Download Working papers /pdf - culturability baltic sea region

Working Papers
Workshop 3
12-13 June 2014
Floating Art Galleries NOASS
Riga, Latvia
Table of Content:
1. Introduction to Culturability BSR Workshop 3
3
2. Focus: Towards high quality and high impact projects
6
a. What is “high quality, high impact” project proposals
6
A great idea
A great plan
Great management, partner- & user involvement and co-creation
b. Strategy considerations for projects in Culturability BSR
7
European Union Strategy and Action plan for the Baltic Sea Region
EU 2020 Goals
Culture as a driver for an inclusive circular economy and identity in the BSR
c. Combined Impact and evaluation
9
3. Project proposals, scenarios and/or statements
10
Introduction
10
Artistic and creative entrepreneurship for sustainable development
a. GUTS (proposal in progress)
11
b. Baltic House – towards a circular culture (proposal in progress)
22
c. Urcycles (short scenario/statement)
31
Digital spaces for creativity/lifestyle/behaviour and sustainable development
d. Good Deed App (statement) + abstract of proposal SUPROS which is inspiration
33
e. Gaming and urban/rural/BSR development (statement)
35
Cultural mapping, planning and engagement and sustainable urban/regional
development
f. Green Box (short scenario/statement)
37
g. Baltic Live - Liveable Cities/Regions (information on project in progress)
38
4. Cases
39
a. Reet Aus (Estonia) – paper will be included in final report
b. NN (tbc) – paper will be included in final report
c. NN (tbc) - paper will be included in final report
5. The program
40
1. Introduction
Welcome to Culturability BSR, Workshop 3
A warm welcome to the third workshop of the Culturability BSR Project. The workshop is
taking place in the wonderful city of Riga, Latvia this time.
The workshop take place at the venue of the NGO “Culture and Arts Project NOASS”, one
of the most marvellous locations in Riga, the floating art galleries by the river Daugava,
fronting the old city centre. Part of the workshop experience will in addition be that we will
go to a really serene venue outside Riga for the last session in late afternoon on day 1 and
remain there for a nice dinner.
Our workshop takes place in the midst of the spectacular celebrations of Riga European
Cultural Capital 2014 and contributes to its program.
Welcome to participants!
Welcome to the core group participants, which are those who already participated in the first
and/or second workshop, which took place in Nordkollegg in Rendsburg, SchleswigHolstein in Germany 30-31.01.2014 and Baltic Sea Cultural Centre, Gdansk in Poland 2728.03.2014 respectively – both also amazing venues. The core group participants have
already been introduced to the project and are familiar with its goals.
Welcome also in particular to many new participants in Riga, of which most will be onetimers and only attend in Riga. We are very happy that you all are with us. The experience in
Rendsburg & Gdansk showed us that it is very rewarding to have attendees from the hosting
area engaged in the topics to take active part. This was of great value to both core group
attendees and the one-timers. New participants are advised to consult the reports from the
Rendsborg and Gdansk Workshop to be informed on the background for the Riga workshop.
Goals of Riga Workshop and of Culturability BSR
The theme for the Riga Culturability workshop is High Quality – High Impact Projects.
The first goal of the workshop will be to qualify and elaborate a list of high quality and high
impact project proposals on culture for sustainable development in the Baltic Sea Region.
The project proposals focused on are submitted in advance of the workshop and are listed in
chapter 3 and as appendixes. It is the goal of the 3rd workshop to come as far as possible in
elaborating and qualifying these project proposals. If something is missing in the projects,
this should also be identified.
The second goal is to increase co-ownership and engagement to as many proposals as
possible. We ask that you study all proposals submitted and listen to the short presentations
made on them in Riga, and all indicate your possible interest and roles you potentially might
see for you and your institution (or other institutions you are connected with) during the
workshop.
A very important workshop – spend your time well!
The Riga workshop is very important not only because it is the last of three workshops, but
because this is the last and only opportunity for you and us all really to create cross BSR
cooperation and links. This is indeed the only time where we have 24 hours to connect and
build a BSR, cross-sectorial basis for the various proposals, which hopefully will evolve in
the coming years. There will be different drivers for each proposal, but many can be
engaged with other roles in all proposals.
So please make sure to talk with as many actors as possible and note and share with the
organisers where you have interest in exploring follow up after the workshop.
We must conclude with proposals, containing great ideas, plans and stakeholder/user
involvement. Also we must conclude with a realistic plan for how to finalize work not
finished during the workshop, so the projects will stand a chance in qualifying as worth
attracting funding to as “high quality and high impact projects”, when the concluding
seminar will take place in September.
Working papers
The Riga working papers – which you are reading now – provide an introduction to the
workshop.
 Chapter two elaborates on the focus of the workshop: High quality and high impact
projects.
 Chapter three presents the projects for elaboration and qualification during the Riga
Workshop.
 Chapter four gives a short introduction to 3 cases, which will be presented during the
workshop
 Chapter five provides the detailed updated program for the workshop.
Reference documents
The core reference document for this workshop is the Reports from Culturability BSR
Workshop 1+2. This report has already been circulated to all of you. The first report
articulates the overall basis for the Culturability BSR project and workshop 2, including
goals, definitions, challenges and context for urban development, creative industries and
social innovation vis-a-vis culture and sustainable development. The second report provides
an elaboration of the vision and dream scenario we are basing our work on – the vision of a
circular economy – and describes the process, which started the identification of the
projects, which is the subject of the Riga Workshop.
The report also includes summaries and references to the core decisions and studies, which
is the foundation for Culture for Sustainable Development Baltic Sea Region (Culturability
BSR). A key reference study was Culture and Sustainable Development in the Baltic Sea
Region - 8 findings, a number of opportunities, and a way forward…”, which is available at
http://dx.doi.org/10.6027/NA2013-913.
Please also consult the Culturability BSR web-site at: www.culturabilty.lv . This site will
shortly include all above and an additional wealth of information, such as all the PowerPoint
presentations provided by presenters at the first and second workshops.
Olaf Gerlach-Hansen
Simon Drewsen Holmberg
2. Focus: Towards high quality and high impact projects
a. What is “High quality – High impact projects”?
Three things are required:
I: A great idea.
A great idea is borne, when you intuitively can feel that it is necessary and makes sense. In
our case it is a great idea for how culture can drive sustainable environmental, social and
economic development.
This “feel” is the first requirement for any idea to unfold and work. This goes not least for
culture – where the value often is intangible: experiences, feelings, aesthetics, stories,
sounds, designs etc.
The lack of the “idea” is not necessarily a symptom that it is a bad idea per se. But it means
that you will not be able to make the idea work before you achieve the “feel” that it works,
e.g. following more research, dialogue, testing, pilots etc.
II: A great plan
A great plan ensures that the great idea realistically can be implemented.
How to make a great plan has been a major subject in international cooperation since the
1960-ies. Given the failure of many development projects due to lack of account of e.g. the
cultural factor, the USAID at the time developed the so-called Logical Framework Approach
(LFA).
LFA is an analytical and management tool which is now used (in one form or another) by
the European Union, most multi-lateral and bi-lateral agencies, international NGOs and by
many governments. It is basically a tool to make better projects, but also now often required
in some form another in funding applications.
Culturability BSR proposals directed to European Union funding sources thus must expect
to apply the LFA approach, when submitting proposals and filling out application forms.
Standard elements in project proposals are typically:
Background (context, needs assessment, assumptions)
Aims and specific objectives (immediate, medium term, long term)
Target groups/beneficiaries
Strategy
Activities
Expected results, outcomes and impact
Indicators (how to measure above)
Organization (management, partners and their roles)
Time-plan (Gant-chart)
Budget and financing
Risk Analysis
A proposal using LFA is expected to demonstrate coherence between all elements. This
implies e.g. that that the each of the specific objectives in a proposal is reflected in the
coherent consequent description of all following points e.g. with matching target groups,
activities, results/outcomes, indicators, organization, time-plan, budget and financing. Often,
but not always, a “Logframe Matrix” is required where the links become very obvious.
