well good morning good afternoon good evening depending where you are welcome to this session organized with the oecd which i represent and the municipality of trento culture and creativity for a more inclusive recovery i am in charge of the department for enterprises regions and cities at the oecd local development is important and is an a very complex issue to face it you have to be very familiar with a community and its dynamics it is fundamental to implement a dynamic approach that means adopting policies to set up a dialogue among the different industries i.e tourism pme smes culture innovation but in particular to collaborate and learn one from the others at community level you need to have skills and abilities to start these policies we have a very difficult challenge in front of us on the one hand and this is indeed a subject very much discussed here to restart our economies and societies after and that means i hope it's over this global pandemic which has left terrible consequences on all of us we are a bit tired more concerned unfortunately this is high time at the moment of restarting to recover what we lost to do that we should join all the forces in a community both as individuals and as a collective group policies implemented will have to meet the very dignified questions and demands of citizens to have a more environmental friendly environment and a context and more equal societies that was mentioned yesterday during the session on just transition today we'll talk about culture and creativity and their key role to achieve such objectives i welcome our guests here we have franco yanazelli who is the mayor of the city of trento welcome thank you from australia we have justina jorgin who is coordinating the international network of the cities of the festivals and hello everyone from adelaide australia good evening hello everyone pleasure to be here i can't hear okay that's happened good morning thank you very much for inviting me without further ado with dr walter zampieri with some questions we know that the field of culture was badly affected by the pandemic according to the oecd the jobs at risk in europe range from one to six percent uh in the oecd countries at a time of recovery like the one we are facing uh the state and public institutions do play a key role they have been fundamental to help the sector of culture survive so far they have a role as facilitator for reconstruction and innovation it's high time and we all had expected that after two years the european parliament a few weeks ago adopted the new regulation for the uh creative europe uh 2127 program mr zampiri what would we have to expect from this program to support the cultural ecosystem so that it becomes more resilient and more innovative as well thank you uh thank you very much you can hear me now i think you can hear me yes so uh well of course the impact of the crisis has been huge uh there are some data now that are coming down coming out like from the uh study by erasing young so the loss of turnover was about 30 percent for the cultural sectors but there are wide variations because for the book sector we can lose we can think about a loss of 25 percent but for music 76 and for performing arts we are reaching like 90 percent so these figures are really really terrifying people say sometimes that every crisis is an opportunity but this crisis is simply a tragedy so the response the answer of the institutions could not be of the same level of the same magnitude um still i mean important things have happened of course there was the historic agreement of the european council last summer which is really really historic in our uh small situation in our small world of course also the creative europe program has also received more funds more money a little bit more ambition as well which was given by the colleges later by the parliament and by by the council so this indeed it is an opportunity the recovery is an opportunity um for those who don't know it i mean the creative europe program is the only european program that really focuses on culture there are of course other possibilities there are structural funds in national uh government in national context but we are the of course horizon europe we found the uh research projects but we are the only program that really focuses on culture on creative activities and we are trying to bring together partners from different european countries that's our specificity we can say and now well we receive a big big prize let's say in terms of money because we are going from 2.4 uh billion euros in the beginning it was only 1.46 so you can see it is quite huge it's really a quite magnitude but let me say at the beginning what did you do for the crisis of course because it started about more than one year ago and you can imagine we have hundreds of projects and they were all in trouble all of them were in trouble so we try to support all of them of course you have to remember that every project is a contract so we modify the contract we modify the uh we prolong let's say the period of the program of the project we change their work programs we help them to change new partners so we try to keep them alive basically as i can say that that was the first job that we did uh i'm relatively happy because despite the situation there was only one project out of hundreds only one that fold that finish because they could not find apartments only one and of course we continue to launch new calls we continue to select new projects and we continue to pay we are about the only ones probably who made the payments at the beginning at least of the crisis and what did we what did we learn and what did we bring over also to the new program well there's a huge huge desire you know to continue to work in culture this clear despite all the difficulties our beneficiaries our cultural organizations wanted to continue what did they want to do they also wanted to become part of a larger networks basically a bigger community i think that that's that's a quite important thing um when i look at what we did with the previous program which finished in december but of course projects continue uh i always say that we have