The Potential of Street Art. Obstacles to the Commercialization of Street Art and Proposed Solutions: Universitätsfrauenklinik Heidelberg

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Springer Proceedings in Business and Economics
Vicky Katsoni
Marival Segarra-Oña Editors
Smart Tourism
as a Driver for
Culture and
Sustainability
Fifth International Conference IACuDiT,
Athens 2018

Editors
Vicky Katsoni
University of West Attica
Athens, Greece
IACuDiT
Athens, Greece
Marival Segarra-Oña
Business School
Universitat Politècnica de València
Valencia, Spain
ISSN 2198-7246 ISSN 2198-7254 (electronic)
Springer Proceedings in Business and Economics
ISBN 978-3-030-03909-7 ISBN 978-3-030-03910-3 (eBook)
https://doi.org/10.1007/978-3-030-03910-3
Library of Congress Control Number: 2018964687
©Springer Nature Switzerland AG 2019
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Contents
Part I Innovation in Tourism
1 Innovating and Diversifying Cultural Tourism in Europe
Through Smart Movie Tourism in UNESCO Sites and
Destinations. The Case Study of FAMOUS Project ............. 3
Giusy Cardia, Andrew Jones and Daniele Gavelli
2 Big Data Analytics in Smart Tourism Destinations.
A New Tool for Destination Management Organizations? ....... 15
TomášGajdošík
3 Educating of Entrepreneurship Competence in Pre-university
Education System: An Effective Way for Tourism Development
and Innovation ........................................ 35
Robert Gjedia and Valentina Ndou
4 Entrepreneurship and Co-evolution in Tourism ............... 49
Marco Valeri and Leslie Fadlon
5 Project ArchaeoCulTour: Innovative Valorization
of Archaeological Heritage in Istria County Through
Sustainable Cultural and Creative Tourism .................. 61
Kristina AfrićRakitovac, Nataša Uroševićand Nikola Vojnović
6 The Innovative Health Tourism’s Environmental Management
Sustainable Design Facilities Assessment Capability ............ 79
Tilemachos K. Koliopoulos and Vicky Katsoni
7 The Concept of Dichotomy of the Innovation Process
in an Enterprise ....................................... 89
Leszek Koziol and Michal Koziol
vii

8 Value Creation in Service Over the Last Two Decades:
A Meta-Analysis ....................................... 103
Abdelouahab El Boukhari, Rachid Oumlil and Allal Achaba
9 Innovative Cultural Tours in Athens: An Interesting
Internship in the Era of Economic Crisis .................... 121
Efthymia Sarantakou and Simos Xenitellis
10 Hotel Innovation and the Creation of Competitive Advantage .... 135
Georgia Yfantidou, Eleni Spyridopoulou, Thekla Chatzigeorgiou
and Paraskevi Malliou
Part II Shedding Lights on the Potentials of Special Types
of Tourism
11 Religious Tourism Development in Lesvos Island. Potentials
and Prospects in a Spiritual Approach of Priests of Lesvos ...... 147
Konstantinos Mouratidis, Maria Doumi and Theodoros Stavrinoudis
12 Dark Tourism, the Dark Side of Cultural Tourism. Application
to the City of Porto ..................................... 163
Dália Liberato, Pedro Liberato and Andreia Gonçalves
13 The Potential of Street Art. Obstacles to the Commercialization
of Street Art and Proposed Solutions ....................... 179
Virginia Santamarina-Campos, María de-Miguel-Molina,
Blanca de-Miguel-Molina and Marival Segarra-Oña
14 Agrotourism: A Lever for Rural Development Based
on the Cultural Reserve of Greece ......................... 193
Maria Karagianni, Stavroula Georgakopoulou and Vasiliki Delitheou
15 Philoxenia as a Component of the Tourism Experience in Culture
and Total Quality Management in Hotel Sector ............... 207
Katsaitis Aristides and Papaefthimiou Efi
16 Museum Cluster in a Small City: Evidence from Russia ........ 223
Marina Sheresheva and Elena Kondyukova
17 Tourist Sub-destinations: Shedding Light on a Neglected
Touristic Behavior ..................................... 237
Markos-Marios Tsogas, Evangelia Chatzopoulou and Iliana Savva
18 The Semiotic History of Thermal Springs and Their Contribution
to Tourism Development ................................. 249
Sofia Tsiftelidou and Anastasia-Charikleia Christodoulou
viii Contents

