Prosper Wanner Diagnostics # 1: The boat swordfish, well-inalienable shared.

First portrait carried out in the context of the 3 diagnostics of innovative heritage cooperation on behalf of the AGCCPF PACA. Heritage is not a commodity. The symbolic value of these common goods imposes all the more their management in an alternative economy, solidarity and sustainable. Extract Charter of the Mediterranean common heritage. AGCCPF PACA 2000.

Preamble the MCEM has entrusted in 2006 the maintenance, conservation and extension to the general public of the boat the Swordfish, well inalienable, to the association Boud'mer which proposes to "share the sea together". The diagnosis proposes to situate this cooperation, to understand the reasons and to measure the first results obtained. In order to measure and compare the impact of these private public cooperation, it is essential to use a common indicator system.  The diagnosis refers above all to the new performance indicators of the state vis-a-vis the taxpayer, the user and the citizen used in the framework of the Organic law relating to the laws of finance of first August 2001-LOLF. He proposed to answer the following questions: What were the reasons for this cooperation? Two years later, what are the first assessments that can be drawn from this experience? How does this private public cooperation promote the accessibility of swordfish?  In a context of control of public spending, does it participate in limiting the costs inherent in the conservation of a traditional boat? Is it performing for the Boud'mer association?

Name MCEM Boud'mer
Status National Museum Association Law 1901
Location Marseille, Fort Saint Jean Marseille
Status person met Chief curator Director and Founder
Number of FTE employees 125/160 (2008) 3
Annual Visitor Number 45 000 1 000
Forecast annual budget 2008 EUR 13 million 60 000 euros

Virtual Expo in 2007, the Association of curators of the public collections of France section Paca (AGCCPF Paca) has launched an international invitation to young graphic designers from schools or in the course of training to dialogue on the news of Stakes in their trades. Curators and graphic designers are looking for the most suitable forms for the new forms of cooperation indispensable in the symbolic space today. The guest of the Virtual Expo 2007 was Marion Arnoux. She has just come out of the design school of Saint-Etienne and participates in the experimental structure IRB Laboratory, under the responsibility of Denis Coueignoux and Ruedi Baur. The project results from a collaboration with Mathieu Ehrsam, multimedia Designer to produce a graphical interpretation of portraits devoted to professionals of the economic world who seek with the curators durable solutions in the life of Objects of public collections entrusted to them. [Kml_flashembed Publishmethod = "static" Fversion = "8.0.0" movie = "http://hoteldunord.coop/wp-content/uploads/2013/08/expovirtuelle_espadon.swf" width = "800" height = "600" Targetclass = "Flashmovie"] Mr. Thome is the director and founder of the association "Boud'mer, share the sea together". He created this association to reconcile the necessary protection of the marine environment with the development of access to the marine heritage for all. Created in 2001, it aims to safeguard the Mediterranean maritime heritage, to democratize its access and to raise awareness among the general public. Its members share the use of traditional boats and offer numerous thematic excursions at sea such as the discovery of coastal heritage or fishing. Their boats are stationed in Marseille marinas. In 2006, they were more than 200 people to share 5 boats. With an annual budget of 60 000 euros, 3 employees (2 full-time equivalents) and 12 active volunteers, the association carried out this year 150 outings at sea, of which more than half thematic. Through the "sharing of boat", as there are in Marseille the auto-partage, it proposes to anyone to have access to this heritage while going in the direction of a regulation of the pressure of the pleasure boats on the coast. Swordfish is a boat that has entered the collections of the Museum of Civilizations of Europe and the Mediterranean under the inventory number: 2004-90. Mr. Thome has participated in his expertise and restoration. The laborious and costly maintenance of traditional boats coupled with the lack of space in the harbour leads many owners to separate themselves from this heritage. The swordfish was built in Cannes in 1965 by the same. 7 meters long and with a capacity of 8 persons, it served until 1992 to the same artisan sinner. After thirty years of professional activities, she was disarmed with her fishing equipment and sold to a boater. Then in 2004, the boat was proposed as a donation to the Museum of Civilizations of Europe and the Mediterranean, the MCEM. The MCEM is a museum of society dedicated to the civilisations of Europe and the Mediterranean. This orientation given to the former National Museum of the popular arts and traditions goes along with its installation in Marseille, on the Mediterranean Sea. The objective is to stimulate debate by articulating exhibitions to major societal issues. The MCEM will be endowed in 2008 with an annual budget of more than 13 million euros, of 160 employees. Its current reserves are estimated at more than half a million objects. Denis Chevalier, chief curator at MuCEM, took charge of the follow-up to the Swordfish donation request. In charge of the Marseille antenna, his interest in industrial heritage leads him to take into account the potential of conservation in situ or "alive" heritage. And to wonder, as soon as possible, about the possibility that a property can be placed on deposit in a company and thus continue to live its own history. Hence the idea, for traditional boats, Euro Mediterranean maritime heritage, to go so far as to control their manufacture (maintenance of know-how), to film the construction site and to moor them at the feet of the MCEM. This project is initiated with a traditional Tunisian boat. In this continuity, the potential for in situ conservation of swordfish was one of the factors taken into account: possible uses, necessary equipment, capacity of reception and activity potential. Today, maintained by the association, Swordfish participates in the economy of the association Boud'mer. Following the favourable opinion issued by the Boud'mer Association on the status of Swordfish, its heritage interest and its potential for use, the MCEM initiated the application process for the Swordfish classification. Once the agreement was received, the reclamation of swordfish was entrusted to the Boud'mer Association and a Marine Carpenters company. The MCEM then made the choice to entrust the maintenance and shared use of the boat to the association. The Convention is annual and tacitly renewed every year. This Convention, lacking an existing reference, was based on that of the Pendwick II, which was made available to a sailing school. For the Boud'mer Association, the first plus value concerns its legitimacy. Its purpose is not to acquire traditional boats but to facilitate access and maintenance. It seeks to encourage owners to share their boat in return for the financing of maintenance costs, the main motivation for abandoning this heritage. The museum's confidence in the association strengthens its credibility with public and private partners. The second is economic. The participation of the users at each exit at sea allows Boud'mer to finance the costs of maintenance of the boats but not the costs of structure (office, coordination, etc.). The latter are financed mainly by temporary resources (exceptional grants, contributions, volunteering). To increase its profitability, the association should increase its tariffs and promote individual outings (go to the rental) while its associative object is more the discovery of the heritage (outings accompanied) and access to the largest Number. Not to mention the tax consequences related to the transition to an activity mainly of renter: subjecting to VAT, to the professional tax. This situation is different with swordfish, whose maintenance and repairs are taken care of by the museum. It is the only boat of the association to participate today in the financing of the structure costs. Such cooperation allows the association to eventually consider an economic model that allows it to defend its associative project without becoming a boat rental company. Today swordfish helps to finance 5% of the structure costs of the association. The economic equilibrium of the association could be based on equal funding between private financing (rentals, sponsorship, outings), public subsidies and the management of a "heritage" fleet of half a dozen boats.

  • COOPERATIF indicator No. 1 – Economic valuation [1]-Is this private public cooperation effective for the Boud'mer association?
Problem More value heritage.
To make credible the quality of the association's action with the owners of traditional boats. Recognition of the quality of the associative project and the know-how of the association.
Find ways to finance the costs of structures excluding individual boat rentals (do not become a rental company). Pooling with the Museum of management and maintenance costs makes it possible to finance 5% of the costs of structure without renting the boat.