more than one thousand projects it's one thousand one hundred but that's not really the important thing the important thing is that these projects involve more than 4 000 almost 5 000 organizations so it's a super network of european organizations coming together because let's remember our our basis what we do is to support the partnerships to create partnerships between european organizations um in may at the beginning in may we organized uh what we wanted to organize a small workshop with our beneficiaries with our project organizers in order to exchange best practices also to discuss the difficulties to discuss the situation we thought it was going to be a small workshop but we received more than 400 participants so basically every single project wanted to participate in it it was extremely useful it was extremely nice to see how people want to involve how people want really to make connections with with other organizers and what we saw is that of course i mean we cannot see that there are good practices the situation remains difficult but you could see a huge acceleration obviously over digital practices you can see that even though it's easy to lose yeah to lose your space in this huge cyberspace it's also possible to find new partners and to find a new audience this was the key point all this project all these organizations were looking for an audience we're really looking their niche creating their community and then to bring their own opportunities to a larger community so what we saw basically is that if culture is always local because every event is by definition local you can have a european resonance or even a larger beyond that bigger restaurants what did we see we saw for instance that for festivals festivals had to be uh not more just an event they had to become more like a movement so over time they need to develop their own communities be social media or youtube channels or twitch whatever but they need really to develop over time their own activities and uh well this is what we will try to do also with the new program for those who are interesting i hope you are already next week we will launch our new calls with a bit of luck it will be tuesday maybe wednesday we will see um and what we will do basically the axis remains obviously the cooperation between european partners the cooperation projects networks european networks platforms for the emergence of new and emerging artists obviously literary translations all these things will continue because they work very well because the stakeholders loved it and also because the college is later this is what we will continue to do but there will be some small changes that i think will make it easier for our beneficiaries and project organizers to work one in for instance are higher co-funding i mean let's face it i mean we want to support obviously small organizations because because it's easier for them to reach at local level and to find these communities that we are discussing but at the same time for a small organization it is also a weakness because they cannot always find the right partners they cannot always find uh the right co-funding rate so we basically we will reach 80 percent of co-funding which is quite quite important but we also want to give them an incentive to to grow not to stay small but to become a little bit grow to to grow bigger so we will also create an intermediate category of projects because we have small scale projects and large-scale projects we will create an intermediate one with five partners and a co-founding of about one million euros so they can have this incentive to grow without you know taking too much ambition what will be the objectives well the objectives will remain the same because we want to support the uh cultural diversity in europe and the competitiveness of course of the cultural and creative sectors but we want to also want to be a little clearer so there would be a co-creation as a key objective that we want to support and very important this program will support the cultural instructors transition in their digital and ecological transformation i believe that there's a a big role for culture and cultural organizations in really uh taking on the big crisis the big challenges that we face the importance for instance of the environmental challenges because only through the mobilization of culture i believe we can all of us can understand the scale of the challenge that is uh before us we really need culture i mean science is essential to understand but thanks to culture we can also feel it and that's absolutely how decisions are made by people this is a program then that will be fully aligned with the big political objectives of the union without being of course to you know it will not be a straight jacket because it will remain bottom up and let's remember that one of our fundamental values is freedom of expression so absolutely there will always be a possibility to do anything new anything something innovative that's that's for us i mean just give us an idea and we will see what we can do for you but yes i believe that the cultural sector wants to take on the big challenges so when we given this priority i believe that when we want to give their say basically they want to do it just to just make an example actually we are about to publish not really a brochure because it would be a an online publication very easy to read with all our projects for the big priorities like environmental challenges like uh social inclusion like for instance the digitization and the wealth of projects that we have already actually selected is extraordinary we mentioned the role also of administrators i mean the role that we have to uh with universities with local administrations with design centers looking for instances at the scale of city and the flow of people how you can make a human scale you can make a artist want to take on climate leadership i want you can explore the business models for instance for artists creative solutions uh tackling plastic for instance biodiversity small festivals accelerators because we do believe actually that we want to reach out you know to have a uh to find more support for small