19 Unveiling the Profile of Tourists in Islands with Protected Areas
to Promote Sustainable Tourism ........................... 261
Aristotelis Martinis, Katerina Kabassi, Georgios Karris
and Charicleia Minotou
20 Motives and Involvement of Tourists in Eastern
Macedonia & Thrace ................................... 275
Antonios S. Dalakis, Georgia Yfantidou and George Costa
Part III Tourism Online
21 Impact of Social Media and Proprietary Media on Potential
Tourists Holiday Planning Process. The Case of National
Tourism Organizations .................................. 295
George Papadopoulos, Panagiota Dionysopoulou
and George M. Agiomyrgianakis
22 Internet Marketing Communication of Destination Management
Organizations in Slovakia: The Case Study .................. 315
Radka Marčeková,Ľubica Šebováand Kristína Pompurová
23 Online Hotel Customer’s Perceived Service Quality
and Purchase Intentions ................................. 329
Anna Kourtesopoulou and John Kehagias
24 The Impact of Online Travel Agencies Web Service Quality
on Customer Satisfaction and Purchase Intentions ............. 343
Anna Kourtesopoulou, Sofia-Danai Theodorou,
Athanasios Kriemadis and Alkistis Papaioannou
25 A Systematic Literature Review on Social Media Analytics
and Smart Tourism ..................................... 357
Marlon-Santiago Viñan-Ludeña
26 What is Affecting Customers’Intention to Perform Social Media
Marketing Activities in the Hotel Industry? .................. 375
Anastasios-Ioannis Theocharidis, George Karavasilis, Vasiliki Vrana,
Evangelos Kehris and Konstantinos Antoniadis
27 Shaping the Consumers Behavior Who Are Using Airbnb—The
Case of Airbnb’s Users in Greece .......................... 393
Dimitrios Belias, Ioannis Rossidis and Efstathios Velissariou
28 Towards Developing Smart Cities: Evidence from GIS Analysis
on Tourists’Behavior Using Social Network Data in the City
of Athens ............................................. 407
Athanasios Koutras, Ioannis A. Nikas and Alkiviadis Panagopoulos
Contents ix

29 Porto as a Smart Destination. A Qualitative Approach .......... 419
Pedro Liberato, Elisa Alén and Dália Liberato
30 An Analysis of the Electronic Presence of National Parks
in Greece ............................................. 433
Aristotelis Martinis, Athena Papadatou and Katerina Kabassi
31 Towards Smart Creative Tourism .......................... 451
Lino Trinchini and Thanasis Spyriadis
Part IV Tourism Management and Structure
32 Central Government Tourism Policy and the Development
of Sports Tourism in Mass Tourism Areas: The Case
of Crete .............................................. 469
Leonidas Gaitanakis, Ourania Vrondou and Stella Leivadi
33 International Sports Bodies Application of Ecological
Sustainability Mechanisms Affecting Sport Tourism
Related Natural Environment ............................. 481
Ourania Vrondou, Panagiotis Dimitropoulos and Leonidas Gaitanakis
34 Burnout and Job Satisfaction: The Case of Physical Education
Teachers in Local Sports Organizations ..................... 503
Evangelia Papasotiriou, Georgios Sidiropoulos, Stamatis Ntanos,
Miltiadis Chalikias, Michalis Skordoulis and Dimitris Drosos
35 Emotional Intelligence of Employees in the Hospitality Sector:
Exploring Its Effects on Job Satisfaction and Performance ....... 515
Konstantinos Koronios, Athanasios Kriemadis,
Panagiotis Dimitropoulos, Ioannis Douvis, Andreas Papadopoulos
and Genovefa Manousaridou
36 Enhancing Airports’Employees Job Satisfaction with Training
Techniques. Investing on IM.I.A. and the Case of Greek
Airports’Ground Handling Services ........................ 527
Dimitris Papayiannis, Sofoklis Skoultsos and Alexios-Patapios Kontis
37 Examining the Organizational-Financial Structure
of Public-Private Destination Management Organizations ........ 543
Isabel Carrillo-Hidalgo and Juan Ignacio Pulido-Fernández
38 The Impact of Corporate Culture in the Performance of the Front
Desk Employees—The Case of Five Star Hotels in Greece ....... 563
Dimitrios Belias, Christos Mantas and Dimitrios Tsiotas
39 The Synthesis of the Variables Formulates Rewards System
Culture (ReSCulture) ................................... 577
Theodoros Stavrinoudis and Christos Kakarougkas
x Contents

