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American University of Central Asia
European Studies department
Cultural Vibrancy of leading European cities. Case studies of Paris and
Prague. (2010-2018)
By
Temirlan Kasymov
Supervisor: Liubov Jdanova
A thesis submitted to the European Studies department of American
University of Central Asia in partial fulfillment of the requirements for the
degree of Bachelor of Arts
Admitted for defense
“7” May 2020
Dr. Liubov Jdanova
Chair of European Studies
April, 2020
Bishkek, Kyrgyz Republic
Acknowledgement
I am very pleased to thank the people who helped me write this senior thesis.
First of all, I would like to express my sincere gratitude to my supervisor, Dr.Liubov
Anatolievna Jdanova. I thank you for giving me the opportunity to realize my goals. Thank
you for helping me in preparing this research, despite the huge workload. Thanks to her
devoted participation in every step of the process and recommendations, this research was
completed. This senior thesis would not be possible without her dedicated help, support and
understanding. It was a great honor for me to work under her direction.
I also express my sincere gratitude to all the professors of the AUCA and the
European Studies department who have helped me generate enough knowledge in the field.
I am grateful to the head of the ES department Liubov Jdanova and professors Yulia
Kalinichenko, Zhyldyz Abaskanova and Iskandar Qonunov for their invaluable work and
contribution to the development of education. I thank my reviewer Anguelina Popova for
her support, valuable advices and comments. The distance caused by the state of emergency
due to Covid-19 made discomfort in some cases, and I am glad that we all remain patient
and understand each other in such difficult times for the planet.
Abstract
The research defines the cultural vibrancy of European cultural capitals Paris and
Prague at the period from 2010 to 2018. The qualitative research includes analysis of “Musee
du Louvre” in Paris and “National Museum” in Prague as the case study. Through the digital
ethnography research method, it studied virtual and real museums in the cultural vibrancy
framework to response the hypothesis: real museums can lose its relevance to virtual ones.
Data gathering and its analysis allowed to answer first research question, determine the
cultural vibrancy term - is a wealth, diversity and quality of cultural venues as well as its
technological development and active participation of the population in culture. The research
findings that were derived using comparative analysis and synthesis of its data allowed to
interpret and indicate the answer of research questions: first, that culture in Paris and Prague
are highly vibrant. Second, the Louvre museum is more vibrant and prosperous than
Prague’s. Third, physical museums are needed by a cultural society, but digital museums are
more relevant in vibrant society. And finally approve the hypothesis that the digital museums
overtake by relevance above physical ones. As a result, online museums have more frequent
attendance and provide great opportunities for further study in this field. Moreover, by the
development of digital technologies it will be available to study not only cultural vibrancy,
but also other fields of study.
Key words: Capital of Culture, Cities’ monitor, Cultural heritage, Cultural vibrancy,
Digital ethnography, Digital museum, Museum, Online museums, Venues, Virtual museum.
Abstrait
La recherche définit le vibration culturel des capitales culturelles européennes Paris
et Prague entre 2010 et 2018. La recherche qualitative comprend l'analyse du «Musée du
Louvre» à Paris et du «Musée national» à Prague comme étude de cas. Grâce à la méthode
de recherche en ethnographie numérique, il a étudié les musées virtuels et réels dans le cadre
de la vibration culturelle pour répondre à l'hypothèse: les musées réels peuvent perdre leur
pertinence pour les musées virtuels. La collecte de données et son analyse ont permis de
répondre à la première question de recherche, de déterminer le terme de vibration culturel c'est la richesse, la diversité et la qualité des lieux culturels ainsi que son développement
technologique et la participation active de la population à la culture. Les résultats de la
recherche qui ont été dérivés en utilisant l'analyse comparative et la synthèse de ses données
ont permis d'interpréter et d'indiquer la réponse aux questions de recherche: premièrement,
la culture à Paris et à Prague est très vibrant. Deuxièmement, le musée du Louvre est plus
vibrant et prospère que celui de Prague. Troisièmement, une société culturelle a besoin de
musées physiques, mais les musées numériques sont plus pertinents dans une société vibrant.
Et enfin approuver l'hypothèse que les musées numériques dépassent par pertinence audessus de ceux physiques. En conséquence, les musées en ligne ont une fréquentation plus
fréquente et offrent de grandes opportunités pour poursuivre les études dans ce domaine. De
plus, grâce au développement des technologies numériques, il sera possible d'étudier non
seulement le vibration culturel, mais aussi d'autres domaines d'études.
Mots clés: Capitale de la culture, Ethnographie numérique, Lieux, Moniteur des
villes, Musée, Musées en ligne, Musée numérique, Musée virtuel, Patrimoine culturel,
Vibration culturel.
Table of content:
Acknowledgement
Abstract
Introduction
Chapter I
1.1. Literature review
1.2. Historical background
1.3. Theoretical framework
1.4. Methodology
Chapter II
2.1. Case study of Paris
2.1.1. Cultural vibrancy
2.1.2. The real museum in the cultural vibrancy framework
2.1.3. The digital museum in the cultural vibrancy framework
2.2. Case study of Prague
2.2.1. Cultural vibrancy
2.2.2. The real museum in the cultural vibrancy framework
2.2.3. The digital museum in the cultural vibrancy framework
2.3. Comparative analyses of cultural vibrancy of Paris and Prague
2.4. Findings
Conclusion
Work cited
Annexes
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Introduction
For many years’ culture has been an integral part of the existence of mankind. The
cultural capitals such as Paris and Prague have a high cultural vibrancy rating. There are
worldwide, national and regional events on the agenda of which are cultural heritage, support
for existing and future cultural objects, programs for the development of public sectors for
current artists and promoting cultural vibrancy. In the area of cultural vibrancy, we can
highlight virtual museums and its development. The development of such museums, which
are digitalized are progressing at the same time with progression of digital technologies.
There are two specifies of a vibrant culture: real, exist museums and digital,
virtual/online museums. For the one side, real museums are vessels for the maintenance of
valuable artifacts of the history and its relevance will not be loss, but from the another side,
there are many digital museums that have their own advantages such as availability in every
case, and its constant development surprises with its innovations. Using digital ethnography
approach the research will gather data from digital sources such as online museum’s content.