festivals finally this is also a program that will be full in line with uh the uh the policy the cultural policy that we worked on it a couple of years ago for instance the new european agenda for culture uh pierre luigi professor sacco knows it very well because we worked on it together and just i i don't want to uh remember all the things that we did two years ago but there's a key point which is the starting point really that uh whenever we have a euro barometer a survey you know we look at what the european citizens think we see that culture is the most important factor to create the sense of a community the most important factor modern euro more than jobs more than the economy it's it's culture at the same time about a third of european citizens simply do not participate in any cultural activity so this is this is really our challenge this is also our big opportunity so if we give more opportunity to artists into cultural organizations i believe we will all be much much better so i'm trying to squeeze everything together in a few months in a few weeks i'm sorry because it's happening now next week thank you thank you very much dr zampieri well actually the big challenge is that of involving people making people participate in order to produce a development that is inborn in the society thank you very much very interesting to know that there will be many new opportunities also for the small scale and especially this quest for partnerships for cooperation trying to join forces and the commission is providing the necessary platforms to do that right from the top level the european commission let's now move to a city level and to a local manager or administrator the mayor of trento mr francois trento as you all know very well is a city that has some individual cultural excellence i'm talking of museums events and many other cultural initiatives but we're debating today the significance of an integrated systemic approach so how can we view the system so that we can organize all these examples of excellence in other words how can the city promote the shift from sectoral or individual creativity to collective creativity to the advantage of the whole community first of all i would like to thank oecd that has been entrenched since 2004 so it is more or less contemporary to our festival and thank you very much for all what you do for this small city at the heart of europe it is very important to have centers supporting local development and today more than ever and there is a lot of talk about large cities there's a lot of talk about the opportunities for small cities and maybe it is not by chance that oecd had this idea because this is the only festival about culture so the state coming back to define a new balance between the state and the market the culture of development plays a fundamental role in all this local administrations in my opinion have to work on the positioning of the cities i'm not talking about a market positioning i'm talking about the role the city plays in the general context the debate here in our area shows that trentino is a small area in the heart of europe with a small city trento but when we talk locally we tend to view trento like new york and the trendino valleys as north dakota well perhaps this is not how others perceive this from abroad but what i mean to say is that right now there are millions of opportunities before coming here i met a citizen of trento who used to live in amsterdam he complained a little bit about our bike trails well it is difficult to compete with amsterdam isn't it however i'm talking of individuals digital nomads who live here i don't know how many we have but there are here and they come here because you can live outdoors thanks to our extraordinary mountains but i also know that if we did not have a vibrant cultural backdrop they would not come here so cities like ours must provide a mix of outdoor activities services and culture back to the positioning of our city maybe we also have the fascination of being perhaps not exactly at the center of europe but at the border because we're right in the center of europe but we are the border between two different countries so we are an outpost towards the german area so the fascination of a border area you feel a pioneer if you live in a border area and i believe that there are many opportunities in this and of course we're trying to do our best to systemize our cultural organization in the summer we are going to disseminate culture at every level this means that the festival like this one it's not just four days it is a moment of passion that will irradiate the cities in the following days we have an excellent music school and we're working hard so that note only restaurants and bars but also shops can have people singing and playing music and then we have santa chiara i mean we have areas that are no longer used like any other city and we are trying to develop them with creative cultural industries that can work on gaming on entertainment these are opportunities to highlight and systemize the examples of excellence we have in our city thank you very much well actually was also saying that it is important to transform the festival from a moment to culture into a movement of culture creating continuity and irradiating culture from this hot spot so thank you very much for telling us about the numerous initiatives of the city connecting and making use of the different creative facets of the city producing cross-contamination will certainly help us make one big step forward so putting together many different aspects let's now move to michaela margas who in her biography refers to herself as an innovation catalyst the person who puts together science with art design and technology academic research and industry a few years ago michaela was also appointed innovator of the year by the european commission congratulations for this award michaela i would like to address the importance of ecosystems with you cultural and creative ecosystems for innovation i mean there's a lot of talk about productivity we want to increase productivity to do that we need innovation but to have innovation we need companies that are vibrant and