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Springer Proceedings in Business and Economics
Caring and
Sharing: The
Cultural Heritage
Environment as an
Agent for Change
2016 ALECTOR Conference, Istanbul,
Turkey
Springer Proceedings in Business and Economics
More information about this series at http://www.springer.com/series/11960
Valentina Vasile
Editor
123
Editor
Valentina Vasile
Romanian Academy
Institute of National Economy
Bucharest
Romania
This Springer imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface
Cultural heritage has an important potential for tourism sector development and to
increase the share of tourism exports in GDP, is among the main factors of support
competitiveness in tourism, local economic growth and social inclusion.
Digital technologies have created an important crossroads for onsite cultural
heritage consumption and defined a new model of tourism. Social channels and
mass media facilitate wider access to information about cultural heritage, providing
both an increased and diversified demand. Current cultural consumption combines
old fashioned models of cultural consumption with access and interactive partici-
pation, onsite innovation in terms of the consumption process, and facilitates
environmental protection through non-invasive forms of heritage asset valuation.
Younger generations conceptualize heritage assets valuing and capitalization in
igneous ways, integrating perennial truths and historic values into modern cultural
consumption models.
The attractiveness of cultural heritage to youths has multiple faces, from learning
about national identity and perceived authenticity to discovering common
regional/international roots, helping make sense of the past, and critically, prepare
for the future. The recognition of community heritage and understanding cultural
meanings for present and future, for individuals and groups, is a challenge for onsite
visitor experiences (pre-visit, during visit, and post-visit) and also for providers of
cultural products (the socio-economic impact of the business model). Cultural
heritage consumption creates positive externalities, conveys values and meaningful
messages for everyday life, and represents a vehicle for accepting diversity,
embracing multiculturalism, and promoting understanding and peace. Sharing the
experience through social media, revisiting the heritage sites (re)design or just
confirming the business model relevance and efficacy, and increasing demand prove
the cost-benefits efficiency both for consumer and provider. In the present, more
than ever, past tangible heritage create/enrich contemporary intangible heritage of
local communities and enrich local cultural identity.
v
vi Preface
The scientific and common approach to cultural heritage is based on the values
of long-term cooperation between specialists/experts and locals in designing
awareness for the need to preserve culture and its values, as well as the need for
appropriate management of its sites.
Cultural heritage as a source of economic development creates synergies at the
local level, develops networks of market providers, facilitates the design of a new
framework for economic and social inclusion, create jobs, stimulates innovation and
the cooperation between specialists, young entrepreneurs, artists, etc., and integrates
knowledge with emotions in terms of designing new cultural goods and services.
The benefits of investing in heritage are reflected in the livability of an area, job
creation, and economic development (WB, 2012; EC, 2017). The need for a
strategic approach was underlined (EHA3.3, 2012) in response to the Lisbon Treaty
of the European Union, Article 3.3
The main facilitator of cultural heritage valuation is the travel and tourism sector,
contributing to over 10% of global GDP, 30% of the world’s service exports, and
one tenth of jobs (WEF_TTCR, 2017). The World Economic Forum developed the
Travel and Tourism Competitiveness Index to measure “the set of factors and
policies that enable the sustainable development of the travel and tourism sector,
which in turn, contributes to the development and competitiveness of a country.”
This composite index includes indicators that measure the direct, indirect, and
induced economic effects of the heritage sector. The Heritage Economic Impact
Indicator (TBR, 2016; Ortus 2017) and Heritage Counts (CHCFE Report, 2015)
were also created to register the social and economic value of heritage to com-
munities, individuals, and the economy.
The role of cultural heritage is still undervalued (EC, 2015) and a holistic impact
assessment of the heritage sector on our lives and culture, both today and in the
future, goes beyond quantitative measurements. This should not be just an EU or
national key economic priority but should also contribute to enhancing Creative
Europe, territorial cohesion, active inclusiveness, and multicultural convergence
and harmony, in the short, medium, and long term. In this respect, identifying and
disseminating good practice and multidimensional impact assessments represent
just two examples of activities which ought to be conducted, based on EU funding,
as well as public and private finance.