LFA may have to be supplemented with other obvious tools to ensure quality and impact,
e.g. economic and financial analysis, cultural mapping, social or environmental impact
assessment.
III: Management, participation, resources and co-creation
Even the best idea and plan can however fail if management, stakeholder participation and
target groups and users are not involved effectively in the project. Effective involvement
also brings human and financial (in-kind) resources needed to co-create a success for all.
For all Culturability BSR projects this is particular important to address for two reasons:
- The power of culture as a driver lies in the engagement and participation in can offer. So
our projects must involve optimally stakeholders and users/target groups.
- Baltic Sea Region cooperation requires involvement across the BSR, i.e. participation of
stakeholders, users/target groups across cultures and borders.
When designing the project and its organization it is important to consider and engage as
many as possible in meaningful roles:
- Overall management: What is required and expected, who can offer to provide what is
needed and bring relevant expertise/capacity?
- Part-management: Specific roles locally or on certain tasks: What is required and
expected and who can offer to play what role?
- Stake-holder involvement: Is any stakeholders left out – how can they be engaged?
- User and target-group involvement: How is this ensured throughout the process
b. Strategy for projects in Culturability BSR
Culturability BSR projects will each have their own strategies, but all have the following
strategic context. This can thus be included in project descriptions under “strategy” as
appropriate to the specific project:
European Union Strategy and Action plan for the Baltic Sea Region
Project proposals – if agreed to and finalized with the expected quality - constitute proposals
of the EU Flagship Project Culture for Sustainable Development in the Baltic Sea Region
(nicknamed Culturability BSR) in Priority Action Culture (PA CULTURE) of the Action
Plan of the European Union for the Baltic Sea Region (version 2013).
The proposals can thus be said to have been conceived and qualified through a series of
Culturability BSR workshops involving actors from across the Baltic Sea Region engaged
with culture, sustainable development, creative industries, urban development and social
innovation.
The Culturability BSR proposals will all be part of Baltic Sea Region goals in the action
plans for PA CULTURE, and with individual variations they are also in line with the
following goals.
EUBSR Priority Actions: PA EDUCATION, PA SMS, PA INNOVATION, PA HEALTH, PA
BIO, PA TOURISM.
EUBSR Horizontal Actions: HA INOLVE, HA SPATIAL PLANNING, HA SUSTAINABLE
DEVELOPMENT AND BIOECONOMY.
For the EUBSR Action Plan, see: priorities http://www.balticsea-regionstrategy.eu/component/edocman/eusbsr-action-plan
EU 2020 Goals
Culturability BSR proposals – if agreed to and finalised with expected quality - are
proposals for using culture as a driver for the EU 2020 strategy of smart, inclusive and
sustainable development.
Culturability BSR proposals can in this context contribute to one of the 7 flagship
initiatives Europe has identified to boost growth and jobs. Within each initiative, both the
EU and national authorities have to coordinate their efforts so they are mutually reinforcing.
Smart growth
• Digital agenda for Europe
• Innovation Union
• Youth on the move
Sustainable growth
• Resource efficient Europe
• An industrial policy for the globalisation era
Inclusive growth
• An agenda for new skills and jobs
• European platform against poverty
The Culturability proposals also contribute through culture to achieving the 5 EU 2020 key
targets (see below). The points they address and the way they do it, will require qualified
reflection, since culture is normally not seen to be instrumental to these goals.
• 1. Employment
– 75% of the 20-64 year-olds to be employed
• 2. R&D / innovation
– 3% of the EU's GDP (public and private combined) to be invested in
R&D/innovation
• 3. Climate change / energy
– greenhouse gas emissions 20% (or even 30%, if the conditions are right) lower
than 1990
– 20% of energy from renewables
– 20% increase in energy efficiency
• 4. Education
– Reducing school drop-out rates below 10%
– at least 40% of 30-34–year-olds completing third level education
• 5. Poverty / social exclusion
– at least 20 million fewer people in or at risk of poverty and social exclusion
Vision: Culture as a driver for an inclusive circular economy and identity in the BSR
Culturability BSR proposals are articulated based on the explicit desire to allow culture to
drive integrated environmental, social and economic sustainable development.
The vision is an inclusive circular economy and identity in the BSR 1. Culture plays a pivotal
role in enabling this vision to flourish by anchoring it in shared BSR human and social
values, concern for natural resources, heritage and aspirations for contemporary and future
livelihoods and lifestyle.
The Culturability BSR proposals build on the following principles:

Contribute to creating an inclusive circular economy and identity in the
BSR through culture

Cross BSR involvement (East, West, North, and South) to contribute to
regional inclusion, synergy and opportunities.

City/regional anchoring at following levels:
o
Appropriate city/regional authorities to ensure local support,
involvement and effect
o
Civic, cultural & creative industries, social innovation and business
involvement in program design.

Protecting and promoting the diversity of BSR cultural expressions,
gender, ethnicity, etc.
c. Combined Impact and evaluation
To achieve impact through synergy and complementarities the proposals submitted before
the Riga Workshops have been clustered in groups. This has been done in cooperation with
those submitting the proposals and will allow the clustered groups to discuss the shared
content and how to proceed, e.g. to combine or separate efforts as appropriate, in order to
get best result.
The way this is done is described in chapter 3.
An important element of all projects will also be to evaluate results in the process in order
to learn and change course if needed. To do this, it is proposed to seek to develop a research
project in cooperation with BSR research institutions.
1 This vision is in line with the European Commission Manifesto for a Resource Efficient Europe
http://europa.eu/rapid/press-release_MEMO-12-989_en.htm . It stresses that the EU has no choice but to go for the
transition to a resource-efficient and ultimately regenerative circular economy. The manifesto also stressed that a
circular economy must be an inclusive economy.
3. Project proposals, scenarios and/or statements
In this chapter you find the „raw” outlines of the proposals we have received as called for in
earlier mailings after the Gdansk workshop. The proposals below:
o All proposals are far right now from qualifying to be “High Quality – High Impact”
proposals. But they hold the potential, which is why we are sharing them.
o We have excluded existing projects already decided on, planned in details or partly
implemented.
o We have noted that all proposals2 use culture as a driver for integrated sustainable
development and all connect with social innovation, creative industries and urban
development. This was set as a core criterion.
o Some have a stronger focus on artistic/creative entrepreneurship, others on creative
industries, and others on urban development. This is also reflected in how we are
organizing the group work around them.
o The projects include:
 Three projects articulated for the first time at the Gdansk workshop: GUTS,
GOODEED and Green Box (formerly Healthy Space). In particular GUTS
have been developed further since Gdansk.
 Two projects proposed afterwards by Gdansk participants: Baltic House (by
Baltic Sea Cultural Centre in Gdansk and Färgfabrikken) and Urcycles
(Cultura21 Nordic).
 One project idea proposed afterwards to connect gaming industry with
regional and Baltic Sea planning based on real data from authorities.
 Two projects who already received EUBSR Seed Money (Baltic House
mentioned above and Baltic Live (Baltic liveable cities/regions). The latter is
included to explore possible connections.
The proposals range from longer proposals in progress (early versions) to simple statements
of intent, motivation or short scenarios.
The proposals, scenarios and/or statements are:
Artistic and creative entrepreneurship
a. GUTS (proposal in progress)
11
b. Baltic House – towards a circular culture (proposal in progress)
23
c. Urcycles (short scenario/statement)
34
Digital and real spaces for creativity/lifestyle/behaviour
d. GooDeed App (statement) + abstract of proposal SUPROS which is inspiration
37
e. Gaming and urban/rural/BSR development (statement)
39
Cultural mapping, - planning and – engagement in urban/rural development
2 Baltic Live (Livable Cities/Regions) may be less focused on culture as a driver per se – but sets a very good
framework for it, which is why we will explore if connections can be made.
f. Green Box (short scenario/statement)
41
g. Baltic Live (Liveable Cities/Regions) (information on other project proposal)
43
OGH 31.5.14 based on input from LA, OK, SD, JH
GUTS
SCENARIO
Project description in progress
Table of contents
1. Name
2. Summary
3. Why?
4. Aims and objectives
(12)
5. Strategy
6. Target groups
7. Activities
Program-activities
Duration of program-cycles
BSR profile of program
8. Expected results and outcomes
9. Organization and time-plan
10. Budget and financing
Appendixes
2 (12)
2 (12)
2 (12)
2
3 (13)
3 (13)
4 (14)
6 (16)
6 (16)
7 (17)
8 (18)
1. Name of program: GUTS
2. Summary
The proposal is to develop a scheme which encourages and supports individual artists and
creative entrepreneurs who have GUTS in their passion to pursue sustainable development.