Leaving the reserves and putting in the water, swordfish is shared daily. This fishing boat does not in itself have a unique character. Its main richness rests more on the link it represents with all the other boats of the same type present throughout the Mediterranean rim. All the museums of ethnology have a priori boats of this nature and risk weakly to request one from other museums. To this is added the large size of a boat that makes it difficult to transport. Swordfish has little chance of being exposed permanently, temporarily or in a deposit. A gift of this nature is more likely to reach half a million objects in the MCEM reserves and few chances of exits. It would be kept but poorly accessible. And while the LOLF sets the objective for museums to make physically accessible a part of heritage growth (Mission Culture, Heritage, Objective 2) [2].  

Permanent exhibition 3 to 4000
Temporary exposure    3 000
Permanent deposit in other places   20 000
Reserve  500 000

The cooperation initiated with Boud'mer allows a better development of swordfish by giving it an exposed object status [3]. Swordfish carried out a full operating exercise in 2007. It carries out an average of 30 outings a year with 6 people per outing and fifteen thematic days with 50 to 100 people per day (Thalasanté, September at sea, etc). The rates are differentiated according to the outings and the public ranging from free to a maximum participation of 15 euros per person.

Event Outings 15 days, 1000 people
Thematic outings (fishing, environment,…) 30 exits, 150 people
  •  COOPERATIF indicator No. 2-efficiency [4]-How does this private public cooperation promote the accessibility of swordfish?
Current accessibility level of swordfish Permanent exhibition, weekly thematic outings, differentiated pricing (members, children, guests)
Likelihood of recovery from cooperation Very low (in reserve)
LOLF: Opening rate (evaluated for museums) share of accessible funds (assessed for archives) Target 85% in 2006 and progression + 5% by 2010Objectif 72% in 2006 and progression + 3% by 2010

This shared treasure anchors the museum in sustainable Development. The ability to accept a gift of this nature and to provide economical access to it now represents a heritage issue. The recommendations of the Council of Europe, in particular the Faro Framework Convention [5], commits cultural policies to recognise the value of the cultural heritage situated in the territories under their jurisdiction, irrespective of its origin and To promote its protection as a major element of the combined objectives of sustainable development and cultural diversity (Faro Convention, article 5) [6].  What circulates is our identity. And if French art circulates well throughout the world, Swordfish's low circulation potential poses a question. In particular to a museum of society positioned on the civilisations of Europe and the Mediterranean. How can we reconcile the control of public spending with its conservation and accessibility? The conservation of a wooden bark is much more costly "dry" "than Water" [7]. The life of a boat out of the water is estimated at 2 years against 8 years at sea, before it is necessary to make large repairs. The choice of "dry" storage requires a costly technical vacuum installation. Conservation at sea requires a place in the harbour and regular maintenance. If in the long run the MCEM has as a project to develop a space at sea, today it keeps a boat "dry". The analysis of the financial data of the association Boud'mer allows to evaluate the cost of conservation "at sea" of swordfish. It is valued at EUR 30 000 per annum, after unposted resources are re-integrated (volunteering, provision of a place at the Port). The MCEM takes over 20% of the cost of which a part in a non-monetary way by making available a place at the Port. or 80% of external resources linked to cooperation [8]. This is important insofar as expenditure control becomes, with LOLF, a very decisive element in the management choices of a museum. The supervisory bodies of the Ministry of Culture must control their operating expenses as well as increase the share of own resources, such as sponsorship or entry fee (Mission Culture, Heritage, Objective 3) [9].

  • COOPERATIF indicator No. 3:-efficiency [10]-in a context of control of public expenditure, does it participate in limiting the costs inherent in the conservation of a traditional boat?

 

Contribution to the overall budget 2006 Distribution 2006
MCEM 17 Monetary resources 11
Non-monetary resources 6
Boud'mer 83% Monetary resources 45%
Non-monetary resources 36%
LOLF [11]: 2006Progression goal by 2010 43% + 5%

 

Expenditure Annual cost Resources Contributions Total
Operating expenses 18 500 € City of Marseille Place availability 1 800 €
Insurance €500 MUCEM MCEM Maintenance 1 800 € 17
Maintenance €700 MCEM renovation (10 years old) 1 500 €
Place at the port 1 800 € Boud'mer User Participation 3 000 € 10
Maintenance, guarding 3 500 € Volunteer (pilot) 9 600 € 43%
Administrative management 12 000 € Maintenance, guarding 3 500 €
Exit expenses 10 200 € Grants, contributions 4 500 € 15
Output Management 9 600 € Temporary help 4 500 € 15
Essence €600 Total 30 200 € 100%
Investment expenses 1 500 €
Amortization (10 years) 1 500 €
Total 30 200 €

 Today this cooperation is based more on people than on contractual mechanisms of regulation. The Convention which serves as the basis for the one passed between the MCEM and Boud'mer is that concerning the provision of Pen Duick II to a sailing school. There seems to be little reference in the heritage field to lay the groundwork for public/private cooperation. The regulation of the relationship between heritage interests and economic interests is based more on trust between people than on contractual elements. The association does not necessarily send its activity balances to the MCEM and the latter does not necessarily inform its visitors of the presence of swordfish (no common signs). This situation can be explained in part by the youth of this cooperation. 2007 was the first year of full exercise for swordfish. This situation makes it possible to maintain a flexibility favorable to an experimental process. However, its reproducibility on other sites, in other contexts or its durability depends on mechanisms of regulation of conflicts of interest more independent of the people who founded this cooperation. It raises a number of important new issues in view of the progress of the project: How to structure this cooperation without freezing or unbalancing it? What can be the contributions of France's ratification of the Faro Convention? How to translate them into common law? Prosper Wanner, S.C.O.P. Place-January 2008 additional Sources:

  • Website of the Association Boud'mer: http://www.boudmer.org/
  • MCEM Website: http://www.musee-europemediterranee.org/
  • Council of Europe Website: http://www.coe.int/
  • Site of the LOLF: http://www.performance-publique.gouv.fr/

Diagnostic Sources This diagnosis was finalized in January 2008 mainly from the following elements:

  • 1 Interview with Denis Chevalier, chief curator of the MCEM;
  • 2 Interviews with Philippe Tome, founder and director of the Association Boud'mer;
  • The accounting data for the financial year 2006, the forecast budget 2007 and 2008 and the activity balance sheets from 2003 to 2006 of the Boud'mer Association;
  • The agreement between the MCEM and the Boud'mer Association concerning swordfish;
  • The presentation paper of the MCEM Scientific and Cultural Project 2002: "Reinventing a Museum: the MCEM"; and statistics of visits from 2003 to 2007 of the MCEM.
  • Market prices related to the operation of a boat: place au port, skipper,…
  • The LOLF documents on performance indicators;
  • The Council of Europe's "Faro" framework convention.