40 The Contribution of HRM on the Development of Effective
Organizational Culture in Hotel Units —The Case
of Greek Hotels ........................................ 603
Dimitrios Belias, Efstathios Velissariou and Ioannis Rossidis
41 How to Overcome the Challenges of Using Netnography
in Tourism Research? Reflections on a Ph.D. Journey .......... 619
Medéia Veríssimo and Carlos Costa
42 Governance and Sustainability of Cultural Megaprojects.
Case Studies from Spain ................................. 633
XoséSomoza Medina
43 Earnings Predictability of the Greek Hospitality Industry
During the Crisis ...................................... 647
Panagiotis E. Dimitropoulos, Ourania Vrondou
and Konstantinos Koronios
Contents xi

Chapter 13
The Potential of Street Art. Obstacles
to the Commercialization of Street
Art and Proposed Solutions
Virginia Santamarina-Campos, María de-Miguel-Molina,
Blanca de-Miguel-Molina and Marival Segarra-Oña
Abstract The recent commercialization of public art in Europe has placed Street
art in one of the most powerful artistic sectors of the creative industry. The con-
tracting of street artist for wall paintings by the public, private and academic
sectors, has promoted the artist itself, and has generated a public acceptance of these
creative resources. This institutionalization of the urban art movement in Europe
has led to a museum recognition status of these spaces, which has resulted in the
official declaration of outdoor museums such as Brussels, Portugal or Paris.
Moreover, it can be seen as the development of public art proposals that give color
to neighborhoods, providing Europe with uncountable, highly creative and inno-
vative public spaces. As a result, the European Union street art industry produces
annually over 180.000 new works, playing an active and vibrant role in urban
environments by modifying the perception of its surroundings. The unique style,
energy and innovation of street art has also a huge potential to be re-used and
inspire other Cultural and Creative Industries, being in fact a vital economic driver
for most CCIs. However, the numerous online collections of street art photographs
are poorly managed and inefficiently catalogued, making content difficult to
repurpose and reuse by potential users for their needs. Besides, street art pho-
tographs do not truly reflect the transformative nature of the wall paintings sur-
rounding environment.
Keywords Street art Cultural and creative industries Creative spaces Urban
environments Digital content
JEL Classification Z11 Economics of the arts and literature Z18 public
policy Z32 tourism and development O34 intellectual property
and intellectual capital O52 europe
V. Santamarina-Campos (&)
Department of Conservation and Restoration of Cultural Heritage,
Universitat Politècnica de València, Valencia, Spain
e-mail: virsanca@upv.es
M. de-Miguel-Molina B. de-Miguel-Molina M. Segarra-Oña
Management Department, Universitat Politècnica de València, Valencia, Spain
©Springer Nature Switzerland AG 2019
V. Katsoni and M. Segarra-Oña (eds.), Smart Tourism as a Driver for Culture
and Sustainability, Springer Proceedings in Business and Economics,
https://doi.org/10.1007/978-3-030-03910-3_13
179

