2023
DOI: 10.1016/j.cities.2023.104437
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Cultural, creative, and complex: A computational foundation of culture-driven urban governance

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Cited by 5 publications
(4 citation statements)
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“…As some researchers have already shown [40], a pivotal role in these networks is often performed by the so-called "territorial entrepreneurs", namely young and creative entrepreneurs and innovators, who become promoters of cultural initiatives that activate and sustain regeneration processes. The distinctive feature of these innovators lies in their capacity to shape new territorial relationships and configurations, reassemble local expertise and assets [62], build synergies with public administrations, and produce with their activity a socio-spatial impact on the surrounding local community that results in improving its internal cohesion [28]. Although the presence of territorial entrepreneurs in the networks shaping the projects can be considered a relevant condition of culture-based regeneration projects, we agree with Tricarico et al [63] that a territorial entrepreneur can act successfully only if he/she is able to build effective alliances among actors and activate what several scholars define as «platform spaces», namely «cultural and creative places where social innovation plays a key role in community engagement activities as well as generating horizontal/collaborative interactions among different stakeholders and their interests while aligning with territorial development targets» [63] (p. 2).…”
Section: Discussionmentioning
confidence: 99%
See 1 more Smart Citation
“…As some researchers have already shown [40], a pivotal role in these networks is often performed by the so-called "territorial entrepreneurs", namely young and creative entrepreneurs and innovators, who become promoters of cultural initiatives that activate and sustain regeneration processes. The distinctive feature of these innovators lies in their capacity to shape new territorial relationships and configurations, reassemble local expertise and assets [62], build synergies with public administrations, and produce with their activity a socio-spatial impact on the surrounding local community that results in improving its internal cohesion [28]. Although the presence of territorial entrepreneurs in the networks shaping the projects can be considered a relevant condition of culture-based regeneration projects, we agree with Tricarico et al [63] that a territorial entrepreneur can act successfully only if he/she is able to build effective alliances among actors and activate what several scholars define as «platform spaces», namely «cultural and creative places where social innovation plays a key role in community engagement activities as well as generating horizontal/collaborative interactions among different stakeholders and their interests while aligning with territorial development targets» [63] (p. 2).…”
Section: Discussionmentioning
confidence: 99%
“…Included here are the previously mentioned models of the creative city and cultural districts. Both these models are clearly oriented towards the physical transformation and redevelopment of the city, economic growth, and the improvement of the city's competitive position in the global market from a branding perspective, with a role played by culture that is instrumental and mainly limited to the economic dimension [18,27,28].…”
Section: Literature Review On the Relationship Between Culture And Ur...mentioning
confidence: 99%
“…The evaluation of urban cultural development indicators varies significantly among countries, reflecting both commonalities and distinctions. Internationally, culture's role as a form of soft power in urban cultural governance has garnered widespread recognition [29][30][31][32].…”
Section: Culture Creativity and Urban Developmentmentioning
confidence: 99%
“…Scholars have now carried out extensive discussions on CS. Some have analyzed its concepts and connotations, promoting the continuous expansion of the connotation [2], characterized by a gradual expansion and deepening from cultural heritage to cultural venues, cultural creativity, cultural facilities, and cultural industries [6]. Therefore, it is necessary to make a systematic study of the change of connotation.…”
Section: Introductionmentioning
confidence: 99%