[1] This indicator measures the impact of heritage on the economic activity of the company, or even the territory. The report on the economy of the intangible. "Tomorrow's Growth" (Department of Finance, 2006) called for an interest in the benefits of exploiting "our history, Geography or territories". And which gave the creation in April 2007 of the Agency of the Intangible Heritage of the State (FIPA). It is a question of being able to estimate and compare the impact of shared valuation of heritage.
[2] LOLF, Mission Culture, Heritage, Objective 2 (from the point of view of the citizen and the user): increase public access to national heritage. 1. To make accessible an increasing share of the assets.
[3] Data Sources: Activity Report Association Boud'mer 2006 and 2007, numerical data MuCEM (number of works exhibited, Lent, in reserve).  Methodological clarifications: The probability of valorisation in the museum: of the 500 000 objects of the MUCEM, 3 to 4000 are part of the permanent collection (0.1%), 20 000 are permanently deposited in other places (4%) and 3 000 are part of the thematic exhibitions (0.1%).
[4] This indicator aims to measure the effectiveness of cooperation following an indicator identified within those of the LOLF. That is, the ability of an administration to achieve the objectives corresponding to its missions. The objective of the LOLF indicator is to be able to compare the effectiveness of the cooperative process with other experiences and the target set by the state for the years to come.
[5] For the past thirty years, the Council of Europe has been developing at the theoretical level the idea of an integrated heritage approach as a contribution of cultural heritage to democratic debate, territorial cohesion, the quality of life, the valorisation Sustainable and economic development. On 27 October 2005 in Faro, the closing conference of the 50th anniversary of the European Cultural Convention culminated in a framework convention on the value of cultural heritage for society. "Faro" Convention, it is being ratified.
[6] Faro Convention-Article 5-rights and policies of cultural heritage.
[7] It is difficult today to extract from the accounts of the museums – MCEM-financial elements to assess the unit cost of each of these modes of conservation and to compare them economically.
[8] Methodological clarifications: Data Sources: Budget and Activity Report Association Boud'mer and market rate (rental cost place, royalty Port, ½ Pilot Day). method of calculating the indicator: assessment of the administrative cost in proportion to the number of vessels in use (total cost/number of vessels in use). This cost is expected to decrease with the introduction of new boats.
[9] LOLF: Objective 3 (from the taxpayer's point of view): Broaden the sources of enrichment of public patrimony. Indicator 2. Increase the share of the own resources of public institutions and heritage institutions under the Ministry of Culture and Communication.
[10] This indicator aims to measure the efficiency of cooperation following an indicator identified within those of the LOLF.
[11] The LOLF measurement indicator for National Museums focuses on the share of own resources in the total budget. Expected to be 43% in 2006, they will have to reach 48% in 2010.

Prosper Wanner Diagnostics # 2: Art huts, a work of contemporary art essence of sustainable development

Second portrait carried out in the context of the 3 diagnostics of innovative heritage cooperation on behalf of the AGCCPF PACA. We want to go beyond the disciplinary cuts and the decontextualisation of objects that are still too dominant in the exercise of heritage professions and the elaboration of collections. Extract Charter of the Mediterranean common heritage. AGCCPF PACA 2000. Preamble the Musée Gassendi, located in Digne-les-Bains, has incorporated in its collections The contemporary works of art "refuges d'art" located in the geological reserve of Haute Provence [1]. "Refuges d'art" is a collection of built-in barns, farmhouses, chapels – the restoration of which includes the creation of artist Andy Goldsworthy. The installation of these works outside the walls of the museum, their already effective attendance, the increasing interest of the public and the potential of economic development they represent, oblige the museum to qualify their accessibility in order to maintain the spirit of the project. Jean Pierre Brovelli, hiking guide and partner of the project, which accompanies those who wish to connect on foot the different places of "Art havens". "Private public" cooperation characterizes this process.  The first was the one developed between the museum and the Haute Provence Reserve (Association Loi 1901). The diagnosis proposes to situate this cooperation between Jean Pierre Brovelli and the museum, to understand the reasons and to measure the first results obtained. In order to measure and compare the impact of these private public cooperation, it is essential to use a common indicator system.  The diagnosis refers above all to the new performance indicators of the state vis-a-vis the taxpayer, the user and the citizen used in the framework of the Organic law relating to the laws of finance of first August 2001-LOLF. He proposed to answer the following questions: What were the reasons for this cooperation? In a context of controlling public spending, does it help to qualify the accessibility of works in open access? Is it performing for the museum? For Jean-Pierre Brovelli? Does it contribute to the economic development of this alpine territory? Enrolled it into sustainable development?

Name Musée Gassendi Jean-Pierre Brovelli
Status Musée de France Sole proprietorship
Location Digne-les-Bains Seyne-Les-Alpes
Status person met Conservative Independent
Number of employees 10 0
Visitors number 2007 10,000 Nc
Resources 2007 EUR 1.4 million Nc

Virtual Expo in 2007, the Association of curators of the public collections of France section Paca (AGCCPF Paca) has launched an international invitation to young graphic designers from schools or in the course of training to dialogue on the news of Stakes in their trades. Curators and graphic designers are looking for the most suitable forms for the new forms of cooperation indispensable in the symbolic space today. The guest of the Virtual Expo 2007 was Marion Arnoux. She has just come out of the design school of Saint-Etienne and participates in the experimental structure IRB Laboratory, under the responsibility of Denis Coueignoux and Ruedi Baur. The project results from a collaboration with Mathieu Ehrsam, multimedia Designer to produce a graphical interpretation of portraits devoted to professionals of the economic world who seek with the curators durable solutions in the life of Objects of public collections entrusted to them. [Kml_flashembed Publishmethod = "static" Fversion = "8.0.0" movie = "http://hoteldunord.coop/wp-content/uploads/2008/01/expovirtuelle_cairn.swf" width = "800" height = "600" Targetclass = "Flashmovie"] Mr. Brovelli is an average mountain hiking companion, based in Seyne-les-Alpes in the Alpes de Haute Provence. He became an accompanist in the mountains after exercising other professional activities, particularly in the culture at the General Council. Located on the "niche" of hikes combining culture and nature, it seeks to reconcile its interests for culture, nature and roaming. Since 2004, it offers stays from week end to week all inclusive. Positioned on "The art of Walking", its "refuges d'art" stays represent an important part of its activity. The preparation of this route as a hiking route requested a substantial tracking job. Investment necessary to identify the possibilities of supply, to identify possible shelters in case of bad weather and to evaluate the level of difficulty at best. How to make this specific positioning visible? How to maintain a professional activity that responds to the motivations that founded the creation of the company (sustainability)?   "Refuges d'art" is a proposal by artist Andy Goldsworthy to the geological reserve and the Gassendi Museum. The Gassendi Museum ensures the cultural engineering of the project "refuges d'art" and the geological reserve of Haute Provence Financial management. To manage contemporary art proposals together, the museum and the reserve created the informal art Centre for Nature research – the CAIRN. The Musée Gassendi, Museum of France, hosts an average of 10,000 visitors a year and 3,000 school, its surface is 2,000 m2, its annual budget is 1.4 million euros and it has 10 employees. "Art huts" will eventually represent an increase in its permanent exhibition area equivalent to one sixth of that present. An additional cultural area in rural areas, in accordance with the objectives of the State for the years to come [2].