This volume includes the results of such initiatives to measure the socioeco-
nomic dimension of the heritage sector and presents some good practices in terms
of valuing and valuation of tangible (both natural and anthropic) and intangible
cultural heritage assets.
The different approaches (scientific and practical) and diversity of research
methodologies used in the chapters included in this volume comprise two parts:
• Part I “Economics of Heritage” is dedicated to scientific articles which present
research results in an innovative manner. The research in these chapters high-
lights the proposed topics that make up the ALECTOR Project, and also some
other research results on heritage and tourism topics for countries such as
Bulgaria, Croatia, Russia, and Romania. The experts from the partner
Preface vii
We hope that the project’s results presented during the conference, and the best
practices disseminated to the project’s participants, produces a “snowball” effect,
generating an increased interest in other project proposals (financed through EU
funds or from elsewhere) for heritage sector development through smart valuing
and efficient valuation.
References
EC. (2015). Towards an integrated approach to cultural heritage for Europe, Opinion of the
European Committee of the Regions—COM (2014) 477 final. http://eur-lex.europa.eu/legal-
content/EN/TXT/?uri=celex%3A52014IR5515
EC. (2017). Cultural heritage counts for Europe report, publication coordination Joanna Sanetra-
Szeliga, on behalf of the CHCfE Consortium. http://blogs.encatc.org/culturalheritagecounts
foreurope//wp-content/uploads/2015/06/CHCfE_FULL-REPORT_v2.pdf
EHA3.3. (2012). Towards an EU strategy for cultural heritage—The case for research 2012
European Heritage Alliance 3.3. http://www.europanostra.org/wp-content/uploads/2017/02/
Towards-an-EU-Strategy-for-Cultural-Heritage_final.pdf
ORTUS. (2017). Heritage economic impact indicators 2017: Technical report. https://content.
historicengland.org.uk/content/heritage-counts/pub/2017/heritage-economic-impact-indicators-
2017-technical-report.pdf
TBR. (2016). Heritage economic impact indicators: Technical report for historic England.
Prepared by TBR’s Creative & Cultural Team. https://content.historicengland.org.uk/content/
heritage-counts/pub/2016/heritage-economic-indicators-sharing-best-practice-tech-note.pdf
WB. (2012). In: G. Licciardi & R. Amirtahmasebi (Eds.), The economics of uniqueness. Investing
in historic city cores and cultural heritage assets for sustainable development. http://
siteresources.worldbank.org/EXTSDNET/Resources/Economics_of_Uniqueness.pdf
Acknowledgements
This volume is the result of teamwork both from a content selection point of view
as well as editorially. Following previous experience gained in the dissemination
of research results and sharing best practices in terms of specific economic topics
(i.e., http://www.rorcf.ro), for this volume, the editor closely cooperated with
Dr. Daniel Stefan and Dr. Călin-Adrian Comes—both experts with good back-
grounds in book editing, as well as being researchers in economics.
Sharing the ALECTOR Project’s1 results from the scientific community in the
cultural heritage field was only possible because of the excellent cooperation given
by the project’s coordinators, Dr. Nikolaos Thomaidis and Dr. Dorothea
Papathanasiou-Zuhrt, and the contributions of the partners and national teams
involved from Greece, Bulgaria, Romania, Bulgaria, the Republic of Moldova,
Ukraine, Georgia, and Turkey.
My special gratitude goes to all team members, for actively sharing their
experiences and building together an emerging international cooperation network
for cultural heritage sector growth, creating Europe’s historical memory.
1
The EU Neighbourhood Info Centre (ENPI) Cross-Border Cooperation (CBC) Black Sea Basin
Programme, JOP 2007–2013 project “Collaborative Networks of Multilevel Actors to Advance
Quality Standards for Heritage Tourism at Cross Border Level” (MIS ECT 2617 ALECTOR,
www.alector.org).
xi
Contents
xiii
xiv Contents
Gheorghe Zaman
Keywords Cultural heritage management Sustainable development
Pillars of SD Integration of CHD into SD Spillovers Internalization of
externalities
1.1 Introduction
G. Zaman (&)
Institute of National Economy-Romanian Academy, Bucharest, Romania
e-mail: [email protected]
Although at first glance the topic of CHM could be considered as a separate domain
not directly linked to the strategies of sustainable development, a large body of the
literature demonstrates a more and more intense link between two processes under
different forms of manifestation. That is why, in the last decades, a special attention
is paid to the efficient integration of CHM into the strategies of sustainable eco-
nomic and social growth taking into consideration the needs and criteria to be met
for such an integration.