These people recognize that nothing is possible without risk and passion, and they believe and
practice that this is needed for sustainable development and is worth and important to unfold.
The aim of GUTS is to assist these creative makers, to build a stronger community, to develop
their capacity for change and to give them guts.
3. Why? (motivation, needs, background)
Quite a number of artists and creative entrepreneurs with passion to pursue sustainable development
exist across the Baltic Sea Region. They have “ideas”, but they lack a bit of support to use the ideas and
connect them the right places. Many artists and ‘dreamers’ have guts to bring benefits out for society, and
their work has potential to actually increase resilience and innovation in cities and other contexts.
However, their work often remains unsupported and results are underexposed. So although there is a
strong need for their voices of disconcert and creative solutions, they often find themselves working
individually and without institutional bases.
4. Aim and objectives (immediate, medium, long term)
The aim is to build a high quality, high impact program, which accelerates the participation of the nonrecognised part of the ”creative class” in contributing to achieving environmental, social and economic
sustainable development in the BSR. This entails the following objectives:
(a)
Artists and creative entrepreneurs: identify, invite and support artists and other individual
creative entrepreneurs in the “creative class” with great ideas related to sustainable development
(b)
Institutions: to meaningfully connect identified artists/creative entrepreneurs and their ideas to
needs and opportunities identified within businesses, public sector and cities striving for sustainable
development.
(c)
Society: to achieve an increased positive contribution to society of value both to the individual
artist and creative entrepreneurs, and to businesses, public sector and cities/regions.
The immediate objective (2014-16) is to undertake a test program, which involve a broad range of
potential participants (artists and creative entrepreneurs) and potential institutional stakeholders and
partners.
The medium term objective (2016-18) is to undertake a pilot program-phase involving minimum 6
regions in South, East, West, and Northern part of the BSR.
The long term objective (2018-23) is to establish the program involving all BSR countries in 5 year
cycles.
5. Strategy (relation BSR strategy, EU 2020, cultural vision of circular economy)
European Union Strategy and Action plan for the Baltic Sea Region
The GUTS program proposal is developed as part of the EU Flagship Project Culture for
Sustainable Development in the Baltic Sea Region (nicknamed Culturability BSR) in Priority
Action Culture (PA CULTURE) of the Action Plan of the European Union for the Baltic Sea
Region (version 2013).
The proposal is conceived and qualified through a series of Culturability BSR workshops
involving actors from across the Baltic Sea Region engaged with culture, sustainable
development, creative industries, urban development and social innovation.
The GUTS program proposal are closely aligned with Baltic Sea Region goals in the action
plans for PA CULTURE, PA EDUCATION, PA SMS and Horizontal Action Involve (HA
INOLVE). It furthermore has close affinities with PA INNOVATION and HA SUSTAINABLE
DEVELOPMENT AND BIOECONOMY.
EU 2020 Goals
The GUTS program proposal is a proposal for allowing BSR, creative artists and creative
entrepreneurs to connect the EU 2020 strategy of smart, inclusive and sustainable development
with GUTs, creativity and engagement.
The program proposal contributes to all the 5 EU 2020 key targets.
Vision: An inclusive circular economy and culture in the BSR
GUTS is articulated based on the explicit desire to allow arts, creative entrepreneurship and
culture contribute to integrated environmental, social and economic sustainable development.
The vision and a long term objective are to contribute to building an inclusive circular economy
and culture in the BSR.
To build GUTS the following principles will be applied from the outset in the test-, pilot and
program phases as a strategy to ensure that the program can achieve its vision and long term
objective:
 Cross BSR involvement (East, West, North, and South) of participants and partner & host
institutions in order to contribute to regional inclusion, synergy and opportunities.
 City/regional anchoring at following levels:
o Appropriate
city/regional
authorities
(labour-market/social/economy
and
environmental) to ensure local support, involvement and effect
o Civic, cultural & creative industries, social innovation and business involvement in
program design.
 Apply the current knowledge on inclusive circular economy and culture through GUTs
training, network and events.
 Focus on youth 18-35 without excluding non-youth
 Diversity in gender, ethnicity, cultures etc.
6. Target groups
(a) Artists and creative entrepreneurs committed to sustainable development, which can use the
program to succeed in their endeavours.
The project includes equally artists and creative entrepreneurs for two particular reasons –
artists hardly can obtain success on the open market without any entrepreneurial skills and
on the other hand entrepreneurs can’t create valuable products and services without artistic
touch or soul.
What brings artists and creative entrepreneurs together is their ability to dream. Dreaming is
the first prerequisite for success and relevant .The proposal will build a space for them,
because in many countries they are unemployed or find it difficult to use their full potential
even if they de facto have professional skills. Very many, not least artists live on the edge as
they are not recognized.
(b) Institutions (businesses, public institutions, cities) interested in attracting creative talents,
who can help quality, apply, test or develop new sustainable ideas and solutions for the
institution.
The interest can e.g. concern new content/products or new types of
communication/marketing of the institution/business, which will strengthen actual
sustainable practices.
(c) Knowledge providers (universities, cities, specialized organisations). This will be expert
institutions and individuals who can facilitate a bridge between the societal benefits, which
the program seeks, and the design of the program activities, including
selection/recruitments, trainings/workshops, matchmaking of the two first mentioned target
groups [se activities 7 a-d]. They must be able to connect: arts & culture, environmental and
social sustainability & circular economy and creative/business entrepreneurship.
7. Activities
(a) Artists and creative entrepreneurs: The identification could take place through a double approach of a
public call and the building of a partner network. This is important in order to create a balancing of
the relation between artists and the contexts in which they (will) operate, by addressing the
vulnerability common to all, not only to the artists. The two activities are:
i. A public call combined with direct invitations, inviting artists and other creative change
makers to apply, and to already in this phase identify the challenges limiting their ability to
pursue creative visions.
ii. The building of a partner network with companies, NGOs, and public services that can
identify specific needs and challenges related to sustainability, where a creative approach is
called for.
(b) Institutions: A support program developed with partner institutions with:
i. training sessions will be carried out, bringing in the artists/creative makers to sites in the
Baltic Sea Region; through a series of sessions, the participants can be offered reflective
community, mental and practical training, tools for strengthening their processes and for
interacting with business, organizations and policy makers;
ii. Match-making between the artists /creatives, and the partners, where they will carry out
training projects. These training projects will be identified in collaboration with partners, and
must meet certain criteria, the most important being that they should deal with real issues
and problems – not a “protected workshop”, but real projects. Thus, the training projects will
hold all the challenges that the artists meet in their normal work and related to real interests
of the partner institutions.
(c) Society: The project will include:
i. Recurrent workshops with all partners, artists as well as partners, where peer-coaching,
invited guest agents, and training sessions will sustain the progress made and offer support
for continued improvement.
ii. A tool that can be used is a system of 'deep buddies', with more experienced agents offering
support, shadowing opportunities and reflective challenges to less experienced participants.
iii. From these sessions, work will also be done to select stories, results, and questions that need
to be told to a broader public. Collaboration will be installed with a media partner such as
ValoTV (Nordic Culture Network TV), for whom the propagation of culture for
sustainability can be a boost to their content and mission, and create substantial visibility for
the participants.
Furthermore the project could also contain:
(d) A task of trying to develop its own subsequent sustainability, looking at the possibility to become a
more permanent, user-innovation, open institution in Baltic Sea culture for sustainability.
