What is the currency for the cultural enterprise of the future? Cultural producers and artists produce a multiplicity of values, most of which are immaterial. It is difficult to translate cultural values into adequate market values: how do you determine the economical value of cultural work?

Whilst traditional enterprises conjure up their corporate identity, the creative sector proudly points to its heterogeneity. Cultural producers however must find a language with which they can reach the public and be economically successful. How much corporate identity does a cultural enterprise need – and how does one communicate this identity?

Due to the economic crisis the creative industries have become a location factor praised by politicians as a growth market poised to outperform the car industry. In which way has this new framework changed the relation between art and capital? Maybe the norm of the economy supporting the growth of culture is due to be reversed?

Margarita Dorovska and Kathy Rae Huffman:
Archive of Video Art from Eastern Europe
Collaborative effort, aiming at the research and selection of 100 video art works produced during the transition period of post-communist Eastern Europe. ...

Peter Zorn: European Media Art Network (EMAN)
EMAN Coordinator Peter Zorn presents the partners, the structure and the aims of the network, that creates a backbone of Media Labs and Festivals.

Time's Up has been developing large scale interactive situations since 1996 with a tendency towards large steel and pneumatic devices. 'Luminous Green' is a series of workshops that explores the possibilities of living well and sustainably in the world. In this short presentation Time's Up will explain some of the points that were of importance in the workshop: local actions, utilising regional assets, in our case industrial waste and the body of water, social organisation, 're-importing' developing world technologies to 'the west', and many others.