anche per istaurare un rapporto di fiducia. Come il Professor Iaione ha più volte ricordato, il percorso che si sta instaurando in questa “città dalle cento città” che è Roma deve essere convincente e per questo a sua volta la comunicazione deve essere coinvolgente, dato che non si può entrare in una città sempre dalla stessa porta.
On the 26th of February the keynote speaker will be Dino Amenduni, one of the best international experts in social communication. He is partner of Proforma, the communication agency who designed the campaigns of political characters as Vendola and Renzi, of organizations such as CGIL, of companies and various multinationals.
We will ask him advices on how to communicate our project ( CO-Roma ) to the city and how to mobilize the resources of the crowd. We are going to talk about storytelling, what is and where storytelling came from .
Firstly he will explain us how to make a campaign through ten fundamental points. In a second moment, LabGov will discuss with him about his last project and his work of Rome’s commons mapping: LabGov is waiting for Dino Amenduni and his suggestions. Nowdays communication and how to comunicate is the first step to bring the projects to succeed; Dino Amenduni will share with us him knowledge about it.
Il 26 febbraio il keynote speaker sarà Dino Amenduni, uno dei maggiori esperti nazionali di comunicazione social. È partner di Proforma, l’agenzia di comunicazione che pensato le campagne di comunicazione di personaggi come Vendola e Renzi, organizzazioni come CGIL, aziende e multinazionali varie. Chiederemo a lui consigli su come comunicare il progetto nella città e su come mobilitare le risorse del crowd per contribuire con noi alla mappatura.
rticle written by many hands from Benedetta Gillio, Adriana Marasco
In Mantova on the 24th and 25th of July for the fourth leg of the “Entrepreneurs for the commons” Laboratory.
The importance of the social media within the communication sphere, in particular in the fields of involvement, persuasion and influence, is difficult to estimate, but is undeniable. We are in the era of “prosuming” i.e. the exact correspondence of production and consumption. For this reason it is necessary to rethink how to communicate.
In Mantova the “Entrepreneurs for the commons” Laboratory – promoted by the “Cooperative and Civic Economy Enterprises Group” established within the Chamber of Commerce of Mantova and realized in collaboration with Labsus – Laboratory for the subsidiariarity – has reached its fourth leg. The project aims to cultivate, develop, empower some of the best ideas emerged from the call for ideas “Culture as a commons” launched by the Province of Mantova, Cariplo Foundation and the Chamber of Commerce of Mantova.
The next 24th and 25th of July the expert in social media and political communication Dino Amenduni of Proforma, will held the two day activities of the group supported by the facilitators of LabGov. The meeting, hosted by Santagnese10, a creative co-working space provided by the Municipality of Mantova, is entitled “How to communicate a collaborative enterpirse for the commons on social media”.
In the first day will be held a workshop, from 2 p.m. to 7 p.m., with a theoretical part and a more practical one, in which the participants of the Laboratory will receive all the tools and methodology for creating a communication campaign. The second day, from 9 a.m to 4 p.m., the group will be involved in a co-working session. The objective will be to write a ready-to-use communication plan and to test the ideas emerged within the Mantova ideas camp from a communication perspective.
MEETING MINUTES, March, 14th 2014
The meeting was held at LUISS Guido Carli University and hosts Dino Amenduni, New Media consultant of Proforma (www.proformaweb.it), a political communication Agency from Bari. He also writes a blog for Finegil-Gruppo Espresso and he is also a social media marketing and political communication trainer (www.slideshare.net/doonie).
14.00 – 15.15 – Presentation
15.15 – 16.15 Simulation
16.15 – 16.45 Brainstorming
“The end of the world is when we stop having trust” (Madeleine Quellette Michalska).
Dino Amenduni showed Censis Data on Italians’ media diet (data on who votes, how we votes, our sources of information). From 2007 to 2013 the percentage of Italians watching TV has increased, with a current average of more than 4 hours a day (we can speak about a real television dependence).
On the contrary there was a decrease of almost all newspapers’ readers and at this decrease in number does not correspond an increase of views on news websites. Where are the readers gone? The answer is “on social networks”. Therefore it becomes essential for senders to know how to communicate effectively and directly on social networks because, differently from the press, in them there is no intermediation.