The collected data will be analyzed and synthesized by interpretivism approach, that uses
qualitative research strategy.
The cultural vibrancy disclosed by proper attention on cultural heritage, cultural
infrastructure such as museums and its digitalization. It remains to be decided what will be
more current today, a real museum or a digital museum. This research will examine the
questions of relevancy of real museums and digital museums by comparing analysis in the
cultural vibrancy framework. The paper consists of two chapters and conclusion. Chapter I
includes
Literature review,
Historical
background,
Theoretical
framework
and
Methodology. Chapter II examines every research question and hypothesis. The work cited
part includes sources in English, French and Russian languages: 4 books, 6 online articles
and 5 official documents. The annexes part includes full texts of necessary documents.
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CHAPTER I
1.1 Literature review
Cultural development is an integral part of national and international programs.
Promoting cultural achievement and preserving heritage is something that global
organizations such as UNESCO are working on. Supporting the cultural heritage of the state
is also an important part of development, which implements many creative ideas from
aspiring artists to cultural volunteers that support and care cultural heritage in terms of
museums and cultural venues. In order to study the issue of cultural vibrancy in detail, it is
necessary to study previous experience in this field as well as the current situation. Various
foundations, state and non-governmental organizations are exploring issues of cultural
heritage and cultural wealth as well as introducing new technologies such as digital museums
and their prospects. Cultural richness is an indicator of the rich history of the region and an
indicator of worthy and bright human values. There are many organizations, programs,
networks and foundations that promote cultural vibrancy, the most striking of which are used
in the research.
European Union Commission.
The European Capitals of Culture program (ECoC).
The European Capitals of Culture initiative is designed to highlight the richness and
diversity of cultural vibrancy in Europe. The program provides an increase of European
citizens' sense of belonging to a common cultural area. Promoting the contribution of culture
to the development of cities.
Once a year, one or two cities are chosen by ECoC and jury commission to make a
new design of the city. An ECoC is a voyage that will keep going for quite a long while:
assigned city will begin to incorporate the idea and the masterful program following the
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assignment. The title year is the pinnacle of a joined program comprising of social,
imaginative, instructive and innovative exercises that have been anticipated in any event 4
years.
In addition to this, experience has shown that the event is an excellent opportunity
for regenerating cultural venues by raising the international profile of cities; reinforce the
image of cities in the eyes of their citizens. The program provides a plan for the development
a new life into a city’s culture.
United Nations Educational, Scientific and Cultural Organization.
The Creative Cities Network (UCCN).
The network is created to develop the relationships between cities which promote
cultural development and enhancing cultural vibrancy in their cities. “Promotes cooperation
with and among cities that have recognized creativity as a strategic variable for sustainable
urban development” (UCCN). The UCCN was created in 2004 and 180 cities are currently
work on such objectives as development of cultural industry at the local level and
interconnecting with the international level.
The program regularly hosts conferences and forums on the development of the
cultural industry in the cities of the world. Representatives of intergovernmental and nongovernmental organizations gather at such forums, who are advised and trained by the
UNESCO program.
In this context, participation and the sharing of experience is requirement for
promoting creativity and smartness. In this regard, UNESCO’s Creative Cities Network
provides opportunities for cities to draw on peer learning processes and collaborative
projects in order to completely gain by their resources and utilize this as a reason for building
sustainable, comprehensive and balanced cultural development.
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European Investment Fund. Supporting entrepreneurship and innovation in Europe.
The Cultural and Creatives Sectors Guarantee Facility (CCS GF).
The CCS GF is an initiative managed by EIF (European Investment Fund) on behalf
of the European Commission. It was launched in June 2016 in the framework of the Creative
Europe program (2014-2020). The CCS GF benefits micro-businesses and small and
medium-sized enterprises (SMEs) in the cultural and creative sectors, which often face
difficulties in accessing affordable debt financing for their projects.
EIF’s guarantee aims to change that. Loans supported by the EU under CCS GF are
now available for business in all of the participating countries. At end of June 2016, these
included the EU Member States, Iceland and Norway. The initiative is expected to create
more than EUR 600 million of new loans and other financial products for final beneficiaries
through the guarantee’s catalytic effect.
The guarantee facility encourages financial intermediaries to adopt a specific credit
assessment approach with SMEs and organizations. They also have the opportunity to
receive a customized training to better understand the specific needs of the cultural and
creative sector projects, thus to increase their engagement in this area.
International Centre for the Study of the Preservation and Restoration of Cultural
Property (ICCROM).
First Aid to Cultural Heritage in Times of Crisis (FAC).
International Centre for the Study of the Preservation and Restoration of Cultural
Property offers a first aid to cultural heritage in times of crisis and interconnected learning
and field-application opportunity. The guiding philosophy is to link the humanitarian
assistance with restoration and preservation of venues in order to support the cultural
diversity through the collaboration of community’s members.
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ICCROM in cooperation with Italian cultural heritage and emergency management
institutions creates one-year course that provides skills for the integrating emergency
preparedness, analysis of the situation and risks, team work, coordinate and communicate
with multiple actors of local and international areas. "Our cultural heritage is what binds
people together and creates unity” (FAC 2019). ICCROM provides scholarships for applied
participants of their study program. For those cities that demonstrated its financial needs are
available course fee, travel, accommodation and living expenses.
ICCROM and its FAC course interested in the appropriate level of preservation and
restoration of cultural heritage using the latest technology and a trained team.
Monica Amari. Conference on sustainability.
Cultural sustainability and cultural governance: principles and methodologies to create a
symbolic district.
The presentation of cultural sustainability performed by a scholar Monica Amari
provides a strategy by which culture and governance are interconnected and create new
governance approach in rural area. Increasing of symbolic place units improve the cultural
sustainability.
Amari claims that a symbolic district is a result of interconnections which accomplish
5 processes: storytelling or representation, identifying cultural materials, producing, creation
of cultural needs and regulation between cultural politics and policies. In addition, author
demonstrate house of the ancestors of Niccolo Paganini as an example of symbolic capital.