Figure 1.1 presented a general scheme of interference and integration between
sustainable development pillars and the requirements to be met by CHM in order to
contribute to a more consistent and resilient sustainable growth development. This
figure can be developed, detailed and completed for each category of cultural
heritage at different levels and territorial units in accordance with their
particularities.
1 Cultural Heritage Management (CHM) and the Sustainable … 5
Sustainable
Development
PILLARS
Criteria, principles
requirements
Cultural Heritage
Management
Fig. 1.1 Integration of cultural heritage management into the strategies of sustainable
development
The special literature (Bowitz and Ibenholt 2009) classifies effects of investment in
culture in: direct, indirect, input–output, multiplies and acceleration effects ancillary
spending, derived effects, gravitation, “non-economic”, counteracting effects.
All the above mentioned effects can be identified at different levels of aggre-
gation (local, regional, national and international).
In view the large diversity of CH which is practically covering almost all
domains of human activity, the valuation methods are very diverse function of
different types of value: cultural, historical, aesthetical, economic, financial envi-
ronmental and educational (instrumental—intrinsic value).
A brief presentation of the techniques and methods used in economic and social
valuation of cultural heritage (Fig. 1.2) shows a very close similarity with the
methods of valuation of natural capital and resources.
1 Cultural Heritage Management (CHM) and the Sustainable … 7
Fig. 1.2 Economic and social valuation techniques (Source Choi et al. 2010; Bateman et al. 2002)
For each group of CH, a certain system of valuation has to be elaborated and
tested, including at the same time more or less rigorous determination of so-called
positive and negative externalities which represent marginal external benefits and
respectively costs (spillovers). The inclusion of spillovers by means of the inter-
nalization of externalities is possible by subsidies, in case of marginal external
benefits, and by corrective or Pigouvian taxes for the marginal external costs.
In the framework of cost-benefit analysis applicable to CH valuation a very
sensitive problem is the usage of different size discount rates specific for each
category of CH.
Special techniques for determining net present value (npv) and internal rate of
return (irr) for cultural heritage investment and restoration projects have to be
applied in case of qualitative spillovers which, as a rule, are very difficult to be
quantified in monetary terms (Zaman and Vasile 2010).
It is unanimously accepted that, in any situation, an efficient management of
cultural heritage is directly dependent on the measurement of cultural and landscape
capital.
In the CH valuation, it is also necessary to take into consideration a series of
particularities of CH public goods and services non-rival, non-excludable and
congestible, in parallel with pure private ones.
The valuation of intangible cultural heritage resources is much more different
than in the case of tangible cultural heritage goods and services. The increasing role
of intangible cultural heritage in supporting economic and social development as a
result of knowledge-based society needs further efforts on improving valuation
methods and contribution of this type of assets.
8 G. Zaman
To answer the question If CHM is an asset or a liability, first of all you have to take
into consideration the quality of CHM.
As a rule, CH at macro-level can be considered as an ASSET in case of its high
quality and efficient management.
Given its social specificity, cultural heritage is “par excellence” a valuable public
good transmitted from one generation to the next one.
References
Bateman, I. et al. (2002). Economic valuation with stated preference techniques: A manual.
econweb.ucsd.edu/*rcarson/papers/BatemanBook.pdf.
Bowitz, E., & Ibenholt, K. (2009). Economic impacts of cultural heritage–research and
perspectives. Journal of Cultural Heritage, 10(1), 1–8. January–March.
Choi, A. S., Ritchie, B. W., Papandrea, F., & Bennett, J. (2010). Economic valuation of cultural
heritage sites: A choice modeling approach. Tourism Management, 31(2), 213–220.
