Since the end of the 1980s, in the light of research conducted by Charles Landry that theorized and formalized the concept of the Creative City, Creativity, along with other economic activities, has been considered as something that marks the life of cities.Under its sign, a large part of post-industrial societies found the necessary momentum for urban and economic revitalisation, responding to the stagnation resulting from the collapse of industrial society (Albuquerque, 2006). Through the production of art and the strengthening of its cultural fabric, through the support of artists and infrastructures, Creative Industries grew and developed. Cities like Manchester, London and Liverpool saw their economy grow, the latter becoming a major cultural hub in the UK, incorporating music, performing arts, museums and art galleries, as well as an active and attractive nightlife.Through a literature review focused on the key concepts and studies relating to the economic potential of Creativity, we seek to understand Creativity’s state, its impact and economic impulse and the importance of cultural policies, with the ultimate objective of understanding Creative and Cultural Industries as a secure source of sustainability for the future.

"The World Heritage classification emerges as a universal form of validation and dissemination of the heritage value, being a relevant tool for the communication of tourist destinations. The aim of this article is to understand the effects of the World Heritage classification on urban tourist destinations, by confronting the theoretical fundaments of urban tourism and patrimonialization with case studies that seek to evaluate the objectives and results of the World Heritage classification in these places. The different studies reviewed do not allow for a common generalized conclusion but enable to identify some destinations where the World Heritage seal has become an important factor in increasing the notoriety of the tourist destination, and, also, to recognize cities that have several factors that appeal to the visit, where the classification is not proven to be a determining factor in the attraction process for the destination."

This paper describes the concept, creative process and development decisions regarding an interactive art installation that materializes a point of view on the conflict between the notions of ‘sacred' and ‘profane' in a particular Portuguese religious festival. The initiative, besides constituting an experiment on the usage of a physical pendulum as control method, aimed to combine three main domains: digital art (in particular generative art), documentary value and game-like challenge. Each user undertakes a personal experience as interaction occurs with a poetic symbolic simulation of the real pilgrimage. As the user intervenes indirectly in the main struggle, the profane and sacred pilgrims, in the shape of digital autonomous agents, uncover a generated art piece that is both a product of the artist vision and the inevitable result of the users conscious and unconscious decisions.

CulturalNature Arga#2 is an interactive audio-visual installation intended to explore the concept of landscape as a verb (to landscape) questioning and reflecting about the semiotic discourses associated with this concept. The landscape as something natural, static, peaceful, silent, etc. is a semiotic discourse with roots in a past related with the representation of a point of view, not only perceptual but also conceptual, ideological. These representations enformed the visual culture leading to a particular discourse. The installation proposes a reflexion about the way different elements associated with a particular territory shape this territory's landscape, giving it a dynamic existence, a product of cultural activity. Like J.T.W. Mitchell, here, the landscape is seen “…as a process by which social and subjective identities are formed.” (1994)