Duration of program-calls
Each program-call will have a project-cycle with duration of up to 2 years:
 Call for participants: 3 – 6 months
 Training/workshops for participants: Events spread over 1-3 month
 Match-making and stay at hosting institutions: Program of 1 – 12 month
 Recurrent workshops for all artists/entrepreneurs and partners/hosts
 Other elements (communication, evaluation, etc.): Events spread over 1-3 months
Total: ½ - 2 years.
The program and its events must be flexible in order to fit into the various situations the
participants can be in, be it unemployed, part-employed, students or full employed.
Participation in the program should be recognized by the relevant labour-market authorities
and policies in all BSR countries.
Joint BSR profile of activities:
The program should be developed with common criteria, opportunities and activities for all
BSR countries and must transcend normal cultural and political barriers. This implies:
 Common criteria for recruitment and selection of artists and creative entrepreneurs, as
well as of businesses, cities and public institutions and knowledge providers
 Common financial incentives and requirements for involved
 BSR element in all programs. This can include:
o Introduction to the circular economy and BSR – the challenge and potential of
‘closing the loop’
o International BSR meetings with creative industries entrepreneurs, creative
industries (advertising, architecture, arts & culture, craft, design, fashion, games,
music, TV & film) engaged in sustainable development. Exchange of a good
practices from successful artists and entrepreneurs,
o Comparison of possibilities how to set up a company in different BSR countries
(as an entrepreneur, artist) – where to set up your business from your point of
view; how artists (as well as entrepreneurs) can be involved in this process,
o Open BSR workshops for innovators - how culture boosts your creativity and
how it creates innovation in SMEs (example topics: how to switch your idea to
the successful company, business model, social media, negotiations,
storytelling, how to build a supportive community, 1000 fans rule,
marketing, networking, pitching, EU co-founding possibilities for your
future company, how to find a business partner – and partnership as a clue
driver for your company, and so on….) that should be recorded with the
camera for further webcast online distribution to highly improve GUTS impact.
o Culture as the innovation driver - wide BSR research to measure impact on
SMEs
o BSR creative industries fairs
8. Expected results and outcomes
See attachment I.
9. Organisation and time-plan
Organisation: To be elaborated
Overall development and coordination:
??
Development and coordination in each BSR country/region/city:
??
Partner
institution
Gdansk
Entrepreneur
Foundation
(GEF)
Time-plan:
Represented
by
Lukasz Aszyk
Short description
Proposed role in GUTS
GEF has over 7 years of
experience with supporting
entrepreneurs in different
phases of ideas development. A
partner in International project
called Southern Baltic
TechnOlympics (SoBaTo) cofinanced by South Baltic Sea
Programme (project ends
31.12.2014)
Idea/Project Development
Management
Engaging other partners (i.e.
Gdansk City Council, Gdansk
University of Technology,
Academy of Fine Arts in
Gdansk)
Preparation of Project
Proposal
Project Partner Role
and more to be developed
OBS: Program cycles are assumed to be 2 years, which means that two set of activities will be
overlapping each year from 2016.
2014
2015
2016
2017
2018
2019
2020
2021
Establishing organisation and planning a test program for 2015-16.
Focus groups locally and BSR* level. Adapting program content in 2016.
Concluding first test program, beginning first pilot program.
Concluding first pilot program, beginning second pilot program
Concluding second pilot program, beginning first “final” program
Concluding first “final” program, beginning second “final” program
Concluding second “final” program, beginning third “final” program
Concluding third “final” program, beginning fourth “final” program
(*) Funding for focus group in 2015 may e.g. be available via Global Citizens Initiative.
10. Budget and finance
PHASE
Test phase 2014-16
2015 focus groups (short
duration)
2016 test program (longer
duration)
Pilot phase 2016-18
Program phase 2019-23
Budget
Financing
Assumptions budget: (to be elaborated)
Cost per pax:
 Travel, lodging and accommodation
 Living costs
 Host institution costs
 Other training costs
Cost whole program:
 Joint activities and events:
 Local development and coordination:
 Joint development and coordination:
Assumptions financing: (to be elaborated)
Co-funded by local partners (institutions and cities/regions):
 ??
 ??
Co-funded by other funds (foundations, national, EU –funding):
 ??
 ??
List of attachments (working papers in process, relevant references, etc.)
Attachment I:
Expected results
Objectives
(a) Artists and creative
entrepreneurs:
identify, invite and
support artists and
other individual
creative
entrepreneurs in the
“creative class” with
great ideas related to
sustainable
development
(b) Institutions: to
meaningfully connect
identified
artists/creative
entrepreneurs and
their ideas to needs
and opportunities
identified within
businesses, public
sector and cities
striving for
sustainable
development.
Immediate objectives
(test phase 2014-16)
Medium term
objectives
(pilot phase 2016-18)
Minimum 25 from 8
Minimum 80 (40 per
BSR countries
year) from 9 BSR
involved in test
countries involved in
activities in 2015-2016 test activities in 20172018
Long term objectives
(program phase 20182023)
Minimum 675 (90 in
2019 going to 180 in
2023) from 9 BSR
countries involved in
test activities in 20192023
Minimum 25
institutions from 8
BSR countries and
cities/regions involved
in and co-funding test
activities in 2015-16
Minimum 60 (30 per
year) institutions from
9 BSR countries and
cities/regions involved
in and co-funding test
activities in 2015-16
Minimum 500 (70
going to 140)
institutions from 9
BSR countries and
cities/regions involved
in and co-funding test
activities in 2019-23
Minimum 9
cities/regional
authorities in 9 BSR
countries involved in
and co-funding test
activities
Minimum 18
cities/regional
authorities in 9 BSR
countries involved in
and co-funding test
activities
(c) Society: to achieve an Minimum 8
increased
positive cities/regional
contribution
to authorities in 8 BSR
society of value both countries involved in
to the individual artist and co-funding test
and
creative activities
entrepreneurs, and to
businesses,
public
sector
and
cities/regions.
Objectives
(a) Artists and creative
entrepreneurs:
identify, invite and
support artists and
other individual
creative
entrepreneurs in the
20
Immediate objectives
(test phase 2014-16)
Minimum 25 from 8
BSR countries
involved in test
activities in 20152016
Medium term
objectives
(pilot phase 2016-18)
Minimum 80 (40 per
year) from 9 BSR
countries involved in
test activities in 20172018
Long term objectives
(program phase 20182023)
Minimum 675 (90 in
2019 going to 180 in
2023) from 9 BSR
countries involved in
test activities in 20192023
“creative class” with
great ideas related to
sustainable
development
(b) Institutions: to
meaningfully
connect identified
artists/creative
entrepreneurs and
their ideas to needs
and opportunities
identified within
businesses, public
sector and cities
striving for
sustainable
development.
(c) Society: to achieve
an increased positive
contribution
to
society of value both
to the individual
artist and creative
entrepreneurs, and to
businesses,
public
sector
and
cities/regions.
OUTCOME:
OUTCOME:
OUTCOME:
Minimum 25
institutions from 8
BSR countries and
cities/regions
involved in and cofunding test activities
in 2015-16
Minimum 60 (30 per
year) institutions
from 9 BSR countries
and cities/regions
involved in and cofunding test activities
in 2015-16
OUTCOME:
Minimum 500 (70
going to 140)
institutions from 9 BSR
countries and
cities/regions involved
in and co-funding test
activities in 2019-23
OUTCOME:
Minimum 9
cities/regional
authorities in 9 BSR
countries involved in
and co-funding test
activities
OUTCOME:
Minimum 18
cities/regional
authorities in 9 BSR
countries involved in
and co-funding test
activities
OUTCOME:
OUTCOME:
Minimum 8
cities/regional
authorities in 8 BSR
countries involved in
and co-funding test
activities
OUTCOME:
To be articulated: QUALITATIVE STATEMENTS ON OUTCOME in relation to
employability, impact of “great ideas”, impact on needs and opportunities in biz, public sector
and cities… and how this relate to impact environmental, social and economic sustainable
development.