1 The Potential of Street Art
Street art is growing rapidly as a creative industry, being in constant evolution and
producing over 180,000 works of street art per year. In fact, street artists produce
creative spaces, rather than simply a painting or drawing, playing an active and vibrant
role in urban environments by modifying and changing the perception of its sur-
roundings. In this way, it has shaped the identities of many modern European cities
such as Athens, Cologne, Lisbon, Łódź, London, Rome, Turin or Valencia, becoming
an inseparable part of their cultures (Van Poll 2016). Consequently, street art also
contributes significantly as an important economic driver for other industries,
increasing local tourism (€400 Million per year), regenerating and developing local
businesses (15–50% increase in revenues), in addition to revitalizing their neigh-
borhoods Beautify Earth (2018), European Comission (2018), EUR-Lex (2018).
Such is the economic potential of street art that city councils are increasingly
promoting the organization of festivals and various events and contests completely
dedicated to street art (there are over 30 European festivals annually), incorporating
music, food, family-friendly activities and charity fund-raising, among other
activities.
The publishing and marketing sectors of the Cultural and Creative Industries
have also notice the distinct and exciting visual style of street art, and the huge
potential of this unique style. For this reason, its energy, innovation and design can
be re-used and inspire advertising campaigns, fashion design, video games,
performing/visual arts, locations for TV/films, etc. These creative activities are a
significant sector of European growth, delivering 38.6% of EU GDP in 2012, while
revenues from the digital markets for cultural and Cultural and Creative Industries
within the EU have increased by €30 Billion between 2001 and 2011 EY (2014).
2 Obstacles to the Commercialization of Street Art
Currently, there is a vast amount of digital content available, with hundreds of
websites, databases and mobile apps specialised in street art, hosting high quality
digital images of street art. Those digital contents are of fundamental importance for
the sector, providing access to works of street art geographically dispersed
throughout Europe and of an ephemeral nature (street art can be repainted or
modified at any moment). This content is part of European cultural heritage and it is
potentially available to be re-used by other creative industries. However:
–These resources are not accessible. The main hindrance to wider use of digital
street art is the difficulty in searching effectively for digital content. Street art it
is not efficiently homogenised, inventoried or catalogued according to the needs
180 V. Santamarina-Campos et al.

of its potential users. Existing collections are important sources of digital street
art, but they are inadequately maintained, their tagging is inconsistent and it
follows no established system or guidelines, therefore tags are irrelevant to the
search terms of potential users. Furthermore, tagging of available images is
currently carried out manually, a process that requires large amounts of human
resources.
–These resources do not adequately reflect the creative space. When capturing
street art digitally, its connection with the surrounding environment must be
maintained in order to preserve the created atmosphere and the transformative
potential of street art, which is essential for locating creative spaces for sectors
such as film, advertising or the video game industries. Photos or even videos
capturing the surrounding environment are difficult to make, given the
often-large dimensions of street art, the restrictive and irregular surroundings of
the urban landscape and the requirement to obtain a complete view of the
creative space. Scaffolding, which could be used as a method to obtain optimal
elevated views, is expensive, time consuming and it has the risk of damaging the
surroundings or even the artwork itself.
–Difficult to re-use or re-purpose digital content. Although there is a clear demand
to exploit the potential of street art for other purposes such as advertising,
branding and packaging, there is no dedicated cost-effective tool to create this
type of content. There are digital tools available that enable the transfer of a
specific style of an image to another, however these systems have many limi-
tations: they are only based on the style of a single image; they do not allow the
user to change image characteristics such as dimensions, perspective, lighting or
colours; and they require large amounts of computational resources. Hence,
there is no solution that permits the Cultural and Creative Industries tore-use
existing content in a professional, cost-effective and controlled manner.
3 Challenges
3.1 Disperse Sources
We have identified more than 300 websites that possess collections of street art online
with various methods of managing and searching their content (Santamarina-Campos
et al. 2017). In order to find street art, end-users have to search through several of
these collections individually. Examples of crowdsourced online archives of street
art include Art Crimes (Art Crimes 2017), Fat Cap (Fat Cap 2018), or Street Art
Utopia (Street Art Utopia 2018).
These online collections and the majority of search engines such as Google,
process user search queries for images using descriptive metadata. Although these
metadata based searches are trivial using today’s technology, limitations of this
system become apparent when considering how descriptive metadata is produced.
13 The Potential of Street Art. Obstacles to the Commercialization ... 181