Due to the presence of such famous name the festival which took place in completely
unknown small villages made these districts popular and correspondingly discovers new
symbolic capitals.
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Finally, a methodology promotes principles and methods to achieve a cultural
sustainability and development of rural districts. Moreover, provides results showing the
success of the completed processes and its impact on overall cultural dignity.
Brian Shelmon. Digitizing the museum.
A new kind of interaction.
Cultural vibrancy also can be promoted by “digitization”, that has been a developing
trend in museums that changes the whole idea of it. “Technology and culture run parallel”
(Shelmon 1). Innovation has started to shape our encounters in extraordinary manners.
According to the author the speed of the progressions is what's generally amazing. Museums
are viewed as a staple when individuals consider culture. Historical centers hold critical
measures of data about a specific city or nation, including its history, society development,
prominent individuals, and significantly more. Historical centers have consistently been a
significant goal for seeing increasingly about where you are and the effect that culture has
had on all of us. Some of the most popular world museums do the significant process of
digitizing their collections. These museums store millions of individual works of art, and
they have already successfully digitized tens and hundreds of thousands of exhibits that are
currently available on the Internet.
Shelmon claims that the advantage of digitizing manufacturing is openness. There
are many passionate visitors and artists, but do not have the opportunity to travel far and
wide to see the most incredibly famous works of art or figures. “With an online database,
you not only accurately imagine a work of art, but also, the database can provide interactive
multimedia data about a work, master, etc.” (Shelmon 2).
The research of Shelmon explores that “If more people begin to enjoy these improved
digital copies of works of art, then the actual physical part will lose its appeal”. (Shelmon
5). People are only at the beginning stage of digitizing art. More and more museums are
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starting to upload their collections online, because such technology is becoming more
accessible in today’s vibrant cultural environment.
The reviewed literature suggests that there are many opportunities to develop and
strengthen culture. There are programs that help develop creativity and promote the
improvement of cultural diversity. Moreover, commissions that monitor the appropriate
level of development of a region. Also necessary support funds that push the state to allocate
funds to achieve future profits. Finally, private researchers who have their own vision and
opinion and offer fresh methods and ideas on this issue.
Encyclopedia of Marxism.
Commodification.
The advent of commodification theory explains the processes of socialization and
makes it possible to develop socio-cultural ties anywhere in the world. Being in Bishkek,
thanks to technology, we have the opportunity to access the virtual museum, to be in the
courses of new expositions and proposed activities and events.
“Commodification means the transformation of relationships, formerly
untainted by commerce, into commercial relationships, relationships of
exchange, of buying and selling. National one-sidedness and narrowmindedness become more and more impossible, and from the numerous
national and local culture there arises a world culture.” (Encyclopedia
of Marxism).
Now culture and computerized culture is in the scope of economic activities:
development of tourism, online tourism and digital museums impact to cultural vibrancy
including infrastructure, methods and activities such as foundations, facilities production,
product selling and earning finance through the digitalization of collections.
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1.2 Historical background
There are not any nation or generation at present time that do not follow cultural
pluralism and its exchange. Thus actors should have ability to support and develop cultural
diversity. Stakeholders must follow the declaration on ‘Cultural Diversity” that was
published in Paris in 2001. It provided by United Nations Educational, Scientific and
Cultural Organization (UNESCO) called ‘Universal Declaration on Cultural Diversity’,
states:
“In our increasingly diverse societies, it is essential to ensure harmonious
interaction among people and groups with plural, varied and dynamic
cultural identities as well as their willingness to live together. Policies for
the inclusion and participation of all citizens are guarantees of social
cohesion, the vitality of civil society and peace. Thus defined, cultural
pluralism gives policy expression to the reality of cultural diversity.
Indissociable from a democratic framework, cultural pluralism is conducive
to cultural exchange and to the flourishing of creative capacities that sustain
public life.” (Article 2. From cultural diversity to cultural pluralism).
Stakeholders should provide public sectors for civil society in order to develop such
partnership, to promote cultural diversity.
“Market forces alone cannot guarantee the preservation and promotion of
cultural diversity, which is the key to sustainable human development. From
this perspective, the pre-eminence of public policy, in partnership with the
private sector and civil society, must be reaffirmed.” (Article 11. Building
partnerships between the public sector, the private sector and civil society).
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The administration of the cities must promote in various cultural events, celebrations.
Participate in multicultural traditional events and provide platform for the self-expression of
Generation-Z
“Fostering the exchange of knowledge and best practices in regard to
cultural pluralism with a view to facilitating, in diversified societies, the
inclusion and participation of persons and groups from varied cultural
backgrounds”. (Line 3 of an action plan)
Administrations collaborates with numerous communities’ stakeholders and the
public young artists and cultural groups to create digital events, media information,
organizing festivals, educational events and providing scholarships and grants. “Involving
all sectors of civil society closely in framing of public policies aimed at safeguarding and
promoting cultural diversity.” (Line 2 of an action plan)
Commission of the European Communities.
In today’s Europe, cultural exchanges are as lively and vibrant as ever. The freedom
of movement provided by the European Culture Treaty of Rome has greatly facilitated
cultural exchanges and dialogue across borders. (Treaty of Rome, 1957). Cultural activities
and the demands for cultural goods are spreading with unprecedented access thanks to new
communicational tools. In 2007 the Commission of European Communities has provided
steps in cultural agenda to respect its national and regional diversity to promote important
strategic goals such as sustainable development and prosperity making the EU more
meaningful in global area. It covers cultural heritage in sectors such as literature, arts,
traditions and values.
European Commission provides the list of programs for the promoting national and
regional diversity encouraging cooperation: Europe for citizens, the Media program,
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Community funding program, the mobility of museum collections, consultations and public
diplomacy.
The European agenda proposes three interrelated sets of objectives such as
development of policies for stakeholders, renewal of the role of animation and exchange of
cultural good, practice and dialogue. All these objective have a purpose to promote the
mobility of artists and professionals in the cultural field and the circulation of all artistic
expressions beyond national borders; promote and strengthen intercultural competences and
intercultural dialogue and communication in foreign languages; promote creativity in
education; promote capacity building in the cultural sectors by developing innovative
sources of founding, including sponsorship, and improved access to them; reinforce the
social and economic impact of investments in culture and creativity.