21
SUMMARY
BALTIC HOUSE – A Case of Circular Culture Concept in Progress
Co-ordinator:
Partners:
The Baltic Sea Cultural Centre in Gdansk, Poland
Färgfabriken, Stockholm, Sweden
Rauma Art Museum, Finland
Implementation: 2015-2017
Baltic House is a potential flagship project included under PA Culture in the Action
Plan of EUSBSR. In 2014 it received funding for concept development from
EUSBSR Seed-Money Facility operated by IB.SH
I. Basic framework for the Baltic House:
1/ it should consist of a mobile exhibition showing works of the artists from 10 countries in the
Baltic Sea Region, and being shown in those 10 countries: Denmark, Estonia, Finland, Germany,
Latvia, Lithuania, Norway, Poland, North-West Russia and Sweden.
2/ the exhibition is to be the source of inspiration for a series of accompanying, cross-sectorial
events in each presentation venue --- a strong local partnership to this end should be formed
(cultural operators, artists, academia, citizen activists etc.)
3/ the main focus of the project is on space interpreted in many ways
4/ the project is to promote the ideas behind the EU Strategy for the BSR)
II. The reason for the Baltic House:
We are living in the times of change. There is a clear need for people of the region to jointly take on
challenges and opportunities. This requires innovative ways of applying new solutions along with
new technologies, new network processes to build human and social capital, and new grassrootsbased initiatives. One of such new solutions is circular economy.
III. Conceptual approach: Circular Culture
Epic of Baltic House:
Journey/Circle/Cycle
We are living in time of crisis and fast changes – the present state/model is not working any more,
it’s beginning to bring more harm than good – transformation is needed – in the way of thinking,
perception, lifestyles.
Each transformation requires time – it's a process, it’s a journey to re/discover ourselves and our
dreamland. BalH reacts to the present and sets on the journey round the Baltic showing us the
direction towards the future --- each step is interconnected. However, in contrast to the traditional,
linear model, we propose the sustainable, circular model for the narration of BalH.
The project which will start the journey will be different from the one which will finish it. Each
stage of the journey=each presentation venue, will contribute to the subsequent one/s creating the
snowball effect.
The circular model adapted for the project has been inspired by the notion of circular economy, a
new sustainable solution and direction towards the future for Europe and the rest of the world. Just
as the circular economy is the dream scenario, so does the Baltic House journey through various
countries resemble a search for dreamland.
Space
22
The exhibition could be a House of Hope and House of Fears, a house literally as a place for
exhibition and interaction and/or a house as a metaphor of the Baltic Sea area societies. House as a
metaphor for the BSR. Consequently, in accordance with the goals set during the Culturability, in
the Baltic House we create SPACE, for CREATIVE CLASS to MAKE THINGS HAPPEN.
23
LONG VERSION
BALTIC HOUSE – Concept in Progress
Co-ordinator:
Partners:
I.
The Baltic Sea Cultural Centre in Gdansk, Poland
Färgfabriken, Stockholm, Sweden
Rauma Art Museum, Finland
Basic framework for the Baltic House (BalH) project as described in the grant
application:
1/ it should consist of a mobile exhibition showing works of the artists from 10 countries in the
Baltic Sea Region, and being shown in those 10 countries: Denmark, Estonia, Finland, Germany,
Latvia, Lithuania, Norway, Poland, North-West Russia and Sweden.
2/ the exhibition is to be the source of inspiration for a series of accompanying, cross-sectorial
events in each presentation venue --- a strong local partnership to this end should be formed
(cultural operators, artists, academia, citizen activists etc.)
3/ the main focus of the project is on space interpreted in many ways (see below) as:
Environment
+ House = Space
Mental space
Urban space
Citizen activism
Digital reality
Art presentation
Public/social space
4/ the project is to promote the ideas behind the EUSBSR (EU Strategy for the BSR)
II.
Basic ideas described in the grant application:
The issues at the core of the Baltic House project:
We are living in the times of change. There is a clear need for people of the region to jointly take on
challenges and opportunities. This requires innovative ways of applying new solutions along with
new technologies, new network processes to build human and social capital, and new grassrootsbased initiatives.
Societies of ten countries in the Region are all connected by the Baltic as an important factor
shaping individual traditions but also as an environmental threat. Similarly, what also connects
people from the BSR is their interaction with the space around them - the landscape, the cityscape.
Unfortunately, spatial planning rarely emerges from a holistic and citizen-friendly perspective and
that should be changed as to promote citizen participation.
However, space can be understood also in other ways, as mental spaces, shadowed now by
economic and environmental crisis on the one hand, but on the other, also as space of citizen
activism reacting to this doomsday atmosphere, a forced situation where alternative solutions must
and will be found. Last, but not least space can be interpreted as a digital information space in
which we are living now.
III.
Conceptual approach:
Epic of BalH
Journey/Circle/Cycle
We are living in time of crisis and fast changes – the present state/model is not working any more,
it’s beginning to bring more harm than good – transformation is needed – in the way of thinking,
perception, lifestyles.
Each transformation requires time – it's a process, it’s a journey to re/discover ourselves and our
dreamland. (cf. Shamanic rituals, Odyssey, etc.)
24
The present state -------> change/journey/transition ---------------> the future
BalH reacts to the present and sets on the journey round the Baltic showing us the direction towards
the future --- each step is interconnected. However, in contrast to the traditional, linear model, we
propose the sustainable, circular model for the narration of BalH.
The project which will start the journey will be different from the one which will finish it. Each
stage of the journey=each presentation venue, will contribute to the subsequent one/s creating the
snowball effect.
Local Input
Local curating. The core exhibition and local flavour.
Local cultural institutions and spaces.
Connecting to grassroots and intergenerational activity.
Narratives in different generations.
Symbols
The Baltic House takes up multi-perspective view: ecological, aesthetic, social and spatial on and
for the region. It is to be the effect of memories, hopes, prospects and fears as expressed by artists
from around the Baltic.
Through the exhibition we aim to find common imaginative undercurrents, hopeful and fearful.
Artistic, poetical, symbolic, mythical, psychological, subconscious, imaginative, fiction. A
collective subconscious. A parallel universe of ideas.
In the exhibition concept there could be space for absurd/ mysterious alongside
practical/straightforward statements.
Space
The exhibition could be a House of Hope and House of Fears, a house literally as a place for
exhibition and interaction and/or a house as a metaphor of the Baltic Sea area societies. House as a
metaphor for the BSR.
House is space. Space is environmental and mental. Urban space, countryside, the open sea.
Positive and negative mental space, well-being, depression, angst.
Racism, fascism, intolerance, suppression of ethnical and sexual minorities in our house.
What connects people from the BSR is their interaction with the space around them - the landscape,
the cityscape. How does it affect people when a physical landscape changes? As Danish architect
Jan Gehl said: “First we shape our cities than our cities shape us”. Unfortunately, spatial planning
rarely emerges from a holistic and citizen-friendly perspective and that should be changed as to
promote citizen participation.
The space of citizen activism.
Digital space cyberspace, digital freedom, open source software as a means of freedom from the
corporations. Social media is a house; everybody is living in the Facebook. On the other hand
alternative social media, digital resistance.
To the Kingdom of ... (as an alternative? Subtopic to the House?)
The concept of kingdom. The word kingdom referring to – at least for a citizen of a republic – to a
world of tales and legends.
A world of fairy tale is the one that is moving us. We are guided by semi subconscious patterns.
Titles with a romantic flavour like “Kingdom of Baltic Sea – Land of Burning Hearts and Frozen
Tears” were discussed. As there is a long history in the BSR where many people and tribes have
been living a mythical-historical concept of Land of dreams/fears in present day situation could be
one route to develop the exhibition idea.
The heart theme could be used to express the theme of hope and fear: Burning Heart – Bleeding
Heart
Vulnerability
25
A concept closely connected to crisis is vulnerability. Vulnerability is a core experience of human
being. The contemporary urban life with complicated technical infrastructure and digital
communication is vulnerable to all kinds of electric and other cases of malfunctioning caused by
human error, violence or act of nature. In a broader sense life as a whole and nature, of which we
are part of is vulnerable. Nature is based on a delicate balance where crucial changes can have fatal
consequences for natural species, humans one of them. On the other hand, vulnerability as a
premise for renewability is a basic quality of life on earth. The evolution and adaption to changing
circumstances is based on constant renewal of the biosphere that is the cycle of life and death of
individual life forms and whole species.