lively so how do you produce this kind of cultural ecosystem to promote innovation michela you are the living example of this you're the living example of transversal innovation so how can art and creativity support growth innovation and the recovery and especially thinking about today's challenge how can they find new solutions to the big issues of companies such as social inequality and climate um thank you for this really generous introduction i must say that uh the award you mentioned actually was the first time that anyone from the cultural creative sector was awarded this it was always previously awarded to science and to engineering so i'm very happy to represent this sector actually in general and also as a member of president vonderlane's new european bauhaus high level roundtable we are very much putting placing culture as a major driver of recovery and of economics so this is actually now recognized very much at high level and we have progressed tremendously actually in the past few years in terms of placing this sector at a forefront and as a driver and i would argue that uh this drive this uh notion of culture creative sector being a major driver is actually applying also now in terms of cross-industry cooperation so as the driver of culture this sector operates very close to emerging markets it's a natural positioning of this sector and uh what is really important right now is driving business in a particularly meaningful way so in the past sort of five years if you notice uh the arts have been actually the frontier of uh testing for instance the affordances of ai or data-driven systems and while we don't want to have a technocentric approach we what is really important but the role that this sector is doing that's really important is to actually understand the affordances of these new technologies and seeing how they impact human beings now as a result of some of the success stories and also you know other sectors have been closely watching these experiments and even using the arts as a test ground for this industry is now demanding experimental labs which are facilitated by the culture creative sector because in order for them to get from the industry 4.0 paradigm which was very much focused on automation to industry 5.0 which is now focusing on humanity and on impact on humanity they really need to see what are these effects of these technologies on on on human beings and what happens in creative environments is that we have we get access to creative inter interaction and imagination to set up this new use case scenario so culture critics sector is also important from this perspective now of course that place is the culture creative sector and the center of cross-domain collaborative prototyping of these new new environments and it also ends up stimulating upskilling across the board across those different sectors so this is another really really incredible uh new positioning because it it is fundamental for the sector to turn the what we call weak ties which are loose alliances between people into strong ties into meaningful relationships and that also means that a consecrative sector is is a very useful early adopter of this new technology because it provides a critical and ethical environment to test the effects of frontier technologies so of course uh from our experience and we have been running labs now for um i believe it's approaching 10 years now but certainly i could say that in the last five years we have had some breakthroughs where we have uh completely redefined the notion of human ability as opposed to sort of what was considered disability before in the in the um with all the technologies and the notion of what is what are new skills and what does it mean to have lifelong learning and also new ways in which we communicate and express ourselves so i would argue that these labs are now central to to where the societal transformations are are being shaped and in the european bauhaus we are really then very much advocating for mass scale prototyping on the ground with cultural drivers so that we can stimulate these new levels of virtuosity and accessibility as well as exploring these new markets so these new experiences and experiments are not only important for the industry of course this is not just a service to the industry they're also revealing new forms of expression for the arts and this is comparable perhaps to the idea that when we just when we uh invented the camera the first thing that we did with the camera was to film a play because nobody could understand the affordances of this new medium and the fact that you could cut and edit and jump cut and do special effects etc and so what we are discovering that these new forms of expression are actually the creative creative people are really really good at starting to drive these systems in very very new ways so it's incredibly exciting it's a very exciting space and for instance if you imagine this in the context of a smart city it becomes a meaningful interface for expression for people's expression as opposed to just being used for management so you could actually start to use the fabric of the city as an interaction for instance between governments and citizens or between uh cultural heritage buildings and and citizens so it's a very very interesting i think if if you think of mental models that you could apply to this like if you think of italo calvino's invisible cities you would not be drawing a mesh network that is uh that is manipulating people like puppets from above it's more like scaffolding that's propping up the fabric um and the culture is very much the glue that sort of exists within that and so for instance for a region like trento this allows for a particular usp where you combine the regional ecosystems and the capabilities and the creativity in a particular unique point um that distinguishes this area compared to any other area that has that has those elements i don't know if i have answered all of your questions so we've moved from a city at the border to an environment is at the border at many borders and tries to push society uh into something that is even more creative glowing merging all these