Metadata can be produced for street art images in one of the following ways:
manual tagging, automatic generation by digital cameras, smartphones, tablets etc.,
and automatic generation through image analysis software.
Efficient search performance requires media to have high quality descriptive tags
and generally, the lack of detail in existing tags is a factor limiting the efficiency and
usefulness of these search engines.
Tags of varying quality can be created through manual tagging by artists and
collectors. Limitations are evident in manual tagging when noting that each image
would need to be individually tagged, and that some synonyms can be easily missed
when simply manually entering metadata. While creating metadata manually for
small numbers of images is feasible, it is impractical and unsustainable to do so for
large databases or collections of tens or hundreds of thousands (the size of some of
the largest street art collections).
However, the metadata created by a digital equipment producing the image is
useful for managing and organising images, for instance giving information about
when, where and how an image was taken. But, this is of no use when searching for
images based on their characteristics.
The extraction of image characteristics in large image collections can be carried
out efficiently using machine learning techniques. For example, methods such as
decision trees were used in the early implementations of advanced deep learning
algorithms, which produced systems of hard-coded rules, similar to a flow-chart, to
make decisions. They have the disadvantage that they generally only produce one
final output value. But more sophisticated systems using statistical models are
commonly researched now, which are able to assign probabilities and weights to
inputs to the system in order to produce a variety of outputs with a range of
likelihoods. Even these systems only typically extract low level image character-
istics such as shapes, objects, colours etc. However, in order to allow end users to
locate street art images, more detailed aspects such as movement, emotions and
themes are required.
In recent decades, it has increased research into intelligent analysis techniques to
automatically extract image characteristics for use as metadata and effectively
describe images. The generation of sentences from images, and vice versa, has been
investigated using statistical models to define a phase-space based on the “mean-
ing”of sentences or images (Farhadi 2010). Neural networks are also widely used
in producing automated image descriptions based on semantic analysis of image
contents, and ‘training’the system so that it learns from images analysed in the past
(Karpathy and Fei-Fei 2015).
Neural networks are so-called because, conceptually speaking, they imitate the
way in which the animal brain works, although at a much simpler level. They
consist of networks of nodes, each of which takes inputs and associated weights
from an external source or other nodes, and computes an output based on a
non-linear function. Arranged in layers through which data passes as inputs and
outputs, they are capable of using the patterns present in training data to provide a
probabilistic output. A further advancement, convolutional neural networks, have
connection patterns between their nodes that are similar to the structure of the visual
182 V. Santamarina-Campos et al.

cortex in animals. They are a type of neural network in which input data is con-
volved with a sliding filter through a series of matrix operations, and have been
shown to be effective in image recognition and classification. Producing simple
image descriptions with these techniques does, indeed, provide some additional
information for potential end users. However, the current status of this technology
is adequate only for basic object, colour and action recognition, therefore meaning
is not sophisticated enough to provide comprehensive descriptive terms, including
synonyms and similar words, that could be used to tag and search complex street art
images efficiently. Intelligent video analysis techniques have also been developed
but focus them mainly on human identification and behaviour recognition for
security, surveillance and crime prevention purposes, such as P-REACT (2018), an
EU funded project.
3.2 No Street Art Specific Ontology
The tag quality will also be affected by the ontology on which tagging is based.
Many classification systems exist, for example:
–The Art and Architecture Thesaurus (AAT) (Getty Research Institute 2018a), The
Getty Thesaurus of Geographic Names (TGN) (Getty Research Institute 2018b),
The Cultural Objects Name Authority (CONA) (Getty Research Institute 2018c),
and The Union List of Artist Names (ULAN) (Getty Research Institute 2018d), all
of which have been created by Getty Research Institute.
–The collaborative American Institute for Conservation of Historic and Artistic
Works’Lexicon Project (American Institute for Conservation of Historicand
Artistic Works 2018).
–The Conservation and Art Materials Encyclopaedia Online (CAMEO 2018).
This is an electronic database that compiles, defines, and disseminates technical
information on the distinct collections of terms, materials, and techniques used
in the fields of art conservation and historic preservation.
Additionally, for the classification of cultural heritage, several specific systems
exist:
–The CIDOC Documentation Standards Working Group of the International
Council of Museums (ICOM) (CIDOC 2018) has developed formal structures
for describing the implicit and explicit concepts and relationships used in cul-
tural heritage documentation.
–Categories for the Description of Works of Art (CDWA) (Getty Research
Institute 2018e), developed by the Getty Institute, is mapped to the CONA and
CIDOC Conceptual Reference Model (CRM). The CDWA is a set of guidelines
for the description of art and provides a framework to which existing art
13 The Potential of Street Art. Obstacles to the Commercialization ... 183