  • COOPERATIF Indicator N ° 1.1-efficiency [3]-Is this private public cooperation performing for the museum?
Sainte Madeleine Chapel 25 m2
Farm of Belon 47 m2
Thermal baths 15 m2
Col de Escuchière 36 m2
The old Esclandon 120 m2
River of Earth (museum) 50 m2
Total Out of museum 243 m2
Musée Gassendi 2000 m2

This "re-invented museum" seeks to be in direct contact with its territory, in particular by making the original collections of the Museum-Fine Arts and Sciences-and contemporary works of art from The policy of artistic residency implemented within the CAIRN. Nadine Gomez-Passamar, curator of the Gassendi Museum, directs and implements the cultural engineering of the "Refuges d'art" project. She has been involved in the project from the outset and continues to develop it today. She's artistic director of the CAIRN. Started in 2001, the project will eventually be a pedestrian itinerary of 150 kilometers and comprising 10 works by the artist. The buildings can accommodate people for a stopover, sometimes one night. The works, donations made to the city of Digne-Les-Bains by the artist in 2006, are the first "off the walls" to be accepted by the Commission des Musées de France. Each building is owned by Public – Commons, NFB – and each work is part of the permanent collection of the Gassendi Museum. Mr. Brovelli participates in the collective process of realization. It is approved by the geological reserve of Haute Provence and authorised by the Gassendi Museum.  He participated in the definition of the itinerary by accompanying some recognition steps with the artist, the museum staff and the reserve. This open and collective approach is a factor of sustainable development. In line with the Council of Europe's recommendations on cultural heritage and sustainable development, it promotes an integrated approach to policies on cultural, biological, geological and landscape diversity and promotes a Balance between these components [4]. The Council of Europe encourages the participation of everyone in the process of identification, study, interpretation, protection, conservation and presentation of cultural heritage. This project could be the support of an indicator of "partnership diversity" to measure the degree of territorial cohesion of the project. The AFNOR [5] proposes various possible degrees of participation in this sense ranging from simple information to effective participation. The Council of Europe adds the recognition of a right to heritage that combines the governance of sustainable development. The four components of sustainable development – culture, environment, economy and social – are associated through the project. Their degree of involvement evolves over time.

  • COOPERATIF indicator No. 2:-democratic governance [6] does this private public cooperation contribute to the inclusion of this alpine territory in sustainable development?
Dominant Partners Level of involvement
Economic Dimension Jean-Pierre Brovelli Consulted: Conception of the parcoursValorisé: proposal to stay. Museum clearance and Reserve accreditation.
Cultural Dimension Musée Gassendi PARTNER: CAIRN Convention
Ecological Dimension Geological Reserve PARTNER: CAIRN Convention
Citizen Dimension Common Informed: Report of the PATRIMOINEASSOCIÉ Regional agency: Site owner

Today this pedestrian itinerary for 12 days is part of the commercial offers of Jean-Pierre Brovelli. It plans in 2008 to accompany about sixty people on this route in groups of 8 persons.  If the economic fallout remains important, it does not represent its main interest. The most economical value is based on finding a clientele with whom to share "the Art of Walking". The realization of the itinerary "refuges d'art" remains limited: it is physically and mentally difficult for an attendant. On the other hand, offering this course makes it possible to make visible its position on "the Art of Walking". The search for information via the Internet in connection with the project "Refuges d'art" (Artist, project, CAIRN) generates two daily enquiries on its professional site. These people are sometimes potential customers for other offers offered. And those who have made the course remain permanently connected with him. This increase in the visibility of positioning reinforces the sustainability of the Business Project. Jean-Pierre Brovelli's entrepreneurial motivations structure the offer of stay combining culture, nature and roaming. Being able to find a "market" that is consistent with these motivations was a daring gamble that has been strengthened here. At fifty years and after a diversified professional career, this economic commitment is more the culmination of a personal project than the search for such a gainful activity.

  •  COOPERATIF Indicator No. 3.1 – Economic valuation [7] is this private public cooperation effective for Jean Pierre Brovelli?
Problem More value heritage.
To make visible a position on "The art of walking" combining culture, nature and roaming. 2 requests for daily information via the internet linked to "refuges d'art".
Find a "market" in coherence with entrepreuneuriales motivations. Development of an offer and identification of a request in coherence with the entrepreuneuriales motivations.

 A work of contemporary art accessible in the wilderness, "refuges d'art" is a vector of sustainable development for the mountain. At the end of 2007, the municipality of Digne-Les-Bains commissioned a study on the economic and social benefits of the project to the Regional heritage Agency P.A.C.A.  At mid-term, the purpose was to produce data on the impacts generated by the project in terms of its implementation costs. This important study work carried out during the summer of 2007 allows to have a first measure of the economic and social impact of "refuges d'art" in Haute Provence. It represents 4.7% of tourists in addition to the country Digne – that they come especially for the discovery of the works of Andy Goldsworthy and/or the works of contemporary art – more than 30,000 annual nights, a tourist consumption valued at 1.6 Million euros per year and 131 jobs in the country Digne. Impact to be put on an investment of around EUR 90,000 per year, excluding the participation of museum and reserve staff-7 posts are directly involved. This rate of return on investment is consistent and seems sustainable.

  •  COOPERATIF indicator No. 3.2 – Economic valuation-does this private public cooperation contribute to the economic development of this alpine territory?
Results study Regional heritage Agency P.A.C.A. People who have come to discover the works of Andy Goldsworthy and/or the works of contemporary art
% of tourists in the country Digne 4.7%
Number of Annual nights 31 025
Tourist consumption EUR 1.6 million
Number of jobs in the country Digne 131 Jobs
Average annual direct cost of the project 90 000 euros (non-staff Museum and Reserve)
Return on investment rate Estimated to be 17 times higher than the annual investment

The Regional heritage agency foresees a minimum growth of 8.8% of the annual attendance, well beyond the target of 1.9% set for the plastic arts throughout the territory by the State [8]. Within 5 years, 8,000 visitors to minima, not far from the 10,000 visitors of the museum Gassendi, first stage of the course. A significant cultural value for a rural territory: Digne-les-Bains, Departmental prefecture, has 18,000 inhabitants, 30,000 at the country level [9].

  •  COOPERATIF indicator No. 1.2-effectiveness-is this private public cooperation performing for the museum?
Number of people
Discovery of the works of Andy Goldsworthy and/or the works of contemporary art 5 5008 000 at the end of the project in 5 years (estimation)
Musée Gassendi 10 000 (average)
Annual growth rate of attendance + 8.5% (minima, regional heritage Agency study)
LOLF, Mission Culture, creation, Objective 3 + 1.9% (average per year by 2010)

 The difficulty lies in the fact that this economic recovery remains beneficial for the Digne country and is not at the expense of the spirit of the project. It is a matter of inventing the modalities of access adapted to its originality. Modalities that the museum had planned to develop once the project came to term and relayed to the general public, that is to say best in 5 years. The increasing fame of the artist at international level, the publication of articles in the National press – Telerama, Alpes Magazine-, the already effective use by local actors in the framework of their activity – hiking guide, tourist office – make The art huts are already frequented. As the study of the Regional heritage agency confirmed, there is not a single "canal" that leads to discover "Art huts": Internet, word of mouth, media. All communication and information activities cannot be carried out or self-financed: topo-guide, Access card, press review, book, website, audio guide, etc. For example, the IGN estimated the cost of making a map specific to the "refuges d'art" route at 50,000 euros. Relatively large Budget with regard to the 150,000 euros required on average by shelter. Today, the Gassendi Museum co-builds information and communication modalities with local partners. These co-productions are as numerous as the possible access modalities: A room dedicated to the museum in collaboration with the artist, a topo-guide book published by the Fage Edition, the formation of a new accompanist by Jean-Pierre Brovelli and the Proposal of a dozen hiking trips. Of all these actions, the Gassendi Museum finances 30% of the costs of implementation, the remainder being taken over by the partners [10]. Other co-produced projects are underway such as a press review with the Alpes-de-Haute-Provence development agency or that carried out by the Tourist office on the creation of an audio guide or the use of an association of Porters for Make shelters accessible to people with reduced mobility. The Internet sites-that of the refuges, the museum, the reserve and Jean-Pierre Brovelli, first in terms of consultation-will allow to download the access sheets made by the museum or direct to the book of Editions Fage. Attendance of the public will increase – forecast of 8,000 visitors to minima within 5 years-, the sources of information also (6 new media foreseen in 2008) and the tourist offer will gain in quality and attractiveness. With a mastery of the budget since, although all costs are difficult to assess accurately, the contribution of the project partners can be estimated at two-thirds of the total cost, which is more than the 48% of own resources that Targets the state by 2010 for museums.