sides and making society even more inclusive so that all existing skills and competencies can be exploited for the benefit of all the citizens michela could you quote some examples considering the period of crisis we've just gone through to simplify what you've just we can we can't hear you oh you can't hear okay can you hear me now great uh so we are drawing on many examples uh in the european bauhaus we really have been collecting huge amounts of examples and there is one case in point actually where for instance there's a really good example how the culture creative sector is driving the agenda now um i mentioned earlier that we the industry is progressing from industry 4.0 from automation to industry 5.0 which is human-centric but in the european bauhaus because it's driven by culture in the creative sector we are already beyond that so the main discourse there is about beyond human or more than human so how do we actually include bigger ecosystems in our thinking biological ecosystems how do we design uh with the broader ecosystems in mind and then lots and lots of the projects are being uh brought forward uh as you probably are aware we have some wonderful people on the on the high level roundtable like all of eliason and the arkhangels who are who who have that sort of thinking already in in their work but also other other artists and architects who are designing their starting point for creativity and for design is to think on those terms so not just human-centric but beyond human um and this is uh because this is now uh driving policy at high level um we are really the the arts are really setting the sort of putting this this next frontier a lot further away than we have been used to previously we were always lagging behind with our research and innovation in this sense and because the arts are always the ones that are clearing let's say clearing the woods for everybody else and this is now being recognized so i think this is really incredible the other the other uh perhaps important um uh point that we are discussing in the european bauhaus is the idea of radical inclusion not just inclusion radical inclusion radical inclusion is this idea that is focusing on convergence of places where we converge um so again uh highly inclusive of all kinds of cultural background social backgrounds we know that we need those we know we need everybody everybody together to contribute and now as i say beyond human ecosystems as well but the idea that you focus on where you converge uh instead of this division into different categories of things um influences the way of thinking and it also drives you to a bias for acting together with bias for action so it is really um it it recommends to listen to amplify and um and to include and in this sense it's also contributing to to education to learning so learning is very much at the focus so education has been equality in education justice in education has been like a really really big theme um so again this is very much driven by the cultural creative sector so this if you can imagine this must-scale prototyping on the ground which i mentioned that we are recommending with those elements at the forefront that these are our big challenges these are uh ways of thinking we end up with the with new kinds of levels of human virtuous virtuosities uh in these collaborative environments if you know if i could sort of state a personal ambition if we could get every person uh that is participating in this mass scale prototyping to up their development to take one step further forward no matter what their starting point whether no matter what their background to to go one step forward in their personal development we end up with huge societal transformations really interesting i would like now to move to uh our uh guest from australia yusina who is really key for this sector she represents the festival of adelaide area places like trento a city or festival and also in charge of the international network of the festival cities including krakow montreal edinburgh singapore and hopefully trento in the future we know that festivals arts theater had a major uh hit during the pandemic because uh people could not perform what is the role of public institutions well indeed that they have a key role to help the sector survive all the more so now to support recovery and to indeed help these activities born again many alternatives uh in this time of pandemic have been conceived of i'd like to hear from you if you could tell us what strategies have you applied i mean i refer to some of the institutions that you are aware of during the time of endemic to survive but also to look at the future how on the one hand institutions can be of help to the sector and what are the demands from the sector of the industry to the institutions and also as michaela said uh what about the new technologies moving to the uh industry uh 5.0 with the new emerging technologies how can the public sector help everyone to get the most and make well firstly good evening everyone from adelaide australia it's such a pleasure to be with you um this evening today i wanted to start by providing a little bit of context into the festival and live entertainment industry here in australia in the previous year by october of 2020 it suffered a 65 downturn um that was about 23.6 billion dollars worth of economic output that it lost including two-thirds of its workforce so when we talk about skills shortages and capacity uh we're talking about a sector here in in our country in australia that has been very decimated and so i'll come back to how public institutions can really help to support that but over the years adelaide has really earned the moniker of australia's festival capital and that's primarily for the reason that an incubates what i like to call an endangered species of festivals which is the non-profit festival the uh we've seen in recent years uh uh quite a spike in the commercialization of festivals um which has really taken a turn away from the public festival and the festival for the public um so we have that special breed here in in adelaide uh south australia which is one of the states here in our country has done