Hoffman, P. T. (Ed.). (2006). Art and cultural heritage: Law, policy and practice. Cambridge, UK:
Cambridge University Press.
Macmanamon, F. P., & Hatton, A. (Ed.). (1999). Cultural resource management in contemporary
society: Perspectives on managing and presenting the past. London and New York: Routledge.
WCED. (1987). Our common future. Oxford: Oxford University Press.
Zaman, Gh., & Vasile, V. (2010). Cultural creative industries (CCI)—economic and social
performance. Annals of the Ştefan cel Mare University of Suceava, Fascicle of The Faculty of
Economics and Public Administration, Vol. 10, Special Number.
Zaman, Gh., et al. (2008). Contribuţia economică a industriilor bazate pe copyright în România.
www.wipo.int/industry/ecostudy_romania. Oficiul Român pentru Drepturi de Autor, Centrul
de studii şi cercetări în domeniul culturii, Institutul de Economie Naţională.
Chapter 2
Multi-sensory Experiences at Heritage
Places: SCRIPTORAMA, The Black Sea
Open Street Museum
Abstract Under the umbrella of the MIS ETC 2617 ALECTOR, a project within
the ENPI CBC BLACK SEA JOINT OPERATIONAL PROGRAMME 2007–2013, a
novel cultural heritage infrastructure with three components has been developed to
communicate local heritage to international audiences. A cross-border partnership,
operating in seven countries (Greece, Romania, Bulgaria, Ukraine, Georgia and
Turkey), has developed standards for heritage tourism by involving key stake-
holders, local communities and citizens into heritage planning in a bottom-up and
training process. The project has been completed in a 30 month period with an
overall budget of 1,065,894.00 EUR. The main result SCRIPTORAMA, a
three-component Open Street Museum, accessible through 90 Quick Response
Codes in the territory and as eBook at the Appstore and Google Play, is delivering
the heritage experience by engaging in a constant dialogue heritage suppliers and
heritage users. This paper examines (a) how cognitive-emotional and multi-sensory
experiences can foster an (inter)-active knowledge acquisition pattern for
non-captive audiences at heritage places; (b) how to integrate new technologies into
the cultural heritage experience to support the informal learning modus; and
(c) how to democratize the mission of heritage institutions by promoting
self-reflective and critically thinking visitors who can perceive, reshape and orga-
nize heritage places into a participatory public space accessible by all.
D. Papathanasiou-Zuhrt (&)
University of the Aegean/The Wave Lab, Chios, Greece
e-mail: [email protected]
N. Thomaidis
Drama Development S.A., Drama, Greece
A. Di Russo
ARTiFACTORY, Rome, Greece
V. Vasile
Institute of National Economy, Romanian Aacdemy, Bucuresti, Romania
2.1 Introduction
Although it is well organized and broken down by eras, genres or styles, the modern
museum becomes a place where those who want to see everything, would finally
not see anything. Eco’s idea about an exhibition that emphasizes understanding
through the definition of the historical, political, social framework building the
prerequisite for cultural literacy is not necessarily a utopia (Eco 2003). But could,
for example Botticelli’s Primavera, the culmination of the Renaissance painting
become such a universal value exhibit that can deliver a multi-sensory experience?
In the first hall there would probably be an introduction to the fifteenth century
Florence revealing the rediscovery of the humanities with educational panels,
exhibitions of books and engravings starting with incunabula, the earliest form of
printed books. The objects aforementioned would remain noli me tangere, but
nevertheless they would attract the audience’s attention, to start with. Then the
audience familiarizes with the works of the painters who preceded and inspired
Botticelli, like Lippi and Verrocchio, and only after it would be introduced to the
works of Botticelli before Primavera. The scene should be dominated by paintings
with female faces that announce those created by Botticelli, to demonstrate that
women were seen in a different way in those times and that it is Botticelli who has
radically innovated the female social image. Music should be heard, like the one
Botticelli must have listened to, along with the voices of poets and philosophers,
whose works Botticelli must have studied. The audience would finally enter the
central hall, to see Primavera, with the now trained eye of a Florentine of the
fifteenth century. In the following hall, a screen would reveal all the details of
Primavera: the pictorial solutions adopted by Botticelli, the comparisons with
details of other painters. The last hall would be crowing the experience and would
be dedicated to the legacy of Botticelli up to the Pre-Raphaelites.
