- freely available
Publications 2015, 3(3), 211-218; https://doi.org/10.3390/publications3030211
1. Introduction: Publication of City, Culture and Society
|Editors: Location||Disciplinary Background|
|Editor-in-Chief (1): Italy||Urban planning, creative cities|
|Managing Editor (1): Japan||Design, creativity management|
|Editors (2): Canada and the UK||Arts marketing, Cultural industry|
|Associate Editors (6): Australia 1, Hong Kong 1, Japan 2, South Korea 1, UK 1||Accounting 1, Geography 2, Sociology 1, Management 2|
|Editorial Board (51): Australia 3, Belgium 1, Canada 2, China 2, Denmark 1, Finland 1, France 1, Germany 2, Hong Kong 1, Italy 1, Japan 12, Singapore 1, South Korea 5, Thailand 1, UK 9, USA 8||Accounting 3, Architecture 5, Cultural industry 4, Economics 6, Management 5, Marketing 2, Political science 6, Sociology 6, Transportation 1, Urban planning 5, Urban science 8)|
2. Cultural Editing as an Example for Interdisciplinary Methodologies
3. Syncretism and Sources of Creativity in India, China and Japan
4. Concluding Remarks
- Urban Creativity⇒Managing Creativity and Heritage
- Arts and Cultural Management⇒Editing Culture
- Social Development 8⇒Designing the Social
Conflicts of Interest
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- 1Laundry  and Florida  presented some of the first discussions on creative cities, but creativity itself had been one of the key themes discussed by De Bono , Nishibori , and others. In recent studies on the creativity of cities, Cohendet et al. , Okano and Samson , Heraud , and Stolarick et al.  are included.
- 2Zurashi becomes to be a “creative” concept by interpreting it as “de-linking,” to cutting between one space and another, and establishing a new space.
- 3When Buddhism was introduced in Japan through China in the late Asuka period (6th century), the Japanese tried to reconcile it with the new, assuming both were true. As a consequence, Buddhist temples were attached to local kami (Japanese god) shrines and vice versa and devoted to both kami and Buddha. The formal separation of Buddhism from Shinto took place only as recently as the end of the 19th century, and in many ways the blending of the two still continues.
- 4On practice, Michel de Certeau wrote that, “Such a ‘way of doing things’ has reworked thousands of practices, and through those practices employers re-own spaces that are organized by socio-cultural techniques. This resembles issues dealt with by Foucault, but at the same time is opposite of such issues” .
- 5See Okano  for correlations between the history of practices and history of theories.
- 6The Creative Cities Network is a project under the patronage of UNESCO. With the aim of celebrating and maintaining cultural diversity, the alliance is formed by member cities sharing their experiences in promoting the local heritage, as well as discussing plans on how to cope with the influx of globalization. The fields of excellence are classified among: Literature, Film, Music, Craft and Folk Art, Design, Media Arts, and Gastronomy. Professor Francesco Bandarin, former assistant director general for culture of UNESCO has been taking strong leadership of these projects for a long time and has accepted the role of editor-in-chief for City, Culture and Society from 2015.
- 7[Cultural] heritage is a group of resources inherited from the past which people identify, independently of ownership, as a reflection and expression of their constantly evolving values, beliefs, knowledge and traditions. It includes all aspects of the environment resulting from the interaction between people and places through time.
- 8Development can be broadly defined in a manner applicable to all societies at all historical periods as an upward ascending movement featuring greater levels of energy, efficiency, quality, productivity, complexity, comprehension, creativity, mastery, enjoyment and accomplishment. Development is a process of social change, not merely a set of policies and programs instituted for some specific results.
- 9The followings are themes for special issues for CCS. “London Plan 2000–2010” (CCS 1–2, 2010), “Advancing the Creative Economy Approach” (1–4, 2010), “Creative Power of Cities” (2–3, 2011), “Traceable Cities” (3–2, 2012) [Latour (2012) is included) , “Sports Facilities and Urban Development” (3–3, 2012), “Societal Function of Cultural Heritage” (3–4, 2012), “Sustainable City and the Arts (4–3, 2013), “Creative industries & creative policies” (5–2, 2014) “Making creative spaces: China and Australia” (5–3, 2014).
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