  •  Indicator COOPERATIF No. 3:-Efficiency [11]-In a context of control of public expenditure, does it contribute to finding the resources necessary to qualify the accessibility of works in open access?

 

Contribution to the funding of the accessibility function 2008
Musée Gassendi 30
Jean-Pierre Brovelli 23
Fage Edition 47%
LOLF indicator: Share ressources propresObjectif en 2006 for FranceProgression Museums by 2010  43% + 5%

 

 Action Partner Realization Cost
Information space Musée Gassendi Equipment of a new room  15 000 € 30
Topo Guide Fage Edition Production (22% PVTTC)  16 500 € 47%
3000 works sold at 25 euros TTC Diffusion distribution of half (18% PVTTC)  6 750 €
New Attendant Qualification Jean – Pierre Completion of a training course (10 days)  1 600 € 23
Animation website (Request information)  Brovelli Annual update, follow-up (1 day/month)  1 600 €
Group support 9 proposed stays (50 days)  8 000 €
 49 450 €

The regulation of the relationship between these different actors of the project is based on a relationship of trust, and to a lesser extent in a discounted way (municipalities, providers: Guide, hosters, etc). The works are part of the collections of the museum, the building is communal property or the NFB, and the geological reserve of Haute Provence, Association Law 1901, manages these domains. If this situation promotes freedom of action for each member, it depends strongly on the personalities who animate the project. The increasing economic weight of "Art huts" in the local economy, the increase in attendance, the creation of new shelters or the arrival of new actors (tourist Office, escorts) may weaken this balance. It raises a number of important new issues in view of the progress of the project: how to find a regulatory framework adapted to multi-faceted private public cooperation? How to keep an open process without losing the spirit of the project? How can we not freeze the situation? What would be the current regulatory arrangements in the event of a dispute? Additional Sources:

  • Gassendi Museum website: http://www.musee-gassendi.org/
  • Site of the Geological reserve of Haute Provence: http://www.resgeol04.org/
  • Site of Jean-Pierre Brovelli: http://www.etoile-rando.com/
  • "Refuges d'art" Site: http://www.refugesart.fr/
  • Site of the Regional heritage Agency: http://www.patrimoine-paca.com/
  • Council of Europe Website: http://www.coe.int/
  • Site of the LOLF: http://www.performance-publique.gouv.fr/

Source of diagnosis This diagnosis was made mainly from the following elements:

  • 1 Interview with Nadine Gomez-Passamar, curator of the Gassendi Museum and Jean-Pierre Brovelli, hiking guide;
    • Presentation Document for the CAIRN project;
    • Internet search on sites associated with the promotion of the CAIRN;
    • The economic impact study of the CAIRN carried out by the Regional heritage Agency-2007;
    • The LOLF documents on performance indicators;
    • The Council of Europe's "Faro" framework convention.

 


[1] The 200 000 hectares of the geological reserve of Haute Provence make it the largest in Europe.
[2] The LOLF, mission Culture, plans to measure the share of additional m2 constructed in rural areas compared to the total number of M2 built in the year. The indicator is currently only for libraries.
[3] This indicator aims to measure the effectiveness of cooperation following an indicator identified within those of the LOLF. That is, the ability of an administration to achieve the objectives corresponding to its missions. The objective of the LOLF indicator is to be able to compare the effectiveness of the cooperative process with other experiences and the target set by the state for the years to come.
4 "Faro" Council of Europe framework Convention, article 8 – Environment, heritage and quality of life
[5] The French Association for Standardization – AFNOR – published in 2006 the SD 21000 applied to local authorities-a Guide for taking into account the issues of sustainable development in the strategy and management of local and regional authorities.
[6] This indicator is intended to measure the involvement of members of society on heritage issues. This is a proposal for a possible new indicator.
[7] This indicator measures the impact of heritage on the economic activity of the company, or even the territory. The report on the economy of the intangible. "Tomorrow's Growth" (Department of Finance, 2006) called for an interest in the benefits of exploiting "our history, Geography or territories". And which gave the creation in April 2007 of the Agency of the Intangible Heritage of the State (FIPA). It is a question of being able to estimate and compare the impact of shared valuation of heritage.
[8] LOLF, Mission Culture, creation, objective No. 3
[9] Methodological clarifications: Data Sources: The study carried out by the Regional heritage Agency, data 2003 on tourism in countries Digne, source site country Digne. Mode of calculation of the indicator: the study of the Regional heritage agency has not given, for lack of existing sources, estimation in numbers of people who come especially for the discovery of works of Andy Goldsworthy and/or works of art Contemporary. It is possible to have a first estimate from the average length of stay estimated at 5.6 days by the country Digne and the 31 025 nights calculated by the regional heritage Agency. The estimate is then 5 460 people. The only existing data is the "2 491 visitors on 3 refuges" of the count carried out in the summer 2007 (4 months) by the geological reserve of Haute Provence. 
[10] Methodological clarifications: Data Sources: Data were collected during the interview with Nadine Gomez-Passamar and Jean-Pierre Brovelli. method of calculating the indicator: for the new room at the Gassendi Museum, only direct costs are taken into account. The cost of manufacturing the book is calculated from the apportionment of average costs compared to the public sales price TTC (National Union of Publishers-SNE: manufacture 11%, author 11%). The edition is planned on a draw of 3000 copies sold at 25 euros public price (PVTTC). Fage Edition will ensure distribution of 1500 copies, the other half being sold directly by the museum. This coûtde diffusion distribution is estimated at 18% of the PVTTC (average SNE). The cost calculation supported by Jean-Pierre Brovelli is based on a day cost of 160 euros. The updating of the site and the response to sometimes technical requests represent one day per month (10 days per year). The cost of training a second attendant is estimated on the number of days required (complete the entire course, i.e. 10 day). And 9 stays are offered in 2008 for a total duration of 50 days.
[11] This indicator aims to measure the efficiency of cooperation following an indicator identified within those of the LOLF. That is to put in perspective the means deployed and the results set (value-for-money). The objective of relying on a LOLF indicator is to be able to compare the efficiency of cooperative processes with other experiences and with the target that the state has set for years to come.  