The European agenda is providing a new partnerships and working methods like a
mapping of the cultural sectors, Cultural Forum of Cultural Ambassadors, European public
debates in the live performing arts and the audiovisual sectors. Moreover, the Open method
of coordination (OMC) is provided as a mechanism and spirit of partnership in order to foster
mutual learning. Stakeholders from EU, member states and regions should be involved in
the process.
Cultural vibrancy is a wealth of cultural venues including architectural monuments,
museums, virtual museums, theaters and other cultural centers. It has to be developed,
promoted and preserved by a government, stakeholders or\and non-governmental
organizations and programs. Vibrant culture is a well-organized, structured and sustainable
culture that strengthen heritage and dignity. The term ‘cultural vibrancy’ is widely disclosed
in European scientific and technical research reports ‘The Cultural and Creative Cities
Monitor’ (C3) by Valentina Montalto and Michaela Saisana in 1st and 2nd editions of it.
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The publication was used as a tool to monitor and access the performance of ‘The
European Capitals of Culture program’ (ECoC) and ‘The UNESCO Creative Cities
Network’ (UCCN). According to Montalto and Saisana, “Paris takes first place among cities
of more than one million inhabitants (XXL cities)” (C3 21) in terms of cultural vibrancy.
According to C3, cultural vibrancy is extent of cultural richness of the cities; the
stronger the city’s ability to attract local and international audiences, the higher the city’s
index (rank) of cultural vibrancy. By the following ranks, Prague is appointed second place
after Paris.
1.3 Theoretical framework
Piia Varis. Tilburg University.
Digital ethnography.
Digital communication has become an integral part of our society today. The
development of this approach implants a virtual and digital elaboration in all sectors of largescale development such as world culture as well. “Digital ethnography as an approach in
the broader context of recent discussions within internet studies, more specifically on ‘big
data’ methods which have become increasingly popular partly because online data can be
easily collected in large amounts.” (Varis 1)
The communicative products that researchers collect online can be “shaped not only
by the immediately observable online context, but also by the offline context in which the
digital activity has taken place.” (Varis 7). “Digital museum is a museum exhibition
platform that utilizes computer and information technology” (Yu-Chang Li 3).
Digital ethnography approach also implies data gathering and its provision. In this
case cultural vibrancy of studied cities will be analyzed correspondingly to its digital
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museums data. Due to the social media resources are sources of such ethnography it will be
used to demonstrate examples and samples of studied cities’ digital museums.
The National Museum of Czech Republic in Prague and The Louvre Museum in Paris
and its digital museums activities as a communicative product will be analyzed by using
digital ethnography approach. The exam of the virtual museum’s collections and relics
displayed in digital format have become a popular online data which is actively used by the
population.
1.4 Methodology
Digital museums in cultural vibrancy framework are very important because it
progresses as well as digital technologies progress constantly. This research will be followed
by a discussion on relevance of exist museums and virtual one to produce valid results,
meeting the aims and objectives set by this research using qualitative methods of data
analysis, data monitoring and gathering, comparative analysis, synthesis and interpretation.
This research makes use of qualitative research strategy, where the research approach
implemented has been digital ethnography. As with developing technologies it is becoming
more convenient, Varis (2016) defines a digital ethnography as an approach for gathering
and studying digital data in large volumes, demonstrate and display them in the field of
study. The research will compare several facts in order to achieve correct conclusion. The
approach for synthesize facts will be interpretivism founded by Jerry W. Willis. (Willis
2007). The data which is derived mainly from secondary sources, and which are qualitative
in nature. He also observes that one characteristics of interpretivism is that these facts are
abstract in nature, and governed by a variety of factors which are non-tangible and difficult
to measure. These can be economic, social, or cultural factors. Therefore, for the purposes
of this research, the author chose the interpretivist approach, rather than the positivist and
the pragmatist approaches, because abstract, non-quantifiable variables.
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The Cultural vibrancy rank evaluated using The Cultural and Creative Cities
Monitor’ (C3) - a web apparatus advertising both quantitative and qualitative prove on the
190 chosen cities alongside a number of intuitively functionalities to back urban approach
making and benchmarking, such as the possibility to include your claim information and
alter weights to urge ‘customized’ scores. Cultural cities’ performance indicated as the rank
of the city, as C3 index score in which there are groups from small (S) to extra, extra-large
(XXL), regarding with aggregated calculations (from 0-100 points.).
The advantages and disadvantages of studied museums will be analyzed through
comparative analysis and also using experience of human that shared via digital platform
TripAdvisor. The world's largest travel platform. Travelers around the world use the
TripAdvisor website and app to view over 859 million reviews and comments on 8.6 million
lodging, dining, entertainment, airlines, and cruises. At the planning stage and during the
trip itself, travelers turn to TripAdvisor to compare low prices for hotels, flights and cruises,
book popular excursions, including famous attractions, and book reservations in good
restaurants. The indispensable travel assistant for TripAdvisor, available in 49 regions of the
world in 28 languages.
The research makes comparative analysis of the documents, which are closely
referring to the research question and their interpretation. Furthermore, the research analyses
the main idea of the sources. The comparison of two cases Paris and Prague was made in
accordance of criteria’s which were matched in chapter II. The key of the research was
exploring the term as cultural vibrancy in two leading European capitals of culture by data
gathering and analysis; through outlining the criteria of the exist and digital museums,
comparative analysis supplemented by two museums of Paris and Prague and synthesis. The
results of the research are included in conclusion part of the research. Finally, the research
data and comparative analysis synthesized and interpreted.
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CHAPTER II
This chapter is dedicated to case studies of the two leading cultural cities Paris and
Prague. According to The Creative and Culture Cities Monitor (C3) by Montalto, these two
cities are brightest examples of vibrant city and author indicated them as first and second top
index. (Montalto 23). The cultural vibrancy is analyzed through the case of digital and
physical museums and comparing them by its criteria.
2.1. Case study of Paris
2.1.1. Cultural vibrancy
Cultural vibrancy is a “pulse of culture in terms of infrastructure and participation in
culture.” (Montalto 20). Paris attracts many old streets and boulevards, as well as such
famous attractions as the Eiffel Tower, Champs Elysees, museums, cathedrals and churches.
