The Future of Creative Cities

Perspectives and prospects: rethinking, co-building the creative cities of the future; construction and creation of space (real and virtual), community building. She is part of the research groups "CPCL Agency" and "Collaborative and Adaptive Cities" of the University of Bologna.

IMAGINING FUTURES OF INFINITE, CREATIVE, POSSIBLE CITIES

All the proposals aimed to use the future as a tool for collective action, where creativity plays a fundamental role in responding to the challenges that cities face in the coming years. The cultural lens of the workshop framework and four working groups provided a platform for the exchange of concepts and ideas about creativity and artistic relationships with urban space, which were used as possible access points for urban transformation.

CREATIVITY AND THE CITIES

Mapas Bogotá // Hanover Alma Sarmiento, Alissa Diesch UNESCO cities of music, cities of workshop leaders and participants. Hannover and Bogotá - two distant cities with different character, history and recent development - are linked by the UNESCO Creative Cities Network as "Cities of Music". The international workshop "The Future of Creative Cities - Creative Cities in Exchange" aimed to discover the inherent and emerging creative potentials for urban transformation that both cities have.

The different cultural backgrounds and everyday urban experiences of the participants and workshop leaders were considered a valuable resource for developing and testing new concepts of urban intervention. Needless to say, for many participants, the workshop primarily created a low-threshold experience of sharing with like-minded people around the world. UNESCO's Network of Creative Cities" as a starting point, the workshop opened explorations for the discovery and creation of cultural resources for the future and as a paradigm for innovative and cosmopolitan urban environments.

Various aspects of creativity and urbanity were addressed in the workshop: On the one hand, value recognition, the growing sector of cultural and creative industries and places of social innovation have the thematic framework for urban change.

CULTURAL HEAT MAP BOGOTÁ

MAMBO

CULTURAL HEAT MAP HANOVER

FAUST

However, the potentials in the peripheral territories are not (yet) fully recognized, activated and connected to the dynamics of the center. Teams consisting of participants from both cities were asked to work on common typologies in both cities and to use different and similar perceptions. The goal of the workshop was to work on different, seemingly unrelated places, to use artistic, research methods in international and interdisciplinary teams.

The concept of the Creative City arose as a reaction to the generic and technocratic model of urban transformation in the West. Bianchini and Landry, in their 1995 book, proposed a more holistic view of the creative city, emphasizing the intelligent use of local resources (O'Connor 2020). A new conceptualization of the creative city emerged as a city in which citizens use innovation and creativity to solve social problems (O'Connor 2020; Alsayel et al. 2022).

But in this transfer from the North of the Creative City imaginary, problems arose in adaptation and translation (O'Connor 2020).

THE CREATIVE CITY AS A LABEL: REFLECTIONS ON ITS USE IN THE GLOBAL SOUTH

The creative city as a concept and place attracts a new young middle class that values educational and cultural capital and resonates with radical political interventions and global protests of recent decades (O'Connor, 2020). Local governments in the Global South have used the Creative City label as a rhetorical tool to mobilize conventional economic development strategies, mainly for territorial marketing purposes (Ferru et al. 2022). In order to achieve a socially inclusive creative city, it is necessary to utilize the creative and cultural sectors at grassroots level in the city structure.

It is also crucial to bring together creative industries and informal, popular or non-mainstream agents operating in creative fields but facing threats of precariousness and gentrification. This includes not only local facilities, but also an open and tolerant environment (Alsayel et al. 2022). In summary, achieving a socially inclusive creative city requires consideration and inclusion of various factors and actors to ensure a sustainable and diverse dynamic in the urban fabric.

A topological approach to the creative city: artists' perceptions of cultural places in Paris, Journal of Economic Geography, 22(6).

PLACES AND PRACTICES IN-BETWEEN THE CREATIVE CITIES

Creative practice fictionalization, based on the "design fictionalizing" technique, the activity envisioned the sketching of a scenario (in 50 years) that allowed the participants to reason how they should act now to achieve it. Postcard from a memorable place: one of the results of the workshop was a graphic representation of the created fiction. A message to convey to the inhabitants, researchers, activists, creative practitioners, today's youth to achieve the vision for the future.