Prosper Wanner: Introduction to the 3 diagnostics of innovative heritage cooperation

The cause is heard: culture will now be the fourth pillar of sustainable development. (…) The Rio Summit had already, in 1992, paved the way by saying that "sustainable development" was first a change of behaviour, that is to say a cultural change. "Culture and Sustainable development: The breakthrough", Serge Antoine [1] 2005. The increasing awareness of public opinion on sustainable development is timidly translated into action, whether we are challenged as a citizen, a professional or a simple consumer. If the younger one seems to be, that of the adults remains problematic. Guilt-the world is going badly-consom'action-the future is in your purse-or tax incentives do not prove to be the best vectors of accountability. On the contrary sometimes. This change in behaviour, so often put forward as fundamental to strive towards sustainable development, sustainability or simply desirable, represents for each one (r) cultural evolution. It is not just a matter of having the right tools, a certain number of recipes already exist, but of wanting to seize it. Our relationship with our environment, whether human, natural or technical, goes through culture. Just like the link between generations, the foundation of sustainable development. Culture and heritage, which have not been taken into account until today in sustainable development policies, are on the way to becoming the fourth pillar. The stakes still seem to be far beyond: they are not only a good to be preserved for future generations, but they are one of the only ones able today to accompany a cultural change of this nature. This cultural quality is doubled by an economic quality that faitce "lowest common denominator" between sectors, disciplines and logics that are more closely associated with each other – economy, society, culture and the environment. Transversality indispensable to sustainable development. This potential – "Making sustainable development" – is perceived by heritage curators first as a risk-taking. And it is a real risk taking to move from such a well-identified outlet – public heritage policies – to this new take – to cooperate with civil society – without falling into the "haggling" of heritage. Today, conditions seem to come together to accompany a risk-taking. 1/The context is more than favorable, or even "too much", to take language with the economic world, often perceived as antagonist. Heritage, like culture, is already at work in the new processes of value creation. They become the most important competitive values to stand out in an increasingly global and virtual economy. Heritage has already become an economic lever for state debt. The new Intangible Heritage Agency of the state – the Fipa – and the recent exceptional valorisation of the "Louvre" brand are here to testify. The local authorities, the TPE, the SMEs, the associations, in short what makes the local economy, has as much need of the heritage to be anchored locally and to find a room for economic manoeuvre conducive to sustainable development. 2/Public policy framework indicators are structured at the national level. They are benchmarks for monitoring risk-taking, comparing its performance, drawing on balance sheets and whether it remains compatible with national policies. In short not to advance completely in the fog. This possibility is offered in particular by the Organic law relating to the financial laws of 2001, the LOLF. The state has built a battery of more than a thousand performance indicators. They concern all public policies – culture, health, economics, etc. – and are apprehended from the point of view of the citizen, the user and the taxpayer. Another set of indicators concerns its national sustainable development strategy – SNDD. Both are supposed to converge. 3/Beyond these beacons, a regulatory framework adapted to the cooperation of the Conservatives with the private sector-associations, companies, individuals-emerges at European level: the right to cultural heritage. The absence or weakness of existing repositories on private public cooperation in the field of heritage weakens the construction of conventions to regulate power relations and even possible conflicts of interest. By proposing to pass each of the status of "beneficiary" of heritage to that of "entitled", it proposes a new regulatory framework. Thus avoiding becoming a mere "customer". Private partners are recognized as partners, not just potential customers, suppliers or benefactors. The heritage is public and remains public. The difficulty is to move forward on all these fronts. One cannot do without the other. Cooperation without clear objectives is more akin to a display strategy.  And the pursuit of common objectives without piloting tools makes it difficult to capitalize on knowledge and draw balance sheets to advance. Lastly, cooperation without a regulatory framework is tantamount to not apprehending conflict management and becoming unmanageable, especially in the development phases or when the founders are leaving. The purpose of this "virtual gallery" is to feed or even initiate this project by starting to evolve our own look. Cooperation between conservatives and sustainable development companies already exists. The three examples chosen by the AGCCPF PACA bear witness to this. They voluntarily illustrate the three traditional axes of sustainable development: the environment, the social and the economy. The environmental problem is illustrated by the cooperation between the Musée Gassendi in Digne-les-Bains and the geological reserve of Haute Provence. The social problem by the European Integrated Heritage mission of the city of Marseille inscribed at the heart of a project of the National Agency of Urban Revitalization – the ANRU. And the economic problem through the contribution of the MCEM to the development of a social and solidarity economy initiative in Marseille. In each case, the angle of analysis focused on the relationship between a conservative and a private entrepreneur (s). The realization of these portraits consisted in the first time to go even on the sites, to meet these people, to collect their testimony and the data available. Then, from this material, a diagnosis was made from three angles. The first on economic valuation, or, otherwise said, interest to the entrepreneur. The second on the efficiency and effectiveness of this cooperation for the museum. And the last one on the modalities of contracting which it was possible to pose between the company and the museum. In what measures does a cooperative approach between a conservative and a company perform well? Is it compatible with the performance targets that the state sets for 2010? Does it help to strengthen a sustainable development approach for the company? The realization of the museum's missions? None of the parts of the portraits – the museum, the Heritage object, the company – is similar. On the contrary, they illustrate a variety of possible inputs: a national museum, a departmental museum and a communal mission – an association, an independent and a public company – a work of art, a heritage object and a historical monument. The convergence between the portraits is not based on the statutes of the parties but more on their modalities of action and their production. 1/cooperation is interesting for both parties. Each of these cooperation is efficient – or thrifty – for the museum and the company. They are an effective way to accompany the realization of the museum's missions – improving the accessibility of heritage, intervention in rural areas or in sensitive urban areas. They are even effective in terms of the targets set by the LOLF to museums for 2010.  Finally, they strengthen the economic actors in their choice to be enrolled in sustainable development. 2/The three portraits converge on the implementation of the heritage policy. Access to heritage is based on the three cases of homelessness: a trip to the sea, a European route and a hike. and cooperation with a large part of civil society – associations, companies, collectives, etc. – is done in an effective way: heritage is proving to be a catalyst capable of working together worlds that are not very common: the economy, the social, Culture and the environment. 3/They also share a structural fragility: these are unsustainable development initiatives. Cooperation is based more on trust than on contractual regulation of reports. In this context, it can be difficult to pass a course of development, to go beyond the founders or simply to transfer these experiences except to find an identical context. There is little reference. If the relationship to the client or beneficiary is sufficiently marked, that of public/private cooperation requires more. The Council of Europe framework Convention on the value of cultural heritage for the society proposed in November 2005 by the Council is the point of support for tackling the task. A first conclusion to these portraits is perhaps the identification of this site which seems to be a priority for these innovations, these experiments and these investigations to emerge a framework of common law. The most advanced framework to accompany these processes is the cultural Agenda 21. The French Standards Agency – AFNOR – has just published a methodological guide "sustainable development and social responsibility applied to local communities". ». Agenda 21 can be initiated by any actor, why not museums?

Prosper Wanner, January 2008

Portraits 

  1. The boat swordfish, well-inalienable shared. 
  2. Refuges d'art, a work of contemporary art essence of sustainable development
  3. The Carmelite cave-between historical Monument and source of sustainable development

Indicators Co-operative indicator N ° 1 – Economic valuation. The first angle of analysis is to make the entrepreneur's interest more explicit. He is neither a customer nor a supplier nor a patron of the museum but the partner of a joint project. How does he find his account? How does this cooperation strengthen its position? COOPERATIF Indicator N ° 2 – efficiency. The second indicator aims to measure the effectiveness of cooperation from the museum's point of view. That is, its ability to achieve the objectives corresponding to the missions of general interest inherent in the cooperation project. In order to be able to compare the effectiveness of the cooperative process with other experiences and the target set by the state for the years to come, this indicator is first identified within the LOLF. COOPERATIF Indicator N ° 3: – Efficiency. This third indicator always concerning the museum focuses on the efficiency of cooperation. Efficiency refers to achieving a goal with the minimum of possible committed means. It is a question of looking at the means deployed and the results set. Always with the prospect of being able to compare the efficiency of the cooperative process at the national level, the indicator is identified within the LOLF. COOPERATIF Indicator N ° 4: – Democratic governance: the last angle of analysis concerns the involvement of members of civil society – companies, associations, individuals, etc. – on issues related to heritage and the level of Current contracted.