remarkably well in managing the pandemic unlike other countries and other states we've only seen 741 infections here in south australia and are actually anticipated to grow in 2021 in terms of our economic forecasts so we've been quite insulated uh but that doesn't mean that we haven't experienced uh the the negative impacts of the pandemic particularly the city has been affected most of all and our public institutions our public sector is really turning to festivals and live events for solutions several trends have recently been identified as ones that have been negatively or differently impacting cities and that includes the focus around work flexibility uh the fact that people are working more remotely and from home uh the fact that businesses are shifting to e-commerce and online uh the fact that there have been significant changes to have people move in out and within a city and the fact that people have really reconsidered where they want to live and so two things have become really important how do we redefine public space how do we use our outdoors and how do we create experiences that are central to consumers and workers decision making what has happened during the pandemic is actually the fact that festivals have become central to our city's recovery uh moving forward in the future uh so the federal and state response to that realization has been to provide the sector with um really practical support from emergency cash grants to land tax relief that supports tenants and landlords but also payroll tax relief for businesses including tax waivers uh travel voucher schemes that support accommodations who then couple their offerings with arts and culture to lure tourists back back into the city we've had business advisory services set up as well as a significant moratorium on evictions which has helped a lot of arts and cultural businesses survive throughout this period importantly we've also seen an injection of hundreds of millions of dollars into the arts and live events sector including funding that has gone into um well-being hotlines and mental health hotlines specifically designed for arts um and arts workers and organizations which have been critical uh given given the uh serious uh impacts to to the workforce in the live events um sector so the consequences of the pandemic while they are nowhere near the scale of what they are in other places um we we have had um have had success in pulling through with seven festivals uh since the pandemic has hit uh which have experienced only a 25 decrease in in ticket sales so in fact the good news has been that there's a lot of pent-up demand people want to get back to the arts uh and as soon as they were able to they they came out um and and supported the festivals and participated which was fantastic news but yet uncertainty is a is a constant companion and the most significant threat to our sector currently is affordable business insurance so it it is a risk to to own an arts business and is a risk to put on a festival uh it is a risk to to um do do anything even as a sole trader or an independent artist and so to have that business confidence through insurance is really really critical however we are going to need to see federal solutions to a very deep uh problem that requires significant reform global competition for for online content has also increased as as we touched on in the previous responses there are concerns over copyright and and quality control and audience inequality particularly between city and regional areas uh as well as the monetization of of uh online content um which i don't think we're going to be able to solve in in one conference but certainly is going to require the attention of our brightest minds in in the very near future uh we're also here in south australia really keen to draw attention to the fact that uh arts festivals require extensive infrastructure um that means stages tense catering sanitation traffic control audio visual equipment uh when you cancel a festival or an event you are actually cancelling an entire value and supply chain that is connected to it and so these event crews sales technicians everybody who works behind the scenes given the pressures of the pandemic they have been experiencing a lot of these people have decided to step away from the sector leaving us with skill shortages in the industry particularly around audio-visual technology any anything in the area of the digital as well as theater technicians but also first aid and medical staff who have now been asked to really prioritize covet coveted matters and pandemic matters so these are shortages that we're going to have to really tackle as as a state as a country in the near future this has massive flow-on effects on mental health impacts which has been widely recognized by government as a really core issue to tackle and so we've been very grateful for the funding that both federal and state government has pushed into national charities one in particular here is called support act and and this one provides crisis relief and mental health support um to artists to crews um to tech staff and their families which has been uh really instrumental we've also seen uh significant government incentives public incentives into new skills programs subsidized education and training uh particularly through micro credentialing so so a a program where people can really stack short courses bit by bit and and work their way up into creating a training or education practice that really suits their sector and their needs we're also seeing a renewed focus on the incubation of local talent however that that does come with its limitations the arts revolves around the mobility of people the mobility of artists and talent and and crews so while it's great to see that local incubation taking place uh we are missing that international commingling that is possible uh when when borders are open however i i don't anticipate south australia to australia in general to become open in the near future so i suppose to to summarize uh kind of the top priorities at the intersection of festivals and government and and the public sector certainly we are going to need contingency and