Concurring to the statutes of International Council of Museum (ICOM), a museum as a
historical center “is a non-profit, permanent institution within the benefit of society and its
advancement, open to the open, which procures, moderates, research, communicates and
shows the unmistakable and intangible legacy of humankind and its environment for the
purposes of instruction, consider and enjoyment” (Li 646). Consequently, an imperative part
of a gallery is to form its heritages ended up a portion of our life, much just like the capacities
of a library. Based on this, the computerized or digitalized conducting of an exhibition hall
has ended up a common seek after in both the scholastic and open divisions.
Numerous cultural units of Paris give the city a good cultural infrastructure. With the
support of organizations such as UNESCO and development funds, Paris venues continue to
evolve and improve, thereby attracting more people and more traffic, which makes it vibrant.
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2.1.2. The real museum in the cultural vibrancy framework
There are 173 museums in Paris dedicated to various topics, very different in size,
with exhibits from around the world. Museums are divided into national and municipal of
Paris. The Louvre Museum is a national museum, opened in 1793 at the former residence of
the French kings. The Louvre Museum consists of 8 thematic departments, where on an area
of 60,600 m² one of the largest world collections is presented, consisting of 35,000 exhibits,
“masterpieces of Western European art of the Middle Ages until 1848, as well as ancient
civilizations of the ancient Egyptians, Romans, Etruscans, Middle civilizations Oriental and
Islamic art.” (Martinez). It is there that such world masterpieces as Mona Lisa and Venus of
Milos are stored. In 2019, the Louvre remained the most visited museum in the world, but
did not break its own record in 2018, when 10.2 million people visited the main Parisian
museum. The numbers of 2019 - 9.6 million visitors - became the third best result in the
history of the museum.
Several rooms are dedicated to ancient Greece: Venus of Milosia and etc. An
impressive collection of artifacts from ancient Egypt such as Pharaoh Tutankhamun and,
respectfully, most of all the masterpieces of the European Renaissance, especially French
Art. The length of waiting is not as small as it could be. It takes for 2-3 hours or half a day
stand in line to enter the museum through the pyramid. In the Figure 1 displayed feedback
of a voyageur that uses TripAdvisor platform to share experience and emotions. The
voyageur has faced with some difficulties and revised that it requires a lot of time and effort
to visit the Louvre as it was posted in digital source.
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Figure 1. TripAdvisor LLC. 2012.
The Louvre itself is priceless, and a ticket to the museum for a permanent exhibition
costs 17 euros (Louvre). It includes visitor’s tour through the main corridors of museum with
guide that will present the brightest exhibitions and self-walk around the gallery and exterior.
On average, “travelers spend in Paris at 158 euros per day per person.” (TripAdvisor). The
amount includes accommodation, meals, travel and excursions (airfare is not included). Paris
is one of the most expensive European cities.
The cultural richness of Paris can be expressed by the example of its cultural venues
such as the Eiffel Tower - one of the most popular tower in the world, the Arc de Triomphe,
and the Louvre. In cultural vibrancy framework, the Louvre most popular and driving
instance of Paris: more than 30 thousand exhibits, around 10 million people visited in 2019.
These indicators demonstrate the cultural vibrancy rank (C3) in XXL (extra, extra-large)
group is 88.2 points – the highest score according C3 and overall great cultural venue of
France and Europe as a whole. Due to the state of emergency concerning Covid-19 pandemic
in Paris, the Louvre and its buildings are closed to the public until further notice.
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2.1.3. The digital museum in the cultural vibrancy framework
The Louvre is widespread both in terms of the riches of its collections and the digital
exhibitions. Of the about ten million individuals who gone by the Louvre in 2019, 69 percent
were of abroad root, with 15 percent from the United States of America, 7 percent from
China, and 6 percent from Brazil. To adjust to the different nature of this open, the Louvre
ceaselessly endeavors for more noteworthy openness. To this conclusion, its activities
incorporate the dynamic far reaching utilize of labeling in two or indeed three dialects to
depict the 35,000 exhibits displayed; the redone numbering of show rooms; the improvement
of a modern, more user-friendly floor arrange; and the cultivating of art work instruction. In
addition, the Louver website (www.louvre.fr/en) offers different in-depth information, and
digitalized museum collections.
Online tours of Louvre have digitalized rooms and galleries, which provide an
opportunity to research thousands of exhibitions, spaces around the museum, threedimensional exploration (Figure 3), in-depth 360 degrees’ rotations tour around (Figure 4),
historical facts and huge database of information of cultural units being at home or
commodified. Launching the virtual tour allow be in touch with rich cultural heritage of Paris
and respectfully France. In the Figure 2, 3 and 4 screened regular online tour website with
opportunities to start tour and get studied with its exhibitions’ history.
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Figure 2. Louvre. Collection & Louvre Palace. Online Tours. 2020.
Figure 3. Louvre. Collections & Louvre Palace. Online Tours. 2020.
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Figure 4. Louvre. Collections & Louvre Palace. Online Tours. 2020.
The Louvre Digital museum offers a number of topical trails planned to provide you
a diagram of the scope and abundance of the museum's collections - Virtual Trails. Each
path is based on a choice of works that exemplify a period, an imaginative development, or
a topic. They can be seen online or printed out earlier to a historical center visit. To make
the foremost of your visit, have a see at our intelligently floor plans and check the plan of
room closures some time recently coming to the exhibition hall. In case certain works on the
path are inaccessible for seeing (due to shows, advances, preservation works, etc.). In the
Figure 5 shown the simplicity of using such digital technology, it includes time duration
information and preview of inside’s exhibitions.
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Figure 5. Louvre. Activities & Tours. Visitor Trails. 2020.
