“Embryonic ideas must be tested—in praxis, on location—for them to develop.”
Participation in a cross-sectoral encounter
Emerging in several ways from the conversation is the value that participants place on having been invited. Meeting people from the many different sectors that lie outside of one’s regular occupation is exciting. Learning what film is and can be, how it is viewed and could be screened, and being given the opportunity to pose questions is appreciated. It is noteworthy that a round table is the optimal shape for gaining insight into other worlds. One example is the mention of “nudging”, a term unknown to the participants from the creative class, but a matter of course for representatives of the real estate industry. The concept refers to how to influence human behavior, for example, through art and culture. For many creators, this is an unfamiliar, instrumental way of relating to their profession; and the example suggests a need to talk across sectors to effect a broader understanding of one another’s needs and capabilities. From the conversation, it is ascertained that the film, with its low public threshold, creates ideal conditions for entering into fruitful collaborations.
The conversation focused on the skills needed to work with moving images and film in public spaces—about spectators, temporality, flows, design, space, publicity, and the like. Moreover, requirements for maintenance over time or licensing—what does one need to know about this? Here were examples of how demanding project implementation in public space can be, where larger work teams, similar to those in a film production, would have been needed. The conversation also offered examples of companies employing creators to meet the needs they themselves do not have the skills to perform, such as sound and light design. Specific skills for a broader labor market for creators led to educational issues. In this regard, the tendency that today’s students are not as limited as previously by the format of film was reported. The need for curators experienced in public art in the field of film was also raised.
Practice—a prerequisite for increased competence and development
From an educational point of view, there was talk of meeting students’ transboundary practice, in terms of choosing a film’s format and working across genres. It is challenging to remain in phase with the opportunities to develop the new formats and expressions that are constantly emerging. For established filmmakers and creators who are curious about searching beyond traditional filmmaking to public performances, it is essential to try out practices on location and in the environment for which they are intended.
Beginning with evaluations of temporary projects, it was ascertained that working with ephemeral expression ensures gains in material sustainability, since consumption is limited to light and sound. The creators called for opportunities to more actively use temporarily underused city locations for creative public screenings. This is yet another aspect of sustainability that considers utilizing existing infrastructures to a greater extent.