business insurance funding schemes that help us to solve this problem of lower business confidence we're going to need associated regulatory frameworks that really make that possible we're going to need reimagined cultural tourism strategies live events have that key word in there they're live they require people to come together and so how does cultural tourism work in this in this new reality we also are really keen to prioritize the sustainable development goals as as a framework as that scaffolding that michaela was talking about before around which we're incentivizing collaboration between festivals and other key policy domain outcomes that we would like to see so whether that is international education health and well-being or gender equality the sdgs are going to become really instrumental moving forward for our city and for our festival sector and then to to round it out in australia in particular accessibility to digital and tech experiences is is a really key issue um there is high discrepancy between the cities and the regions and and so how how do we equalize uh this playing field so that we can uh bring the arts to more people uh we also are seeing a need for better policies and uh protections for people working in the gig economy if this pandemic has uh revealed anything it's that this is a a real weak spot currently of of policy so we need to protect that pipeline of creative content creation and we need to create protect the people who are creating that content and lastly the the pandemic has really made this festival sector in australia really rethink how it cooperates internationally how it exists in a global circuit how it relies on mobility and and partnerships and and platforms and of course we are very far away but more than ever this communication and reimagination of of policy in particular is is is critical to to our recovery uh post-pandemic um so i think i will end it there thank you thank you very much justina well we would have really loved to have you all here live in training like we used to do in the past because in the past at trent during the festival there were so many people and we spent time together also after the official sessions you could walk the streets and talk to many people exchange ideas but this will come back in the future conversely the use of new technologies has been pushed so much that it has managed to reach other smaller situations opening up new borders and new frontiers and of course some have been able to take advantage of that others need to be supported you have to support creativity culture especially if you're talking about small scale situations so thank you very much justina we have another seven or eight minutes we have pierre luigi sucker connected with us who i am sure has been titillated by the topic of well-being and health because we have heard that the creative and cultural sector are fundamental for the psychological well-being of individuals and i know that peer luigi this topic is very dear to bill luigis so bill luigi in a few minutes could you comment on what we said and then we can see if we have any questions from our thank you very much alessandra yes it's been an extremely stimulating panel i took dozens of notes so thank you so much for to our panelists i had no doubt about that they think that uh one of the aspects that emerged most clearly through the panel is that we are measuring a new awareness of the importance of culture it's very important to stress that for such a long time for example social scientists and economists themselves we are in a festival of economics in the end i thought of culture or something that was really at best one of the possible leisure way ways of leisure of people and so see something relatively marginal and highly specific from the point of view of the relevance domain for us humans but what we are learning and uh clearly the panel showed that very clearly is that culture has a much more profound implication well-being is one of those but just to give a let's say broader picture from this point of view what we have learned just today for example from the discussion has been this first of all the importance of culture from the point of view of the r d strategy in a knowledge intensive society and technology michaela for example stressed the very very important concept of affordance which is something that today is mostly the province of cognitive scientists and designers but we should really learn what affordance really means which really means what kind of things are enabled by a given technology or by a given set of possibilities we are learning for example that culture is an extremely important playground to understand the impact of new technologies from the point of view of new possibilities and this is not just confined to the cultural sector today for example we are witnessing a new alliance between the most innovative segments of all kind of industries and the experimentation that happens in the cultural field but think for example of the concept of behavioral change again michaela and walter justina practically everybody stress the fact that today we are linking in a completely different way cultural participation to those changes of attitude that are fundamental to take all societal challenges in a different way the very notion of the new european biowares is there to say that if europe wants to have a full green transition we need to change behaviors and in changing behaviors culture can play a hero this is something completely new for example in a festival of economics like trento there have been countless discussions of magic that i totally understand and respect but not just a single discussion of what culture can do not as an alternative necessarily to nudging but as a complementary way of doing this with the difference that nudging was invented so to speak let's say 20 years ago to be generous and culture has been there for hundreds of thousands of years doing the same thing so probably there is something we are missing from the picture but think for example of all the issues that uh justin or velter pointed out in terms of re-socializing in some sense after the pandemic crisis we need