information systems may be mapped, upon which new systems may be devel-
oped, or to which data may be linked in an open environment.
–Cataloguing Cultural Objects (CCO) (CCO Commons 2018) is designed for
professionals and provides rules for descriptive cataloguing of art, architecture,
cultural objects, and their images.
While these classification criteria, structures, taxonomies and ontologies all
perform satisfactorily for their design purposes, no such classification system exists
for street art and its potential use by the creative industries.
For example, ImageNet is an international database of standardised images and
associated information, specifically created for use in image analysis and object
recognition software. This collection is often used in research into objective char-
acteristics of images, and can be used to train software in order to identify objects in
images. However, this and other similar standardised image sets provide standard
images that have no specific connection to street art. A dataset to train and test
semantic urban scene understanding has been developed (Cordts et al. 2016), but it
is directed towards the recognition of common objects in urban landscapes such as
trees, people, buildings, vehicles, animals etc., and therefore does not provide any
street art specific information. Indeed, no standardised street art specific image set is
available in order to train machine learning algorithms on the particular concepts of
street art.
4 Impact of Street Art
The considerable influence of street art on modern society and other creative
industries has created a huge demand for re-using and re-purposing digital and
non-digital works of street art.
4.1 Potential for Re-using Street Art Environments by Other
Creative Industries
The creative spaces in which street art is created are often sought after for use in
other creative industries. Television and movie sets regularly make use of street art
spaces and environments for depicting urban scenes, including Stephen Spielberg’s
Ready Player One, to be released in 2018, which was shot amongst the large
amounts of street art in inner city Birmingham, UK (Alamy 2018), (Den of Geek
2018), (Pop Culture Now 2016).
For instance, automotive companies often use street art in their advertising
campaigns to convey a sense of energy and dynamism to their cars. Suzuki
184 V. Santamarina-Campos et al.

