What can be quantified
Cultural life, which is often project driven, is closely linked to the expectation of a large audience. The need to reach the several groups and audiences with different projects is immediately raised for discussion, for instance, the point that projects should be evaluated on more than box office, that what can be quantified is just one of many ways to assess and evaluate a cultural project. Many insist that urban space applies other principles for reaching and “counting” That there are other principles in the urban space for those who are reached by and can be “counted” as an audience occupied a large part of the conversation.

Sharing time and areas
The people moving about in the city are mainly met by commercial messages, especially in the form of moving images on screens. The conversation revolves around how culture should carve out a larger space, how spaces should be created so that areas are shared. Several inspiring examples are alluded to in which commercial and cultural content meet in the same area.

Need for matchmaking
To create better conditions for admitting moving images into the city, structures that facilitate meetings of the cultural class with property owners are needed. Despite some good examples, it is manifestly difficult for cultural expression to gain admission without contacts. There is a need for matchmaking, through so-called structures that facilitate for residents to be a part of the cultural expressions of film and moving images. Different solutions for this were discussed between parties who meet too rarely—property owners on the one hand and creators and screening organizers on the other.

Discovering new audiences
Creators and screening organizers speak of the different methods for reaching an audience. Urban space has been ascertained to entail both opportunities and many challenges, one of which is to follow up how the culture is perceived and received by the residents of Stockholm.

The residents’ stories
The importance of making the most of residents’ own stories was marked from several vantage points. The soul of a place being linked to these stories is one aspect. A second is the representative aspect, the methods for making the unseen visible, for supporting inclusion through admitting a place in the city for personal expression. The issue of audience, whether it spectates or participates, sheds light on the relationship between production and viewing. Seeing the big picture of what is local is a third aspect that is highlighted.

What is needed?
Where do you turn if you want to work with narratives and film in urban space? At present, the support system is not well attuned; the closest is the festival support and project funds that screening organizers can apply for. There is room for new thinking here. Money is needed both for the implementation of temporary projects and for local initiatives to ensure long-term cultural sustainability. In a more practical vein, simplifications reliant upon technology and access to electricity are proposed, as are earmarked places, with conditions for easier access to film screenings, through ready-made permits, electricity, technology, screens or projectors.