to find a new social bonds we need to reweave so to speak the social architecture of our production of our city life and so on and so forth and also from this point of view is extremely important on two different levels the role that culture can have in rebuilding a cohesive society and the crucial role of building cultural networks which is fundamental as a backbone from this point of view because the critical mass of cultural production once we create viable networks of cultural and creative producers can really become functional not simply to the survival of the cultural sector but to the reanimation of so many proximity mechanisms of our society and of course well-being because well-being is very much about emotional regulation and a natural experiment with this pandemic has sadly been how deeply we have been struck by the pandemic crisis in terms of let's say shock shocks shocking shocking ways to destabilize our psychological mood or our let's say sense of well-being and how crucial culture has been for so many people to regain emotional regulation or to stabilize mood and unfortunately also the sad experience that all those people that as walter said have not taken advantage of the cultural participation option how they have been taxed by their lack of ability to connect to cultural resources in stabilizing their own psychological well-being we are in a sort of uh post-traumatic social stress condition so the cost of this will become apparent unfortunately not just in the next three years but in next decades because this has been like a war so understanding now what can be the role of culture in rebuilding a new notion of public health in which really our capacity to connect and to control our emotional states through culture which is a true technology that by the way if we see from this angle has been developed through thousands and thousands of years of human practice if you if we really look at cultural history with the right perspective this really means that we have a new unprecedented possibility to bring cultural policy at the earth of the post-pandemic strategy and this is a crucial opportunity and it's very very important to stress that europe in particular in this moment is the most focused quadrant globally in terms of creating a transformational groundbreaking agenda for cultural policy and as walter mentioned the new european agenda for culture can really be seen as the conceptual blueprint that exactly puts the priority and the possible threats of the policy design and action to implement this kind of vision so we are in a very difficult moment as walter said it's been a tragedy for the cultural sector and not only but in some sense it's always in a sense it's like we are after the big plague that gave rise to the renaissance we have an incredible amount of opportunity now to change completely our approach and in some sense also to be truly transformational through culture at a scale that has not been seen for centuries and i'm not exaggerating thank you very much alessandra thank you very much we now have a few minutes for a question so culture for social transition this is for sure a very important topic right are there any questions because we have a couple of minutes for that any questions please come to the microphone could you also say to whom you're asking the question i have i'm asking a question to a mayor good morning mr mayor well since i have founded the first public lysium um in trento i have learned some english my husband is actually english and then after founding the da vinci's cool i have dedicated myself to politics so i would like to a question to the mayor who was also a pupil of mine an excellent people of mine so we the question is we are now trying to recover after one and a half years and we are reorganizing our different cultural activities i have found it and i preside several cultural associations in tantino and two national ones and this week we're presenting my book on the autonomy please come to the question because we don't have much time sure the question is identity and territoriality so we're organizing many meetings we're making many proposals the majorism of culture and is able to extract value from this so my question is mr mayor we are going to make some proposals for meetings for different events in cooperation with the commission for equal opportunities and women's emancipation so could you give us concrete laws that can support our recovery thank you i didn't get it whether you're asking for funds or if you're asking for something else anyway i believe that we should treasure or what we have heard today today we've understood much better that culture leads to being part of society which is fundamental in this post-traumatic meaning and it points at the behavioral change that is requested following the plans of the european union well every city has a budget and right now there is a dilemma should we invest in culture what is necessary what is not necessary our city supported from what we have heard today believes that investing in culture is the number one thing to do also to the advantage of the unemployed individuals who finding an open vibrant inclusive city can be best supported towards the future we're all building together thank you thank you very much mr mayor but of course to produce new culture we need to restructure and reorganize our cities as well well our time is over but maybe we can allow for one last question please come to the microphone well i would like to congratulate the mayor and the city thank you for giving this wonderful opportunity every year to take part in this festival so i've heard about artistic inclusion well maybe you should also find some more space for art and poetry maybe during the summer or with a different schedule from the festival why not i believe that these worlds could be integrated they seem far apart but actually they have much in common thank you very much that was not a question it was a comment but i believe that we can conclude with this wonderful comment thank you very much thank you very much to mayor yanzeli thank you very much to our guests eustina valtteri have a wonderful day thank you you