Turning point, understanding the Vulnerability, vulnerable society, everything is vulnerable.
Collective and individual vulnerability.
Vulnerability could be connected to the idea of house of fear and hope.
A need of balance and a need of change, a fear of stagnation and a fear of revolution.
Culture as Remedy
Culture will help us save ourselves from ourselves; it can make citizen aware that they are able to
make the change.
Culture can save people! How the cultural images strong are in the minds of people? Culture
changing attitudes, where, who decides, commercial, political purposes.
Dichotomy
There we are with utopian and dystopian visions and artistic interpretation of these in the exhibition.
Fear vs. hope
Linear vs. cyclic
Static vs. dynamic
Non-sustainable vs. sustainable
Rigid/ static/ non-renewable vs. vulnerable/balancing/regenerating
Kingdom (of fairy tales) vs. real life political systems
Urban planning - nature planning
Key-words
Change, passing to another level, transition, transformation, dynamism
Creativity, innovation, new technology, applications
Multiperspective, interdisciplinary, cross-sectorial, integration,
Participatory, dialogue, trust, social capital, co-creation, interaction, citizenship, democracy
Sustainable cities, planning, urban space
Baltic identity, co-operation, heritage, new identity
Empower artists, educate artists
Education, cross – generations,
IV.
26
Accompanying events: in each country, during the exhibition period, interdisciplinary and
intergenerational accompanying events will be organised with the aim to bring together
local citizens, activists, researchers, academics, policy-makers and officials to debate on
topics inspired by presented artworks but set in the local context. On top of that the
discussions concerning regional issues will develop. The events will be a mix of seminars,
workshops and artistic content and will be organised in co-operation with the array of
local partners in view of developing cross-sectorial dialogue. The content of
accompanying events could be defined through the following themes:
Environment: the Baltic Sea is dying, pollution, species extinction, but also sociological changes,
traditional professions (like fishermen) disappearing, changing narrative
Politics: old “historical” divisions turning into contemporary conflicts
Urban development: disconnection suburbs/peripheries vs. downtown/central, shrinking cities and
areas vs. overcrowded cities, post-industrial areas, sustainability, citizens left out of the city
planning process, the city and its function as creator of communication and Relationships,
Society/community: integration vs. divisions (e.g. rich vs. poor, immigrants vs. “local”),
otherness,
Economy: economic models inefficient, economic injustice
Baltic Identity: shared environment, The Baltic Sea, heritage, cultural space, cultural identity,
collective memory, dwelling
Personal/human perspective: Who am I? What Do I Remember?
The final project by bringing up reflections from all the journey’s stages, mapping and
conceptualizing potentials for a new quality, new identity?, will visualize paths and trigger points
for further co-operation (this sentence inspired by the description of Eco- Island Amager by Cultura
21- Copenhagen, which we also would like to invite for co-operation, as our sustainability
experts ;-))
http://www.cultura21.net/activities/other-events/eco-island-amager-under-sharing-copenhagen/
V.
Questions on implementation:
Number of artists?
Works? – should be new ones, rules of selection: competition? Commission?
Curators? One for each country + 1 super-curator ;-)
Audience development - target groups
Accompanying events; local focus on particular themes, but ideally all are included
Our partners from other countries should have an access to an exhibition space…
Still the question of mobile pavilion – at least used for some accompanying events, could be the
subject of a competition, too
Communication-Dissemination – contacts with major players at the Baltic Sea Region –
opportunity BSCC presence at the Baltic Development Forum
A contribution of Rauma Art Museum could be based on experience of integrated pedagogics used
in the series of contemporary art exhibitions for children.
27
VI.
Potential Partners:
Norway
NUDA – Nordic Urban Design Association (Bergen)
NUDA is a Nordic think-tank that creates opportunities for networking and for exploring
opportunities for collaboration with a wide range of professionals,
International organisations and companies. They arrange international conferences, seminars,
workshops, research and other events that create strong international
Networks for Nordic urban designers, architects, planners, landscape designers and students.
United sardine factory, USF (Bergen)
An institution for art, film and music and creative enterprises with five venues for presentation of
music, theatre, films and contemporary art. Their aim is to collaborate, strengthen and participate in
the development of cultural matters and the creative industry in Bergen.
DIGITAL SPACE
Furthermore Färgfabriken has just developed an application that could be further developed within
the Baltic House project for digital communication of different forms.
Denmark
Cultura 21, network, active in many projects, among them Eco-Island Amager
The 96 sq. km island of Amager a part of Copenhagen, which could become a centre for culturally
driven and sustainability-motivated change in an urban environment. What is an eco-island? This is
a question which Eco-Island Amager sets out to answer in Cultura21’s spirit of collaborative,
creative and community-oriented interventions. The aim is that the project will give way to new
learning, and to translate new insights into a number of specific innovative, trans disciplinary
projects. All along the project, we will build on practice-derived knowledge and seek to develop
new practices through creative reflection.
Nikolaj, Copenhagen Contemporary Art Center
7-9 annual Danish and international exhibitions are presented, allowing the visitors to acquaint
themselves with mainly experimental and innovative art. One of the annual exhibitions is a
children's exhibition, and one is a major presentation of an older artist whose work has had a
pioneering impact on today's art.
28
URCYCLES
Nordic/Baltic citizen bikes: art, D.I.Y., sustainability and open entrepreneurship
URCYCLES: UR from 'Urbis', the root not only of 'Urban', but also of place, local sensitivity rather
than industrial globalized solutions. CYCLES, pointing at the bicycle itself, the most sustainable
means of transportation we have in cities (and to a large extent even to rural areas) – but also at recycling and up-cycling, the latter being more and more common when working with issues of
waste, energy, consumption and production. And UR pronounced like “your”: creating coownership of the products, as close to final users as possible, through open source innovation.
URCYCLES deals with cycling and re-cycling, which are both phenomena that are important to all
cities and regions around the Baltic Sea. Transportation and mobility are closely connected to
quality of life, local economies, and environmental impact. It is paramount to develop and support
choices made and opportunities created for sustainable solutions, and the possibility of reusing,
recycling, and upcycling is an important avenue to explore in this field. Bicycle production today is
largely performed in highly unsustainable ways, under poor working conditions, and URCYCLES
will also be a platform for work and communications around the need for more sustainable cycling
solutions as cities become (hopefully) more 'copenhagenized'.
In URBIKE, we will combine sustainable entrepreneurship, artistic creations and craftsmanship or
D.I.Y. skills, to develop an alternative to both less sustainable means of transportation, and to
official city-bikes. It will provide an occasion to collaborate, share, and develop, for artists,
crafters/makers, entrepreneurs, citizens, and city planners across the Baltic Sea Region. It will
provide a way to express and demonstrate a twist to the concept of the shared city bicycle, while
raiding issues of sustainability with greater autonomy and thus greater aesthetic force and
originality than existing official city bike solutions in e.g. Copenhagen and Stockholm.
The outcome of the project are concrete:
IV. a line of upcycled citizen bikes, each one customized to express a particular vision and use,
developed in collaboration between an artist, a craftsperson, an entrepreneur, and citizens in
various sites in the region
V. a citizen-bike solution that involves citizens in looking at the most interesting bikes to
produce, leading the way for highly customized bicycles mentioned above: the family
picnic-bike for urban leisure time; the DIY-cargo bike for home constructors; the long-trail
bike, lo-fi or hi-fi version; the workshop bike with creative tools built-in, just to mention
possible examples
◦ in this solution we will also be able to test and finalize a lock solution designed to be
used by subscribers across all the cities that use it
VI. a platform for exploring the potential of artistic approaches and broader cultural
understanding for developing a specific field with importance for urban and regional policy,
economy, and active citizenship, as well as quality of life/health issues – all crucial to
sustainable development
VII.
a way to engage unemployed artists and crafters, maybe a way to collaborate with
technical schools or other partners that offer teaching in the field between art, creativity,
entrepreneurship, sustainable production, and new business models
VIII.
a URCYCLES tour of the Baltic Sea, offering at one time a real-use test of all the
bicycles, giving them the most valuable test for all bicycles: long-distance riding; an
awareness-raising event to raise concern and creativity towards citizen bicycles
We invite partners around the Baltic Sea Region, and to begin with, partners within the Culturability
community, to enter with us in developing and creating this project, from making the first
29
description to realizing the project.
