Abstract
Nowadays, cultural heritage is more than ever linked to the present. It links us to our cultural past through the conscious act of preserving and bequeathing to future generations, turning society into its custodian. The appreciation of cultural heritage happens not only because of its communicative power, but also because of its economic power, through sustainable development and the promotion of creative industries. This paper presents SILKNOW, an EU-H2002 funded project and its application to cultural heritage, as well as to creative industries and design innovation. To this end, it presents the use of image recognition tools applied to cultural heritage, through the interoperability of data in the open-access registers of silk museums and its presentation, analysis and creative process carried out by the design students of EASD Valencia as a case study, in the branches of jewellery and fashion project, inspired by the heritage of silk.
Highlights
In November 2013, in its Report on the Creative Economy [1], entitled “Widening Local Development Pathways”, the United Nations showed its interest in contributing to the design of a new sustainable development agenda that recognizes the driving and catalytic power of culture
The growth of Lyon’s production favoured the expansion of sericulture in the south-east of France and the importation of Italian silks. This story is similar to what happened in Valencia where these close relations between Valencia and Genoa allowed to improve silk fabric production and related activities became the driving force of the Lyon economy, and it is estimated that they employed more than 60,000 people for a population of 150,000 inhabitants
This story is similar to what happened in Valencia where these close relations between Valencia and Genoa allowed to improve its silk industry and create the famous district of Velluters. It was during the 18th century when the city of Valencia became a first order manufacturing centre, toppling Toledo, which was the main centre of Spanish [53]
Summary
In November 2013, in its Report on the Creative Economy [1], entitled “Widening Local Development Pathways”, the United Nations showed its interest in contributing to the design of a new sustainable development agenda that recognizes the driving and catalytic power of culture. It produces new ideas and new technologies that enable people to take responsibility for their development and stimulates innovation and creativity, which drive inclusive and sustainable growth In this sense, creative industries can be understood as “those activities which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property. Creative industries can be understood as “those activities which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property These have been taken to include the following key sectors: advertising, architecture, the art and antiques market, crafts, design, designer fashion, film, interactive leisure software, music, the performing arts, publishing, software and television and radio in close inter-relationship with tourism, hospitality, museums and galleries and the heritage sector” [2]. Other authors [3,4,5,6,7] who have dealt with creative industries debate their implications for research and creative practice [8], as well as understanding them as the convergence between medial information services and cultural sectors for societal development [9]
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