(Suzuki 2014), Hyundai (The News Wheel 2015), Honda (Honda 2013), Nissan
(Nissan 2011) and many others have used street art environments to film adver-
tisements for their cars.
Street art environments also provides rich stages for video production in the
music industry, as they are able to provide a variety of backgrounds for a wide
range of musical tastes. Some examples include the music video of the title track
from the Spanish version of Disney’s Beauty and the Beast (Superweoz 2017), as
well as more stand-alone music videos (Lokallegend 2014), (Ultra Music 2017).
Similarly, the flexible and open nature of street art environments lend themselves
well to fashion shoots and photo shoots (Hunter 2010). In this sense, GSA has
completed projects for recording artists like Stromae, Raury and Drake. Many
major acts have commissioned murals, from the likes of Maroon 5 to Adele.
In addition to the use of street art environments, value is also often added to
private spaces by incorporating street art in the decoration process, for example in
restaurants and hotels (WideWalls 2011a), (WideWalls 2011b). Most recently, the
world-renowned British street artist Banksy opened the Walled Off Hotel in
Palestine, West Bank, which contains interior decoration inspired by street art
(Sanchez 2017).
4.2 Potential for Generation of New Digital Content Based
on Street Art to Be Re-Purposed
There are many publications and vendors that provide street art images as they are,
i.e. without modification for a specific use, such as the Black Rat Projects that
represents artists of the likes of Shepard Fairy and Banksy (Street and More 2018),
(WideWalls 2011c).
Advancing on using street art images as they are, street art also serves to inspire
products in many sectors. A great deal of advertising is carried out in relation to
street art, with big businesses keen to exploit its huge potential to attract attention to
their products and services. Brands that have used street art to carry out advertising
campaigns include Nike (WideWalls 2011d), Adidas (Boom 2008), McDonald’s
(Ads of the World 2018), Pfizer (Pfizer 2018), or Lipton (Hunt 2018). Food and
drink businesses have exploited street art successfully in their advertising and
promotional campaigns, such as Cruzcampo advertising their beers (Cruzcampo
2016) and Coca-Cola have commissioned street artists to help in the design of
advertising campaigns and packaging related to the Rio Olympics in 2014
(Coca-Cola Company 2018). Other businesses have also taken inspiration from
street art for product packaging, such as Perrier (TheDieline 2015), (TrendHunter
2018) and luxury goods manufacturers such as Moet & Chandon and Kaspia Caviar
(PSFK 2012). Television/movie set design often involves the creation of street art
13 The Potential of Street Art. Obstacles to the Commercialization ... 185

content relevant for the project in question (The Loop 2018) and video games
employ street art imagery in their design. Games such as Dying Light have received
praise for the realism added to its gameplay through the use of street art (Hamilton
2015).
Fashion names such as Louis Vuitton (WideWalls 2011e), Obey (WideWalls
2011e) and Alexander McQueen (WideWalls 2011e) have incorporated street art
into their clothing designs with great success. An early example of collaboration
between street art and fashion was between Louis Vuitton, Marc Jacobs and
Stephen Sprouse, leading to a $300 Million profit in 2001. Finally, street art has
also been used for political and awareness campaigns, as done by Amnesty
International (PSFK 2010). For example, Global Street Art (GSA) has completed
commercial street art projects for Adidas, Fox Film, Wacom, Halifax Bank,
Starbucks, Creative Content UK (whose members include Sky, Amazon, BT Sport,
etc.), Google, Doc Martens, Monster Recruitment, New Look and numerous
property developers.
All of these extensive uses of street art and its locations are carried out by
various sectors of the cultural and creative industries. With an annual revenue of
€535.9 Billion and representing Europe’s third largest employing sector (over 7
Million people employed), these industries contribute considerably to the GDP of
the EU (4.2%) and therefore have a significant role to play in the success of
publicising and commercialising street art (EY 2014). However, the existing bar-
riers for searching and re-purposing street art content mean that the economic
benefits from these other creative industries is lost.
Street artists are well aware of the economic benefits of the internet and of
having an online presence, including on popular social media sites like Facebook,
Instagram, etc. to showcase their work. As a result, there are more than 300 online
collections of digital street art identified to date, with hundreds of thousands of
photographs. These collections are important sources of digital street art, but have
interfaces and functionality that do little to stimulate its re-use and re-purpose by
end users, and lack efficient organisational structures for cataloguing content.
However, the additional internet traffic and visibility obtained through small
scale tools, such as personal websites, do not maximise the full potential that street
art possesses to impact and influence the work of many other sectors, especially
other creative industries.
4.3 Valorisation of Environments and Increase Economic
Prosperity of a Region Through Street Art
Street art has the potential to change the perception of its surrounding environment,
and additionally the economic impact of street art on local communities has been
notable. Street art can become an economic driver, resulting in increased public
engagement, regenerating and developing local business through encouraging local
186 V. Santamarina-Campos et al.