Online digital museum is a growing every day technology and opportunity for
humanity to be in touched with its cultural heritage. “Although the development of museum
seems to benefit from the application of digital technology, digitization of the museum has
also brought with it some disadvantages.” (Li 647). In other words, the fact that the
advancement of museum appears to benefit from the application of computerized innovation,
digitization of the museum has too brought with it a few drawbacks. For example, “the
physical exhibition hall is getting to be more disconnected and functionless without guest’s
interest; in the meantime, the audiences are moreover losing the openings for sharing and
communicating their perspective with others.” (Li 647). From the one hand, the online
museum isn't to supplant the traditional historical center; alternately, the computerized data
should complement the physical historical center. But from another hand, since the
emergency regarding Covid-19 the Louvre is closed, but for the digital one is not the issue.
The online museum shows itself perfectly in such a difficult and dangerous situation for the
society.
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2.2. Case study of Prague
2.2.1. Cultural vibrancy
Prague is one of the most beautiful and romantic cities on the planet. The capital and
main economic, political and cultural center of the Czech Republic. The population is 1.3
million people. (Czech Statistical Office). Prague is one of the largest tourist centers in
Europe. The historic city center is a UNESCO World Heritage Site. Prague is a cultural and
business capital, with well-developed infrastructure. It is famous for its breweries and music
clubs.
In this culturally rich city, festivals of culture and history are regularly held, for
example, in 2019, the festival of Middle Eastern cultural monuments was held. As well as
various fairs, celebrations and carnivals take place. The municipality of Prague actively
supports such events, demonstrating its cultural and historical values, cultural diversity and
social communication. Such indicators are an excellent index in terms of C3 ranking and an
indicator of cultural vibrancy in general.
Castles, palaces, twelve UNESCO monuments and historical cities in the Czech
Republic are among the most popular destinations including Wenceslas Square - the main
square that has seen many fateful events in its lifetime. Wenceslas Square is the largest
square in Prague and it looks no longer on the square, but on a long street. The National
Museum of Prague found a place there, which has a significant contribution to the
development of the country's cultural heritage.
2.2.2. The real museum in the cultural vibrancy framework
The National Museum opened in Prague in 1818. The purpose of its creation was not
only to ensure the preservation of valuable historical and cultural monuments, but also to
open these treasures to the wide public. The main building of the National Museum in
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Prague, decorated in the Neo-Renaissance style, was designed by the famous restorer and
architect Josef Schulz. It became the main decoration of the upper part of Wenceslas Square.
This majestic monumental structure has a height of more than 70 meters and a facade length
of about 100 meters. It is decorated with four domes in the corners and one main beautiful
dome in the center. It is under it that the Pantheon is located - a collection of statues and
busts of famous figures of Czech science and culture. The main facade attracts attention with
a sculptural group. In the center sits the patroness of science and art of Bohemia, as the
kingdom was called in the XII century. Next to her is a young girl personifying the Vltava
River and the old man - the Laba River. All three are an allegorical depiction of the lands of
the Czech Republic: Bohemia, Moravia and Silesia. In front of the building is another
attraction of Prague - a monument to St. Wenceslas, whose name is entitled to the square. In
the main building of National Museum there are collections from the Museum of Natural
History and History and the Library, which stores 1.3 million volumes of rare books and 8
thousand manuscripts. The Museum of Natural History and History displays exhibits from
various fields of knowledge - history, archeology, anthropology, paleontology. The
department of prehistory stores a collection of objects that were in everyday life of people
more than a thousand years ago. The most valuable and interesting in it are exhibits of
ancient Roman and ancient Greek art. In spite of such grand advantages there is also
disadvantages in the Museum that had been faced by a regular voyageur.
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Figure 6. TripAdvisor LLC. 2019.
Accommodation prices are the highest in the city. The cost of living in a hotel
(accommodation in a double room) is from 20 euros per person, the cost of a one-room
apartment is from 50 euros, the hostel will cost you the least (accommodation in a double
room) - approximately 10-15 euros per person. There is also the option to rent not a separate
apartment, but a room in the apartment, which can be really found for about 25-30 euros and
live there together. In compare with the Louvre the National Museum of Prague is much
cheaper and accessible. According to one of the most popular review in Figure 6 in the
TripAdvisor the Museum of Prague has the lack of flexibility and convenience for people.
As it also said the exhibits can be seen in half an hour, which gives an idea of a less
interesting place to visit, in terms of spent time and accommodations. Due to the state of
emergency regarding Covid-19 pandemic the National Museum in Prague is closed to public
until further notice. As it was in the Louvre case in Paris, in such dangerous situation for the
society that must be isolated it is a great opportunity to try and launch digital museum.
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2.2.3. The digital museum in the cultural vibrancy framework
Prague National Museum’s website gives current and future guests with the most
recent data on attractions, encounters and administrations through its web location and data
centers, advancing the city as a visitor goal to both residential and worldwide gatherings of
people, “We are moving to the online environment with you, as the National Museum is
temporarily closed due to preventive measures against the spread of coronavirus. Turn on
your computer and explore current and closed exhibitions together with our curators.” - an
inspirational caption on the home screen of the website. Online tours of the museum have
digitalized galleries, which provide an opportunity to research thousands of exhibitions,
spaces around the museum, historical facts and huge database of information of cultural units
being isolated. Launching the virtual tour allow be in touch with rich cultural heritage of
Prague and correspondingly Czech Republic. In the Figure 7 and 8 screened regular online
tour website with opportunities to start tour and get studied with its exhibitions’ history.
Figure 7. Narodni Museum. NM.CZ. 2020.
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Figure 8. Narodni Museum. NM.CZ. 2020.
The National Museum offers a number of topics planned to provide you a museum's
collections. Each path is based on a choice of works that exemplify a period, an imaginative
development, or a topic. The disadvantages of the National Museum’s online platform are
that the language is used only Czech, but there are subtitles and the opportunity to translate
it via internet browser. Three dimensional virtual museum is full of exhibitions that can be
explored moving the unit and selecting information menu which is also included.
Online digital museum of Prague is growing every day platform. Despite of its
poorness it is still one of the few virtual museums that provide technology and opportunity
for humanity to be in touched with its cultural heritage. As seem as in the Louvre, since the
emergency regarding Covid-19 the National Museum is closed, but for the digital one is not
the issue. The online museum shows itself perfectly in such a difficult and dangerous
situation for the society.