Who are we: Cultura21 Nordic & Cultura21 Germany, process and project facilitators and
specialists in cultural sustainable innovation; Cykelven, social-economic business based in
Copenhagen, Denmark; Valo TV (Nordic Culture Network TV), partner providing a media platform
where all the fantastic videos of designing, building, and riding the bicycles; join the club!
What does the project call for: anthropological methods to engage and understand citizen
perspectives; locally entrenched partners in for instance 5 places around the region, skilled bicycle
mechanics; logistic solution providers; bicycle scouts to find and select discarded bicycles or
engage citizens in giving their used bicycles;
Suggested process:
Partner anchoring
Finding and selecting 100 bicycles
Designing and upcycling URCYCLES
Communication and event planning (overlapping)
URCYCLES tour of Baltic Sea Region
Picking up, reflecting and organizing following work with creating lasting solutions
Project duration: 2 years
Budget assumed app 350 000 €
ROUGH Costs
Materials: fixing 1000 DKK + refurbishing 2000 DKK + lock 1000 DKK = 4000 DKK = 60 000 €
Work time: 120 000 €
Project leadership & organization: 20 000 €
TV work: 20 000 €
Site hosting & design: 20 000 €
Travel costs: 10 000 €
Tour costs: 100 000 €
Financing
Selling the bicycles: 1000 € / bike: 100 000 € (= 25 % co-financing)
Funds, crowd funding, partner investment, etc.
30
Proposal GooDeed
As changing consumer behaviour is a pivotal and necessary element in the future of sustainable
consumption, the need for new and game-changing tools is a core focus for governments and
NGOs. Different approaches have been tried with varying degrees of success; from eco- and ethical
labelling to information campaigns. But the current picture when it comes to clothing and textile
consumption is one of large volumes, stuffed closets and wastefulness.
As part of the campaign to change consumer behaviour, focusing on the social and environmental
issues of the production of apparel has been paramount, encouraging consumers to make “good
choices” related to eco-friendliness or responsible labour practices – something the consumer has
little or no influence over. This is unfair to the consumer, both because the information to make such
decisions is not readily available – but also because it is in the consumer-phase and not the
production-phase that consumers can and should make a difference.
A main reason why they cannot be expected to have an impact on the production phase, is that our
current model for mass-market consumption is based on a 40 year old political decision (when
Nixon shook hands with Mao and agreed on free trade) and the ensuing mass-movement of
production to the Far East (so-called off-shoring) because of lower production costs and little or no
control over environmental or social consequences by governments in the region. At the same time
very stringent labour and environmental laws were enforced in Europe.
Livia Firth recently compared the fast fashion industry to the sugar industry, and placed the
responsibility for the “craving” on the industry, but the underlying structures are just as much to
blame. If the consumer is to go “sugar-free” or be waned, the consumer needs to feel good about
making do, rather than getting a quick “sugar-high”. And this is where gaming and nudging come
in. Two tools which have proved much more effective than information campaigns and labelling
schemes.
Our proposal is therefore a social media/internet platform for the time being named GooDeed.
Using Pinterest, Instagram, Facebook and all new available and relevant social media/internet
platforms the object of GooDeed is to engage consumers in more sustainable behaviour through
gamification/ nudging. There are two strata along which this could happen and that need to be
developed and studied. One is prestige/social standing; the other is economic gain in the form of tax
rebate/VAT refund/other types of economic benefits.
As we are observing several “good” initiatives targeting the consumer phase lately (“Love your
clothes”, CleverCare®, The Good Wardrobe, Local Wisdom, Refinity®, etc.) there are concerns.
One is making this information available and relevant; the other is making it comprehensible and
easy to understand. At the crux of the current discussion is the “big question”: What is actually
sustainable?
Our proposal goes to the core of this. Making it fun, competitive, interesting, relevant and easy to
make good choices. Using the blog- and posting mechanisms – and hopefully integrating them in a
model that governments can support in giving VAT-rebates (the consumer does not have a chance to
get any VAT rebate, the way businesses can) – we aim to make GooDeed the new “black”.
We have tried the idea out on a very small scale, but our experience is that without a back-up
community, visibility, incentives and true gamification – the initiative dies quickly. Our proposal is
therefore to initiate a project spanning a year (funded by the EU and Nordic Council of Ministers,
along with LAUNCH Nordic) to develop the proper platform and incentives. The support by
companies like Uniforms for the Dedicated and NGOs like Nordic Fashion Association will ensure
proper industry-backing.
Using the Baltic region as a pilot region will ensure a varied population to work with, spanning a
socio-economic diverse region.
The proposed pre-project budget is € 200.000.
THE PROPOSAL BUILDS IN PART ON EXPERIENCES GATHERED IN PREPARING THE
SUPROS PROJECT APPLICATION IN 2013 - ABSTRACT BELOW (FULL VERSION of 66
pages is available) – THIS PROPOSAL CONCERNED ONLY THE FASHION INDUSTRY AND
IS NOT IMPLEMENTED.
31
FP7-ICT-2013-10 STREP proposal 2013-1-15 SUPROS
Proposal Part B: page [2] of [66]
Abstract
The environmental, economic and social challenges facing the European Union require
collaboration of citizens, companies and policy makers. SUPROS project focuses on the apparel
sector that has significant environmental and social impacts. In this area, incremental improvements
have been made in clothing production, but consumers lack information and tools for improvement.
SUPROS project drives behavioural change towards more sustainable consumption through various
ICT tools which combine open social media, distributed knowledge creation and open data from
communities. The aim is to empower consumers and facilitate new social innovation and jobs in
Europe through co-creation of new services.
Specifically, we will develop tools that support sustainable consumption 1) on a personal level and
2) in social networks related to acquisition, use and care of clothes. In addition, we will develop 3)
an open knowledge platform (WearWiki) with open data relevant to sustainable clothing and 4) a
data-driven innovation mechanism. All tools will be developed in close collaboration with
consumers and designers in a bottom-up approach. During the experimentation in various local and
online communities, we will evaluate the impact of the tools on consumer behaviour and facilitate
the development of new business models for sustainable clothing.
The SUPROS results will impact the awareness of consumers on what can make a difference in
sustainable consumption. We expect for example yearly savings of 0.5 TWh energy in Europe by
reducing the average washing temperature at least by one degree. The results will also generate
growth in service-related businesses and entrepreneurship with sustainable business models. As
apparel is one of the most visual and communicable lifestyle-related behaviour patterns, changes
made in this area are transferable to other areas where behavioural consumption patterns need to
veer towards buying less, better quality and upgrading what one already owns.
32
Gaming and urban/rural/Baltic Sea Development
CASE
The Danish Geodata Agency under the Ministry of Environment has all official data for mapping
Denmark, including for land, seas, lakes, cities, houses, etc. Earlier in 2014 the Agency applied all
its data for Denmark to the Swedish global gaming success called MINDCRAFT – which has over
30 million users worldwide. This was the first time in the world that a country model was created in
MINDCRAFT. It was an instant success: thousands of young Danes went into the designated
MINDCRAFT server and played around with the virtual “Denmark”, and re-created Denmark for
better and worse. http://eng.gst.dk/maps-topography/denmark-in-minecraft/
Long term perspective
The Danish Geodata Agency institutions concerned about planning sustainable futures worldwide 3,
sees above initiative as a first step in a long process, where access to real “big data” are applied to
communicate and simulate future scenarios for communities, cities and regions, businesses,
behaviour and so on.