[1] Serge Antoine (1927-2006): Honorary Chairman of Committee 21, member of the National Council for Sustainable Development (France), member of the Mediterranean Commission for Sustainable Development. Link Energie – Francophonie, Editorial, pp. 4-6, IEPF, Canada.

Prosper Wanner and Christine Breton: The departmental heritage: Common good and economic exchange

Preamble: This note is the result of an action research process initiated between an official in charge of conservation of the heritage and an entrepreneur responsible for the sustainable development of enterprises. This duality, common good and economic exchange, is wanted: economic and patrimonial interests are seldom crossed. On the one hand, the heritage approach is seen as excluding goods from the economic field and increasing the public burden. On the other, the economic approach is seen as a participant in "merchandise" of heritage assets. This tension is topical: copyright, patents on living, over-exploitation of tourists, etc. This process aims, on both sides, to overcome this opposition between common good (inalienable) and private (profitable) use in the interests of each. It represents for everyone a cultural revolution. The inalienable nature of the property, its democratic management and its free access remain difficult to translate in the context of private use. All like the designation of what makes heritage and its use is difficult to grasp in a participatory way. It was validated by the departmental consultation Council in plenary meeting on 16 November 2006. See the official version.   The heritage economy. Heritage Conservation is a public office. Its identification, restoration, study or exhibition are all loads that are seldom compensated by the product of the visits. It's a deficit economy. Since the nineteenth century, the nature of the heritage has continued to widen to go far beyond the treasure of the cathedral. To tangible property (monuments), intangible (arts, crafts) are added cultural and then natural goods, increasingly threatened. This exponential increase puts the burden on local communities of heavy responsibility: how to identify all the local assets at risk? Which ones to keep for the good of future generations? How to assess the risks associated with their disappearance: Identity crisis, loss of sovereignty? How to finance their conservation in a context of scarcity of the public resource? The economic value of heritage. Art, crafts and catering are all areas that benefit from heritage.  Tourism has become one of the first civil industries in the world and the online sale of cultural goods (music, image, text,…), one of the most promising. Heritage has gained unprecedented market gain. The economic value of heritage is essential. It brings together knowledge, provokes encounters and opens up to other cultures. Companies, artisans, associations are living heritage and making it live. Tourism is by far the economic sector that benefits most from the valorisation of heritage. The measure of this "profit" enables the valorisation of the patrimonial public office in terms of its economic impact. The PACA region has created a regional observatory in this direction. It measures the economic scope of a heritage property with regard to the tourist benefits (visits, restaurant, Hotel,..), tax (visitor's tax) and related to its restoration (restoration work, public finance mobilization). This economic gain is based in large part on the ability to attract a potential clientele that generates direct revenue (ticketing, guided tours, bookstores) and indirect (expenditures made in its environment). The French experience of the centres of Heritage economics shows that the economic scope also concerns the attractiveness of a territory (improvement of the quality of life) and its handicraft (creation of a strong identity). The law of 2 August 2005 in favour of SMEs has created the label "Enterprise patrimony vivant" designed to promote the development of enterprises with an economic heritage (rare know-how, mastery of traditional techniques or high technicality). It aims to enhance the recognition of this heritage at national and international level and to strengthen these companies through specific financial measures and communication tools. The economic overexploitation of heritage. The investment for "more attractiveness" in the short term sometimes has induced effects: degradation of the intentionality of the property to meet the legitimate demands of a clientele, loss of identity, evolution of the sites to commercial zones Tourism, increasing land to the detriment of farmers or the less wealthy,…. Our territory is highly tourism-intensive and knows the effects of an "excess of tourism" and an "excess of attractiveness". Heritage goods and services are endowed with a dual nature, economic and cultural. The risk of a lack of regulation concerning this double quality is to see against economic value and general interest. The Convention on the protection and promotion of the diversity of cultural expressions signed on 20 October 2005 by the UNESCO General Conference (HTTP://PORTAL.UNESCO.ORG/CULTURE/FR) lays down cultural goods and services as identity holders, of value and meaning which therefore should not be treated as having an exclusively commercial value. At present, negotiators of the General Agreement on Trade in Services (GATS) are questioning the possibility of extracting the heritage from the public good and integrating it into the laws of the market: public institutions are giving up their rights and boosting The world economy. The risk is that a wealth economy, albeit a deficit, we pass on the economic exploitation of heritage: beneficiaries of our heritage, we become clients. A concrete example: the conflict that opposed Kokopelli, the association of diffusion of old vegetable seeds, and a cereal is a new illustration of this tension between public good and market value: Following the request for the inscription of varieties of Old seeds on an official catalogue, the Court of Alès has pointed out the divergence between trade legislation, here national, and heritage legislation, here community. http://www.univers-nature.com/inf/inf_actualite1.cgi?id=2164 today, patents on the living, image rights or more locally the transformation of some of our sites or common in "amusement park" are already as many warning signals That we need to be attentive to. However, historical monuments must be used to have a chance to be maintained just as the landscape must provide income to the farmers who manage it. How do we get out of this opposition between a heritage logic that sanctuarise property at the cost of an increase in public office and a market approach that creates wealth at the risk of a loss of sovereignty? How to increase the surface of our natural parks, preserve our mining heritage, renovate a historical social habitat, maintain a peri-urban peasant agriculture without increasing the public burden? The productive investment of heritage converge economic development and heritage conservation: a challenge for sustainable development of citizens ' stories, evidence of possible convergence between sustainable development paths and Heritage conservation issues here in the Bouches du Rhône department:

  • The reforestation of the chain of the Star (Natura 2000 site) with the pumping of water from the gallery to the sea and the recycling of the "red Sludge" produced by the treatment of bauxite (miner of Gardanne);
  • The use of micro-electronics and silicon extraction skills to locally install a photovoltaic industry and increase our energy autonomy (Environmental Education Association);
  • The renovation of the high environmental quality of Marseille's first social habitats to preserve ancient know-how adapted to ecological developments (construction contractor);
  • The reintroduction of hemp, a fire-cut plant, to exploit it as an alternative ecological material to all plastic (artist);
  • The development of short circuits conducive to the maintenance of peasant farming as a pledge of our food sovereignty and conservation of our landscapes and local biodiversities (peasant).