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2.3. Comparative analyses of cultural vibrancy of Paris and Prague
The museum digitization development has been continuous for last twenty years
since the starting of the 21st century. Be that as it may, the gigantic headway of data
innovation has turned the digitization handle to gotten to be more dynamic and expanded. In
like manner, the virtual gallery has gotten to be a platform where historical center interface
with their visitors’ exterior the historical center building. The museums have committed to
form their virtual environment by either putting the digitized data onto their web pages or
pre-recording their visit direct through versatile gadgets, such as the virtual exhibition hall
of The Louvre and The National Museum in Prague online museum. The common include
of these endeavors is that the data can be gotten by the guests speedier and simpler without
time and space confinement. Li contended that the physical museum has a fundamental status
in people's minds. Thus, the point of historical center digitization ought to be center on filling
the crevice of the physical exhibition hall. Cultural venues ought to work as a learning
environment. “As the museum experience should be done on physical place with genuine
objects, the enhancement of user experience in the physical museum, such as how to improve
the communication by considering the interactive factors has attracted much effort” assumed
Li. (Li 647).
The comparison of online museums took place according to criteria such as three
dimensional overview availability, fullness of virtual tours, relevance or updating regularity.
That results that both of the virtual museums have availability to have 360 degrees walk
around and overview inside of museums, a place around and in-depth tour in every single
exhibition with its explanations. The Louvre as well as The National Museum in Prague has
short automatic virtual tour that demonstrate the most interesting and famous units. The
difference of these two digital museums is in the criteria of updating regularity. Paris
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museum has approximately been updated once a week, even more, but Prague museum is
updating less often – once in a two week and less.
The physical museums of Paris and Prague performing in higher average. The
comparison of an offline museum had been done according to the criteria as total amount of
exhibitions or units, strength of people walking through museum, entering price and cost of
attendance in that city. The research conclude that the Louvre has 35 thousand exhibitions
at all is much higher than in Prague which has 10 thousand of them. But from another side,
Prague has more single units in amount of over 14 million at all, when Louvre has 9 million
correspondingly. The people traffic criteria is also different: Louvre has above 10 million
people walking through its museum per year, and the same time The National Museum in
Prague faced with 1 million in a year. The official cost of entering to the Louvre museum is
17 euros, plus it needs to be extended by extra 158 euro for living per day for one person –
the point of disadvantage, when Prague museum requires 7 euros to enter and 30 euros for
living accommodations per day.
The online museum of the Louvre museum is very rich, well planned and thought out
it can start the expedition with a 360 degrees’ overview display. Look at the location inside
and out, availability to launch from any floor, and look around; virtually explore any exhibit
and examine it in three-dimensional display. Each exhibit has a description with accurate
data and its history. It can be chosen the auto mode where a digital guide will conduct an
online tour of the museum and stop and tell the information about the exhibits you need. The
Louvre Museum online is officially filled and supplemented and updated once a week. As
well as Prague museum it is available always and everywhere, it needs to have a digital
device - a smartphone is also suitable - and Internet access.
In compare these two virtual museums performance, the online museum of Prague is
worse than the online museum of the Louvre, because its frequency of updating is lower,
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that is, every two to three weeks and the number of virtual exhibitions is less; compared to
the online Louvre you need to view the whole in 2-2.5 hours, and online Prague can be
viewed all in 20-30 minutes what is an indicator of the range. Finally, to sum up the results
of researching and comparative analysis founded that Paris and Prague physical museums
are the brightest components of vibrant culture, that demonstrate its social values and cultural
and historical heritage. As well as the virtual ones, that are integral parts of digital
interconnection and complementing the rank of cultural vibrancy of the city.
2.4. Findings
The research of two museums the Louvre and National Museum in Prague led to
specific result that are demonstrated in the Figure 8:
Figure 8. Physical Museums Comparison. 2020.
Physical Museums
Criteria (are below)
The Louvre
The National Museum in
Prague
Amount of exhibits (units)
35000 exhibits; 9 million (units)
10000 exhibits; 14 million (units)
People traffic
10 millions/year
1 million/year
Walk tour
10-12 hours
2-3 hours
Enter cost
17 euros
7 euros
Attendance in the city
158 euros/day
30 euros/day
The criteria mentioned in the Figure 8 displays the main factors of physical museums
in the cultural vibrancy framework. For example, ‘amount of exhibits’ shows how strength
is fullness, ‘people traffic’ is a frequency of people going through, ‘walk tour’ means the
time that will be required to go through the museum and its exhibits, ‘enter cost’ is a price
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of the ticket to enter to museum and ‘attendance in the city’ instance how much does it cost
for person to accommodation in the city and meal for one day.
In addition, the differences between two digital museums are shown in the Figure 9:
Figure 9. Digital Museums Comparison. 2020.
Digital Museums
Criteria (are below)
360 walk around
3-dimensional overview
Virtual tour
Fulfillment regularity
The Louvre
The National Museum in Prague
Available
Available
Available
Once a week
Available
Once a two weeks
The criteria displayed in the Figure 9 explores the main factors of virtual museums
in the cultural vibrancy framework. To explain, ‘360 walk around 3-dimensional overview’
demonstrate availability or inaccessibility to have such overview inside the website or
platform of the virtual museum. Then, ‘virtual tour’ also shows could or could not provide
the user the virtual demonstration of exhibitions (tour). ‘Fulfillment regularity’ indicates
how often the virtual museums add, remove and update its content: exhibitions, tours,
historical context and etc.
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Conclusion
The research explored and explained cultural vibrancy in two leading European cities
by observing its greatest museums and compare its advantages and disadvantages. Moreover,
give the answer to hypothesis which stated that physical museums will lose their relevance
under pressure of digital museums. Finally, the hypothesis is approved – the digital museums
dominated by relevance above existing museums. The contribution of this research in the
field of the study is that, first, it has explored the advantages and disadvantages of digital
and physical museums in the case of brightest cities. Second, the research can be applied to
create new methods of study using digital overview approach, for instance, museums,
cultural venues and exhibitions that has historical and cultural backgrounds. And third, to
use the term ‘cultural vibrancy’ to indicate a wealth of cultural venues including architectural
monuments, museums, virtual museums, theaters and other cultural centers. Vibrant culture
is a well-organized, structured and sustainable culture that strengthen heritage and dignity.