This can be used:
* by planners, businesses, governments and professionals, as part of decision making on
infrastructure investments. The UN Global Growth Institute claims that lack of integration of the
“big data” in decision-making means that enormous investments are completely un-sustainable.
Systems relying on big-data integration need to be made to give evidence to make the right
decisions. The EU's so-called Climate KICs – Knowledge and Information Centres and
independents as Ecological Sequestration Trust also are concerned with this.
* very importantly this information can also be made accessible to children and young people and to
lay citizens with appropriate formats as e.g. the MINDCRAFT example shows. In this way it opens
for public participation in complex decisions on the future, as well as learning and having fun.
* making it available to citizens also enables new ways of crowdsourcing data on behaviour, where
the public get a better grip on how data can be used and interpreted.
BSR perspective
One vision is to build a MINDCRAFT version of the Baltic Sea Region, including all coastal
regions and cities and the Sea itself. This can be built on the Danish experiences, not least in
relations to the users’ reactions and way they use the DENMARK MINDCRAFT model, which
calls for reflections and development.
Another vision is to build another prototype of the BSR in a virtual form (not Mindcraft per se),
which can be used for a more refined set of different users and purposes. E.g. for (1) crowdsourcing
from citizens (e.g. fishermen on the Baltic Sea, or urban dwellers on preferred travel routes or
spaces) of needed data for decision making and for (2) engaging citizens in regional and city
planning, and (3) providing a creative community for young people and gamers allowing to
experiment and re-create.
Needs - and a proposal
Above trends are new, but its moving already. Connecting the gaming industry with data providers
having the data decisive for future planning and sustainable development, and involving other
stakeholder such as cities, social innovators and user groups, goes well with the EU Culture for
Sustainable Development Flagship interest in using culture (in situ: gaming) as a driver for
integrated sustainable development.
At this point the needs are to:
- 1: Identify the drivers/relevant actors in the BSR for connecting this agenda within the
gaming industry and within the data-agencies/providers and other stakeholders in the
BSR.
3 E.g. The UN Global Growth Institute and many others.
33
-
2: Prepare and convene focus groups and meetings with the goal to identify relevant
projects based on an understanding of current opportunities and needs
- 3: Prepare and plan a project according to recommendations under point 2, and the
corresponding partnerships or consortia, which may move forward.
Representatives from the Gaming Industry in the Nordic Countries – Nordic Gaming Industry
(NGI) and from the Danish Geodata Agency, who work also regionally with BSR countries, have
among other expressed preliminary interest in exploring this further as part of Culture for
Sustainable Development in the Baltic Sea Region Flagship.
OGH/5.5.2014.
34
GREEN BOX
SUSTAINABLE CULTURE – ‘CULTURABILITY’
Mobile station – neighbourhood activator - ‘the green box’.
AIM: to establish a system for self supportive platform for learning, exchange and interaction
which can work, locally, regionally and – with time - globally
TASK: to define the content, curatorial strategy as well as create a flexible and attractive physical
and graphical envelope for this emerging institution.
STATEMENT: The sleeping districts and the large multi-storey housing areas in different cities are
the homes for the large numbers of urban population. The question of how to build a ‘sustainable
communities’ should be addressed in dialogue these areas.
CONTENT:
 The Green Box
In order to create a physical manifestation of the project s Green Box should be developed. The
“Box” will be a visible centre for activity in a number of neighbourhoods around the region. It
will to the greatest extent possible contain tools to create and carry out the below mentioned
activities.
 Information,
Information on the procedures to get approvals for the events and objects in open public space,
project documentation, contacts – ‘one stop agency’
 Education on two levels
Exchange of best practices, involving universities, experts, dialogue with society across borders
Training Local citizens in how better to interact and make their voices heard
 Artistic practices/Entertainment
Involving artistic practices in order to communicate the information as well as activate the
neighbourhoods.
The project aims to involve neighbourhoods, universities, artists as well as public authorities in the
process.
35
Baltic Liveable Cities
Please find paper (40 pages PowerPoint) at the following link:
www.culturability.lv/livebaltic
It is explored to make some connections between Culturability BSR projects and Live
Baltics.
36
4. Cases
37
5. Program
Culture and Sustainable Development in the Baltic Sea Region - Culturability BSR
Preliminary Program for Workshop III
1213 June 2014
NOASS Floating Art Galleries, Riga
Focus of the workshop: Articulating High Quality – High Impact Proposals - integrating
Urban development, creative industries and social innovation
12th June
9-12
Arrival and registration
12-13
Lunch
13.00-13.30 Opening event – Welcome remarks and introductions
Minister of Culture of Republic of Latvia, Mrs Dace Melbarde,
Nordic Council of Ministers, Mr. Imants Gross
Riga EU Capital of Culture 2014, Ms Aiva Rozenberga
NOASS, Mr/Mrs NN
13.30
Introduction to program:
Consultants (program and working paper)
Participants
13.45 – 15.00
Presentation of proposals for HIGH QUALITY – HIGH IMPACT
proposals for culture and sustainable development in the Baltic Sea Region.
Moderator: Olaf Gerlach-Hansen
Artistic and creative entrepreneurship for BSR sustainable development:
 GUTs: Mr. Lukasz Azsyk, STARTER (Poland) and the Culturability GUTs group
 Baltic House: Mrs. Magdalena Zakrzewska-Duda f. Baltic Cultural Centre
(Poland), Färgfabrikken (Sweden) + Rauma Art Museum (Finland).
 + Urcycles: Mr. Oleg Koefed (Denmark)
Digital and Real Spaces for creativity /lifestyle and sustainable behaviour/futures in
BSR
 Good Deed App: Mrs. Tone Tobiassen (NICE) and the Culturability GooDeed App
Group
 + intro applying the app in Fashion and wider uses
 + intro to Gaming and urban/rural/sea modelling
Cultural mapping, -planning and – engagement for BSR sustainable urban-rural
development
 Green Box/Healthy Space: Mr. Oscar Redsberg (Latvia) and Culturability Group
 Liveable Baltic Cities: Mr. Emils Rode (Latvia)
Culture as driver for sustainable development: Research and knowledge sharing
 Katriina Siivonen (Finland) - tbc.
15.00 – 15.15
Coffee Break
15.15
Presentation of CASES relevant to some of the proposals
Ms. Reet Aus, Estonia
Mr./Ms. NN,xxx.
Mr. Daniel Urey, Färgfabrikken, Sweden (tbc)
16.30
17.15
38
Departure by bus for late afternoon/evening venue
Structured Dating:
All participants make “dates” with those projects they have interest in connecting
with. Dates can be before and during dinner, coffee, after-dinner, break-fast, coffeebreak or lunch. Dates are made public on large poster.
17.45
Working groups on qualifying proposals with facilitators
1: Artistic and creative entrepreneurship for BSR sustainable development
GUTS + Baltic House + Urcycles
Facilitators: Lukasz Azcyk, Magdalena Zakrzwska-Duda, Oleg Koefod
2: Digital and Real Spaces for creativity/lifestyle and sustainable behaviour/futures in
BSR
Good Deed App + fashion/gaming
Facilitators: Tone Tobiassen
3: Culture mapping, - planning and -engagement in BSR sustainable urban-rural
development
19.00
19.30
39
Green Box/Healthy Space + Liveable Baltic Cities
Facilitator: Oskars Redbergs (tbc)
Close
Dinner and dates
13th June
7.30
9.00
10.00
10.30
Breakfast and dates
Working Group Sessions from yesterday is followed up with facilitators
Break (coffee/tea) and dates
Presentations on key points for each proposal by facilitators
Based on formats distributed (Title, Context/Needs Target groups, Aims and
Objectives, Actions, Expected Result/Outcome, Organisation/Partners, Time-plan,
Budget/Financing).
12.00
Connecting the proposals – Olaf Gerlach-Hansen
How can the proposals be interconnected and bring synergies. Results and follow up
on dates. Should any formal clustering be made between the proposals or with
other/existing projects?
12.30
Summary and closing (Next step, evaluation, closing remarks and appreciations) –
Simon Drewsen Holmberg and Imants Gross
13.00
Lunch and dates
40

Download Report