As much as it is impossible to realize the multi-sensory experience in the bricks
and mortar fashion using all authentic paintings in one place, it is feasible to deliver
it using digital technology and digital reproductions. The new digital artwork would
then allow every known masterpiece to be further spread and every unknown
masterpiece to gain its place in the collective memory (Di Russo 2003). Along this
line, SCRIPTORAMA is the first experiment to support understanding at the
expense of admiration in the multi-ethnic and multi-cultural Black Sea Basin. In the
eBook for iOS and Android operating systems, The Will of Marco Polo: adventure
with merchants, laborers and wise men, the central hero is the visitor, who is
travelling across the commerce roads that connect the East and the West: the
Golden Fleece, the Silk Road and the Golden Leaves. On his reinvented trail of
gold, silk and tobacco, this new Marco Polo, meets the Argonauts and the Ten
Thousand, Roman and Byzantine Emperors, Mongol rulers, Ottoman Sultans,
Western and Eastern travellers and modern era historic personage who share their
thoughts and values. The new Marco Polo needs to know about the European
Discovery Age, the Modernity, the late Ottoman Empire, the Belle Époque. Finally,
he reaches World War I and World War II always trying to shed light to causality
2 Multi-sensory Experiences at Heritage Places: SCRIPTORAMA … 13
mechanisms, equipped with the main ingredient of civilization: human values and
human rights. With the choral cantata 147 by J.S. Bach as background music,
excellently performed by the children’s choir of the Conservatorio di Cagliari under
conductor Enrico Di Piana, the new heritage journey starts:
Marco Polo was travelling without maps,
without streets, but following old tales.
He wrote a story that still unites all of us.
He did not want to convert anyone.
He did not conquer any land.
His will was the pursuit of knowledge.
Be Marco Polo…and travel with us.
In the meantime, pervasive media have already transformed the learning para-
digm by providing unprecedented opportunities for self-directed learning, collab-
orative and lifelong learning. In contrast to the prevailing opinion, we argue that as
pervasive media, continue to evolve (eBooks, apps, social media) supported by
constantly advancing generations of data networking that move faster, the intan-
gible nature of cultural assets will become either more important than the mere
physical substance, or just an empty of content virtual shell. The rising tendency to
rely on technology to convey cultural information off- and onsite does not neces-
sarily lead to the acquisition of knowledge and the production of a heritage-driven
value chain through shared practices: advanced ICT applications (apps, platforms)
cannot convey meanings, if void of appealing and appropriate content. An
improved understanding of heritage in the spirit of the knowledge economy, where
creativity becomes a driver for development through active heritage consumption is
the conditio sine qua non for the sustainability of heritage places (Francois 2012:
91). However, evidence form Structural Funds in the Programming Period 2007–
2013 demonstrates the opposite: out of 347 billion, only 6 billion (1.7%) were
allocated to culture. Two main conditions perpetuate this vicious circle:
(a) culture is thought to be of national interest and as such it is not export-oriented,
and
(b) the contribution of culture is thought to be only an intangible benefit and as
such it is not noticed by those who concentrate on the total value of the turnover
as an indication of the significance of an industry (CSES 2013: 19–20).
The contribution of culture in the contemporary economic framework is con-
nected to the obsolete conceptualizations of the relationship between cultural
activity and the generation of economic value (Bucci and Segre 2009; Sacco 2011;
Revelli 2013; Ates 2014). According to the EU Policy Handbook, in 2012 the
economic contribution of the Cultural and Creative Industries (CCI) (2.1%) is
higher than that of the sector of food, beverages and tobacco manufacturing (1.9%),
the textile industry (0.5%) and the chemicals, rubber and plastic products industry
(2.3%). Because culture is still thought to be the highly subsidized and
14 D. Papathanasiou-Zuhrt et al.
low-productivity sector, it remains the easiest target for public funding cuts,
especially in times of economic recession. This attitude disables the capacity of the
CCI sector to contribute to future economic and employment growth. The net-
worked economy demonstrates vacancies for professionals with digital skills,
high-average wages, and persistent reports of skill shortages and use of migrant
labour (Williams et al. 2012: 68). As a result, new products are delayed, orders are
lost and competitiveness is weakened.