The digital museum is one of the most integral part of vibrant society as well as the
physical ones that dedicated to share experience with humanity and demonstrate them the
strength of its cultural heritage. In total, both types of museums are participating in cultural
vibrancy framework, and has an impact to the society to become culturally and historically
educated and gives the positive cultural values that are overall the monitor of the nation and
society. The hypothesis met the expectations, digital museums are on the verge of defeating
over the physical ones, especially during pandemic isolation and closed museums and public
venues due to the state of emergency regarding Covid-19, which in turn limited the gathering
of current data of exist museum’s participation.
According to the results of the comparison, the online museum overtakes, from a
financial point of view, ahead in their functionality and ease of research, especially since
technology is developing. In perspective, virtual museums will be able to replace real
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museums, but necessarily, all cultural assets, cultural venues and units of exhibitions must
be and will be preserved, maintained, and restored to be ensured that our descendants remain
the standards of cultural heritage, which has an important role in determining our values and
our community. objects that determine cultural vibrancy.
The research plans continue after Covid-19 pandemic to explore existing museums
in Paris and Prague also including cultural venues in the cultural heritage framework.
Making more clear the exploration of the development of digital technologies and user’s
comfortability to launch not only in Europe, but also worldwide.
KASYMOV 33
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Annexes
The Cultural Vibrancy of two leading cities Paris and Prague was researched using
comparative analysis of correspondent exist and virtual museums. The digital museum’s
feature is that the data can be collected by the audience faster and simpler excluding time
remain and location frames. However, visitors are wasting the openings for sharing their
perspective with others. Take, for example, this field notes passage describing audience’s
opinions:
“From the user’s point of view, the digital museum is not to replace
the traditional museum; conversely, the digital information should
complement the physical museum. Carol has found from her
interview survey that the traditional value of museum has been
unintentionally eroded in the process of museum digitization. She
argued that the physical museum has an irreplaceable status in
people's minds. Hence, the aim of museum digitization should be
focus on filling the gap of the physical museum.” (Li 647).
Also Li provided statistics from American experienced situation:
“According to the statistic of Museums and Art Galleries Market
Report from HighBeam Business in American, most of the cultural
funding is decreasing across the United States in the twenty-first
century. During this period of economic depression, the
Smithsonian, the world's largest museum and research complex in
USA, has reported that 29 percent of visitors vanished in just seven
months. In this period of budget tightening, the capabilities of
information interchange and data repackaging are important
consideration for museum digitization. The ability of data
repackaging should be considered at the early design phase in the
digitization process. Re-combinative collection may bring additional
revenues to a museum in various ways. For example, flexible
resources could increase the opportunity of art commoditization to
KASYMOV 37
bring additional revenue for cultural organizations, as well as to
achieve the goal of marketing to attract visitor.” (Li 648).
These two examples show the importance of digital museums and interconnection
between physical museum and virtual one.
According to The Cultural and Creative Cities Monitor, cultural vibrancy is detected
by two dimensions:
Dimension 1.1. Cultural Venues and Facilities.
“Dimension 1.1 monitors the extent to which cities are ‘culturally rich’.
Cultural life is a key element in a city’s quality of life and a ‘soft location
factor’ to attract talent. Participation in cultural activities – see also
Dimension 1.2 – enhances the connection people have to each other and to
the place, and improves their creative skills and psychological well-being.”
(The Cultural and Creative Cities Monitor 21).
Dimension 1.2. Cultural Participation and Attractiveness.
“Dimension 1.2 is about cities’ capacity to attract local, national and
international audiences to participate in their cultural life. Participation is
the ‘raison d’être’ of cultural amenities and facilities: they need an audience
to be meaningful. This is the most basic and yet crucial outcome cities might
expect as a result of their engagement in promoting arts and culture.” (The
Cultural and Creative Cities Monitor 21).
Initiators of ‘C3’ also provide the ‘ideal’ of a cultural and creative city:
“In order to make meaningful comparisons over time, the 2017
rankings have been recalculated, adopting the methodology and data
sources used in the 2019 edition. When compared to these recalculations,
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Paris continues to strengthen its leading position, coming first on three of
the nine dimensions this year, which is one more than in 2017. In addition,
for the first time, Budapest and Glasgow have taken the top spot on New
Jobs in Creative Sectors (D2.3) and Openness, Tolerance & Trust (D3.2),
respectively, replacing Bucharest (Romania), which moves to 11th place,
and London (United Kingdom), which takes second place.”
“Medium-sized cities confirm their remarkable performance on
‘Cultural Vibrancy’ with Weimar (in the group of 79 small to medium-sized
(S-M) cities with less than 250000 inhabitants) and Florence (in the group
of 40 large (L) cities with between 250000 and 500000 inhabitants) ranking
first on the underlying dimensions Cultural Venues & Facilities (D1.1) and
Cultural Participation & Attractiveness (D1.2), respectively. Larger cities
and, most notably, capital cities maintain their leadership on ‘Creative
Economy’, with Paris (in the extra, extra-large (XXL) group of 20 cities with
more than 1 million inhabitants) and Budapest (XXL) leading on dimensions
Creative & Knowledgebased Jobs (D2.1) and New Jobs in Creative Sectors
(D2.3). Eindhoven is an interesting exception to this scenario – it is an
inspiring example of a medium-sized city that continues to consolidate its
leadership in innovation outputs. A mix of large and medium-sized cities
from different countries come first on ‘Enabling Environment’, namely
Paris (XXL), Glasgow (in the extra-large (XL) group of 40 cities with
between 500000 - 1 million inhabitants) and Aarhus (L).”
“Overall, these results confirm that no single city excels on all the nine
dimensions required to make a cultural and creative city. Even such an
‘ideal’ city would still have significant margins for improvement: its
hypothetical C3 Index score – which we calculated by aggregating the
KASYMOV 39
above-mentioned seven cities’ scores on the nine dimensions – would
amount to 77.2/100. This is about 11 points above the highest score on the
C3 Index achieved by Paris but is still far from the maximum possible score
of 100.” (The Cultural and Creative Cities Monitor 28).
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