creative industries and revitalising declining neighbourhoods (Chang 2014). There
are many examples of this, e.g. in Miami, USA, street artists were invited to create
work in a run-down area of the town attracted up to 15,000 people per day, adding
to the associated economic benefits to businesses in the newly redeveloped area,
and local property rent prices increased from $65/m2 to $377/m2 (Wynwood Walls
2018), (Urban Land Magazine 2015).
In a further example, other areas scheduled for redevelopment were temporarily
transformed with street art, resulting in increased pedestrian traffic and business.
Incorporating areas of street art in city centres in Santa Monica, USA, led to
increases in pedestrian footfall of up to 50%, a local business experiencing $1,200
daily increases in spending, and a 5.1% increase in annual spending (Beautify Earth
2018). Further evidence for the positive impact of street art on local economies
comes from industrial cities such as Łódź, that have experienced upturns as a result
of increased activity related to street art and creative and cultural industries.
Additionally, a non-tangible benefit stems from the inclusive nature of street art
because it is accessibility to everyone regardless of socio-economic status, with no
restrictions such as opening times. Street art also adds value to any environment,
which will attract communities and in turn, add value to the local area.
4.4 Providing a Boost to Tourism and Tourism Related
Businesses
Street art also acts as an important economic driver in other industries such as
tourism. Europe is the most visited continent amongst tourists, with travel and
tourism contributing $779.7 Billion to EU GDP in 2015 (World Travel and
Tourism Council 2015). Assuming that street art makes up 1% of the visual arts
industry in Europe in terms of turnover, the cultural tourism generated by the street
art industry can be estimated at approximately €400 Million annually (European
Commission 2018), (EUR-Lex 2018). Street art has contributed to tourism in two
main ways: the attraction of the street art itself and the surrounding related events.
Another burgeoning aspect of tourism related to street art is that of street art tours.
In particular, in cities renowned for their street art culture such as London, Lisbon,
Barcelona etc., street art tours are a significant attraction for tourists, with also
associated benefits for their local economy.
The Urban Forms Gallery (Urban Forms Foundation 2018), with funding partly
contributed by the local city council, created large works of street art in the city of
Łódź, Poland. The aim was to create and project a new image for the city, thereby
encouraging tourism to the city. Therefore, some areas of the city that previously
were considered unattractive could obtained more modern and developed outlooks.
In addition to positive social impacts and developments within these communities,
the city became a tourist attraction for visitors from all over the world and the local
economy obtained benefits from extra development and investment in the area. In
13 The Potential of Street Art. Obstacles to the Commercialization ... 187

Penang, Malaysia, a street artist started popularising street art in 2012, and since
then throughout the inner-city area, street art has flourished, attracting tourists from
all over the globe.
As an example of the potential of street art events, Banksy’sfive-week long
subversive Dismaland exhibition near Bristol, UK, resulted in an estimated £20
Million increase in revenue for the local town of Weston-super-Mare, with 4500
tickets sold per day (Harvey 2015), (Gibson 2015). The secretive artist recently
opened a hotel in Bethlehem and after it was noted that at some points, the
Banksy’s work has drawn more tourists to the region than for its religious
significance (Kirk 2017).
5 Conclusions
A combination of the above factors makes the experience of searching online street
art and its re-use, a frustrating and inefficient practise for users, resulting in a
decrease in its re-use and the loss of other derived economic benefits of influencing
some creative industries. To this end, it is necessary to:
–Facilitate the management of digital street art images by tagging them auto-
matically, following a dedicated street art ontology, with image characteristics
and concepts used by potential end-users.
–Facilitate the production of digital content that preserves the relation between
street art and its environment, through the production of immersive 360ºvideos
of street art locations, for example with the use of RPAS (drones).
–Facilitate the search and re-use of digital street art content by other creative
industries, whilst preserving the rights of the artist and allowing them to profit
their work.
Acknowledgements This paper has been developed within the research project, conducted by
Professor Santamarina-Campos, ‘Art, registration and transfer. Tools for smart digital content in
the public art’(APE/2017/030), Generalitat Valenciana (Valencia Region, Spain).
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