Since the Amsterdam declaration of 1975: "Integrated conservation engages the responsibility of local authorities and calls for citizen participation". A reservoir of 30 years of texts to Member States, calls for proposals and expert work is at our disposal (www.coe.int)..  Recommendation R (95) 9: "On the conservation of cultural sites integrated with landscape policies" is the richest of potential applications. That heritage is no longer only the fruit of the eyes of conservatives, but also of citizens, and that they can have the enjoyment of it allows to transcend the French vision where the state says what is heritage, thus our identity, and uses it as a pledge Staff (the treasure of the cathedral). Interest is both European (enriching the nation's logic) and economic (Finding heritage conservation resources other than the assignment of rights). By recognising the dual economic and cultural quality of heritage, it aims to register its conservation and use as a driving force for a more democratic society and contributing to the improvement of the quality of life for all. With regard to tourism, it is attentive to a sustainable and balanced development which allows a better valuation of the sites and irrigates the whole department. The integrated approach to heritage in its culture/nature report is complementary to the heritage heritage (museums, monuments, enshrined in a Nation's logic). Heritage responsibility is no longer at the sole expense of the local community. The designation of what makes heritage, the identification of threatened heritage property, the possible avenues of conservation or valorisation can also be the fruit of civil society: associations, collectives, companies,… Local capacities to "make heritage" or preventive conservation are multiplied. The closing conference of the 50th anniversary of the European cultural Convention (Faro, October 2005) resulted in Uneconvention framework on the value of cultural heritage for society. This Convention represents a considerable step forward. It clearly declines the principles of implementation of public policies for integrated heritage conservation. It deals with the rights and responsibilities of individuals in the field of cultural heritage and successively explicitly links it to the different dimensions of development: Democratic debate, territorial cohesion, quality of life, Sustainable valorization and economic development. Its declination in terms of public policy remains to be done. In this sense, it gives a framework and lays down specific bases which are as many points of support heritage is no longer seen as a public office but as a productive investment. The property seeks to acquire a "living function" in connection with the present and its stakes. It adapts to the present (as has long been the case) and its intentional value participates, as an investment, in the sustainable development of the Territory. It is a resource for the whole of society: companies, associations, inhabitants,... The public storage office becomes here a entrepreneurial resource. Companies can rely on this resource to create wealth: the upkeep of a castle garden, the collection of threatening natural species or the slashing of fire prevention are all wealth for Entrepreneurs.  They encourage the anchoring of economic activities in the Territory. The conservation of a building, a know-how or a culture is no longer at the cost of a public deficit, an assignment of rights or an excess of attractiveness, but as part of a shared sustainable development project. The difficulty is that the property does not lose its intentional value (cultural, political and symbolic) in favour of a purely financial approach (no longer aiming at the curious visitor in search of intelligence but the potentially solvent client). The risk of a lack of regulation concerning this dual economic and cultural quality is to see against economic value and general interest. Heritage can have a role to play in our food sovereignty, energy autonomy or the defence of our landscapes. The valorisation of heritage is no longer primarily its attractiveness, but its capacity to support economic development projects that are industrial, agricultural or tertiary. Our ability to control our development choices is reinforced. It is not a question of seeing heritage conservation as a constraint (increasing taxes, increasing inordinately tourism or resorting, amplifying economic dependence), but as the treasure it is and what we could do with it in Everyone's interest. Heritage management becomes the support of public private cooperation public service can no longer do without civil society and conversely. Co-operative status here takes a new interest.  Its nature of commercial law, the imshareable character of the property and its democratic governance make it a possible framework for experimentation. In particular, the new status of a cooperative partnership of collective interest that can involve public and private interests (CICS). It is not a question of opposing trade in heritage against a cooperative virtuous circle but, by that statute, of (re) putting on the agenda these formulas which make it possible to put on public and private equality. This know-how should be opened to symbolic productions. Currently, cooperatives, positioned on heritage conservation, bring together artisans, users, businesses, researchers and local authorities. They participate in the general interest and enrich the economic activity of territories, tourism professionals, craftsmen, associations and researchers. In 2006, cooperatives will be able to acquire a European stature. With the new European cooperative status opens the field to the experimentation of local co-operation registered at European level. A cross-cutting approach that is pushing the current executives. The integrated conservation of heritage Property represents a cultural revolution for both economic actors and heritage curators. The patrimonial and economic interests of a territory are seldom crossed. This can be explained by the fears they generate on both sides: on the one hand, the heritage approach can be seen as excluding local assets from the economic field, and on the other, the economic approach can lead to "merchandise" of goods Heritage. This approach disrupts the framework of traditional heritage management. The challenge is to innovate the outlines of this relationship between collective property (inalienable) and individual use (profitable). This evolution concerns both the process of civic designation of what makes Heritage (identify, name, expose) as well as new forms of participatory use of heritage (investing, participating). The inalienable nature of the property, its democratic management and its free access must be translated into an integrated conservation framework. Proposal N ° 1: The Departmental Consultation Council invites the Department to endorse the Council of Europe's recommendations on integrated heritage approach, namely: 1.1 Recognising the dual economic and cultural quality of the Heritage, to record its conservation and use as a driving force for the development of a more democratic society and contributing to the improvement of the quality of life for all, 1.2 to be attentive to a sustainable and balanced development of tourism which allows a Better valuation of the sites and irrigates the whole department. 1.3 Become an engine in the process of ratification of the Faro Convention at National, transnational level, at the level of the Latin and European ARC. Proposal N ° 2: Within the framework of the objective of integrated heritage management, the Regional Council of consultation invites the General Council to: 2.1 To identify the resources in the field of wealth in the county territory in all its Forms and in particular to recognise the complementarity of its heritage heritage (museums, monuments enshrined in a Nation's logic), with the integrated approach to heritage in its culture/nature relationship. 2.2 To identify and produce appropriate indicators for integrated heritage management. 2.3 The General Council may, in particular, rely on the regional heritage agency and the Council of Europe to carry out the work. Proposal No. 3: The departmental Council for concertation invites the General Council to promote collective symbolic capital. 3.1 By registering its heritage as a resource mobilized for all its policies and services by registering and giving a framework for the use of its heritage in accordance with the recognized rules and from a development perspective Sustainable and preventive conservation. By registering the restoration work on the monuments and sites belonging to it in an integrated management in connection with the stakes of the present. 3.2 At the smallest territorial level, within the framework of the policy of aid to municipalities or cross-financing by taking advantage of the integrated approach to heritage, in particular in the interests of good management of its investments and by consolidate its Support in the perspective of a balanced cultural development. Proposal N ° 4: The departmental Council of consultation recommends that the General Council should include its heritage policies in the framework of European construction. 4.1 At European level, it supports the recording of local approaches within the framework of European policies: standby function, support for project assembly, co-financing. It mobilizes its European networks and in particular its representation in Brussels and its partners within the Latin ARC. 4.2 It is attentive to the inclusion of heritage approaches in a European framework: incitement to transnational cooperation, creation of European common goods.  At the Euro-Mediterranean level, it can build on the proposal for the creation of a Euro-Mediterranean network of local systems within the framework of the European Delta programme. 4.3 In connection with the Council of Europe and the State, it values its investment through the publication of these actions within the framework of the European programmes of valorisation of good practices, including the inheritance programme. Proposal N ° 5: The department recognises every citizen a right to cultural heritage for the sake of innovation. 5.1 The identification, restoration, interpretation, exhibition or use of heritage may be the result of civic approaches: Collective of inhabitants, enterprises, associations, cooperatives, etc. These approaches are treated in the same way as other heritage policies. 5.2 In order to do so, the department creates a line of calls for projects focusing on the integrated heritage approach. The three levels of local government could be mobilized.  It could focus on the local declination of Council of Europe recommendations, particularly in the area of ' citizen heritage production ' and ' integrated heritage use '. This call for tender could eventually lead to a European or euro Mediterranean tender. Proposal N ° 6: As part of its policies to support the Co-operative movement and its openness to European construction, the departmental consultation Council urges the Department to continue its support for the cooperative movement and in particular The development of private public cooperation, particularly within CICS and dedicated funds. By encouraging these cooperation to make heritage by accompanying them to take a European dimension as soon as the texts allow it through the forthcoming European Cooperative.