Furthermore, Censis Data shows that exist a digital divide but also a press divide, which is the divide between people that have never stopped reading newspapers and people that have never read one. Italians who read newspapers are usually over 65 years old and this data must be considered when we chose the way we are going to communicate during the electoral campaign. About 37 million people today use the internet. In this scenario, it is possible to speak about digital natives (those who are born in the internet era), digital adults (those who experienced the birth of the internet) and predigitals (those who didn’t experience the digital era or do not accept it). Nowadays organizing a campaign only on a single communication level it’s unthinkable: a lot of young people use the Internet to keep informed, whereas mature people still read newspapers.
What the Italians do with the Internet? They look for information, watch movies, buy items, carry out civic activities (less frequently). The number of Italians looking for information through the web is increasing. What does this imply? Why the digital age causes difficulties for the printed newspaper? The main risk for newspapers is the loss of readers caused by the fact that they can be anachronistic, like in the case of the Costa Concordia. The recovery of the cruise ship finished at 4:30 a.m and, while the new media covered it in real time, the newspapers were 24 hours late.
Consequences of newspaper sales plummeting consist in a loss of jobs for journalists and a decreased of the possibility to do investigative journalism. Moreover, there is not a corresponding increase in online newspapers readers. So, the role of social networks is now crucial because:
– readers of online articles are directly proportional to the advertisement of the piece on the social networks;
– if online articles are not competitive, they lose readers;
– readers are attracted by emotional approaches: web journalists need to exploit this feature in order not to lose readers.
The concept of information on Facebook is variable, the sources are out of user’s reach and this implies that authoritative contents and gossip can have the same space. The importance of Twitter is less that Facebook one: twitter has 1/6 of users of the ones of Facebook. In other countries differences are far less sensible. In Italy Facebook has primarily a ‘communication’ purpose; Twitter a ‘relationship’ one. Twitter is more used when you want to communicate to elites (politician and journalists) and consequently you want to reach traditional media, whereas Facebook is more used to establish a direct contact with a much wider audience without intermediation.
Significant online interaction BUGS:
– Online reputation is important
– You have to consider young/adult divide
– Functional analphabetism: among OCSE member states, Italy is the country with the highest number of functional analphabets (twice the number of the state in second position)
Case study: Greenpeace
The strength point of Greenpeace actions is that it has no permanent allies or enemies and it has two important consequences: independence and equidistance.
Greenpeace’s most important campaigns are:
– KitKat advertising;
– Save the Artic;
– Fashion duel;
– Io non vi voto (I don’t vote for you);
– Greenpeace vs. Enel (Brindisi)
Considering the first one advertising, the campaign shows a well known Nestlé’s product, the KitKat. Through a very strong and ironic language the campaign is able to communicate the damage that the production of such goods implies, that is the deforestation in Indonesia. Nestlè’s request of removing the video produced the so-called Streisand effect: the effect was contrary to the intentions of the company because in this way an increasing number of people have watched the video due to the fact that was “prohibited”.
The aim of the simulation was to organize in groups a communication campaign to publicize the Regulation of Bologna between citizens and Public Administration.
Proposal: The first group proposed a communication campaign based on a video and some posters that rise awareness on cooperation between citizens and Public Administration publicizing a contest of ideas about the regeneration of the commons. #comepossoesserciutile? (#howcanIhelpme?)
Problems: Dino Amenduni pointed out that is important to coordinate the different channels if there is a single campaign. The campaign should be recognizable even when different communication channels are used so videos posters must make sense even when viewed separately.
Proposal: The second group proposed the campaign “TUTELACURI” based on two different posters, a video and a Facebook campaign: the first with the superposition of commons like a statue with a human body with the aim to humanize culture and to promote the adoption of a city common.
Problems: Amenduni pointed out the difficulties of the difficulty of carrying out a campaign on too many media with too different languages. The risk is to confuse people who could be not able to attribute them to the same campaign.
Proposal: Masterchef (“this cannot be eaten” – “this is unlivable”). The campaign was based on posters that compare food, something familiar to all, to culture and common goods. The aim was to highlight how food, that no one would want to eat, must be similar to degraded commons that anyone would like to live or have.
Proposal: ReinventiAMO Bologna
Problems: not fully developed, the idea must be completed with some other elements.
Proposal: LetuemaniperBologna (YourHandsForBologna) Main Slogan + Specific Slogan.
Problems: the message must be more easily understood and there must be a description of the common.
Problems: need for efficacy increase, the commons must be allocated, the length of the campaign must be expanded.
INSTRUCTIONS FOR USE: a message is more easily understood through simple and frequent words and you can not base a campaign only on negative aspects or on what does not work: the positive effects of the proposed activity must be always underscored.