The Project Area is peripheral and suffers a divergence of supply (heritage offers
and businesses) and demand (heritage consumers), as informational asymmetries
disable the access to heritage offers and eventually downgrade the onsite experi-
ence. In this way, the internationalization of culture through the selection and
consumption of quality and highly customized heritage products and services fails.
To effectively utilize the dynamics of culture for development, an alternative plan is
sought: SCRIPTORAMA, a first attempt to operate a 24 h accessible museum in the
Black Sea Basin. The range covers three EU NUTS II regions; three NUTS II
equivalent regions in Moldova, Ukraine and Georgia and three regions in Turkey:
EL51 (Drama in Eastern Macedonia and Thrace); Romania: RO223 (Constanta);
Bulgaria; BG331 (Varna); Moldova, Chisinau; Ukraine, Donetsk Oblast, Mariupol;
Georgia, Adjara, Batumi; Turkey:TR42 (Sile, Agva) and TR90 (Eastern Black Sea).
The design of multi-sensory experiences at heritage places remains an
under-researched topic. The main objective within the ALECTOR Project is to set
up a framework for the design of cognitive-emotional experiences for both the
onsite and dislocated audiences considering the Project Area particularities and the
conditions that regulate the informal learning environment. In contrast to prevailing
opinions, we defend that the knowledge pattern of non-captive audiences in cultural
heritage settings shall be reconstructed in line with Human Cognitive Architecture
(HCA) to respond to the specific needs and requirements in the informal learning
environment and thus contribute to successful heritage experiences and the
appreciation of heritage. The conditions under which immersive experiences take
place in heritage settings have been studied in the Project Area in a 30 month
period from a transdisciplinary point of view, so that a new cultural heritage
experience pattern based on shared practices could be designed. New services,
generated in the creative economy, have been looked at from a technological point
of view, so that a new travel motivation can be offered to dislocated audiences and
an enriched experience is ensured for onsite visitors improving satisfaction and
access to local product offerings.
2 Multi-sensory Experiences at Heritage Places: SCRIPTORAMA … 15
Niin, herra Antonius Pältzoldt piti huolen siitä, että Rassmann piti
silmäinsä edessä maailman kurjuuden, erittäinkin omansa.
Mutta Rassmann, jolle olut oli ajanut punan poskille, hautoi yhä
omia tuumiaan — hymy huulillaan. Niin, hän hymyili tyytyväisenä,
helpommin hengittäen, ikäänkuin olisi juuri keventänyt
omaltatunnoltaan tuhannen sentneriä konnankoukkuja.
Hän oli hänet syöttänyt, juottanut, vaatettanut, teki sen joka päivä.
Hän kohteli häntä paremmin kuin hän milloinkaan oli saattanut
keltään toiselta odottaa; hän ei tahtonut häntä työskentelemään,
antoi vain hänelle rahaa, kun hän sitä tarvitsi.
"… Mutta älä pane sitä pahaksesi. Ne ovat tärkeimpiä kirjoja, mitä
voi saada käsiinsä, asioita, joista toverimme ovat kirjoittaneet, kirjoja,
jotka ovat juuri ilmestyneet."
Schorn piti yhä vielä rahoja käsissään. Kun hän alkoi lukea
seteleitä ja kovia taalareita Rassmannille, oli tällä vielä jotakin in
petto.
"Jättäkää se, ei lörpöttä. Mikä herr! Ei ein mark olisi minä häntä
uskonu, jos herr ehrenwerte Schorn ei olema minulle vertrauen
sanonu, hän takaa for sainen Fraind, kun hän tehny häntä hänen
toveri. Ei tekemä techtelmechtel minun kanssa, herr Pätzoldt."