These were collected in recurring patterns and oriented towards bringing themselves into the project and sharing knowledge about places and practices in the two cities and beyond. Then created two teams and worked on the realization of a couple of separate projects: "The creative market, communities in exchange" and "Creative streets". For this reason, the places in the two cities became privileged vantage points from which to create intercultural and international connections and dialogues.

Such relationships, if born from place-based practices, are able to unite and discuss the cities of the future: connected, dynamic and open to change.

WILD ARCHAEOLOGIES

For this workshop, the idea of 'The Future of Creative Cities'' was approached from the perspective of the city as a historical document set within a political, social and cultural discourse that is possible to modify and intervene. The symbolic load contained in the image of the Twin Towers collapsing embodies the end of an era for the construction and understanding of the cities. This workshop took three basic aspects in the tours, relating these aspects to some of the Wild Archaeologies (Ebeling 2012), and adapted them at the time of the fieldwork: the archeology of metaphysics (which goes beyond the physical aspect of a place lies), the archeology of the soul (what background in us personally and culturally makes us perceive a place or a space as we do) and the archeology of knowledge (what information in the place can be traced from related to other sources).

For this purpose, we take as our starting point some of the working methods practiced by the International. The group made various attempts to understand particular issues for each of the cities 3 "But for the situationist, these plans cannot be reduced to a purely individual response to the urban terrain; preconceived ideas about graffiti can, for example, lead to the stigmatization of areas of the city.

In the magazine Quaderns (2002) dedicated to New York City just after the attack on the Twin Towers, the manager says: "The leap to a smaller scale, the search for details and an example of the minimum intervention are, paradoxically, decisive for the articulation of this look at a city that operating in a global territory and projecting a powerful, saturated image worldwide". The sea monster maps embody the fear of the unknown, they dress up and color horror. 2 https://sensorymaps.com/product/flower-explosi- on-spring- scents-smells-of-the-city-of-amsterdam-2013/.

He is dressed as a gala, patent white shoes and has a gold tooth that glows in the dark just like Pedro Navaja PAPI JUANCHO. Patron of the "reggaetoneros gomelos", he is said to be wary of those who go out during the nights of the full moon. INVISIBLE VALLENATERO You can hear him near when he is far away, and far away when he is near.

LA CHIVA Those who jump into it reappear after a week of continuous partying, on the brink of exhaustion.

Physical scenarios

Conclusions

Very early in the morning he went hiking to Cerro de La Silla to see the sunrise. At noon he went to have fun in Parque Fundidora and strolled along Paseo Santa Lucía. These whimsical monsters were located in six parts of the city: Plaza Botero, Parque Lleras, El Poblado, Hacienda Napoles, the Botanical Garden and the slums; they created an explanatory iconic diorama for each page.

Their map was simultaneously a detailed heritage visual guide that revealed creative places to listen, play, dance, perform, sing, imagine and sculpt. Finally, their card is not supposed to be read as it is, but rather displaced by the wheels. Shifting these spatial realms, their map collage becomes out-of-body, space-time shifting game, a kind of space travel.

New topographies become accessible to the mundane, new coffee shops appear, otherworldly nooks to watch the sunset, unusual swimming spots, morning walks for flat cities and the Central Park can be shared.

A WORLD WITHOUT FUNDING

Global temperatures continue to rise, according to a sobering new report on the state of the world's climate from the UN's Intergovernmental Panel on Climate Change (IPCC), as the world has warmed 2 degrees Fahrenheit (1.1 degrees Celsius) since the industrial age. In this scenario, all regions of the world will be affected by some extremes, while some parts of the world will no longer be habitable. A World Without Finance' is set in 2027, when the urgency of climate change will desperately push most of the world's nations and their economies towards a consensus and coordinated efforts to curb global warming.

Some of the largest societal systems and modern industries such as education, transportation, energy, food and health care are in the midst of enormous changes. The United Nations and others warn that in the worst case scenario, the governments of the nations most affected by climate change could topple as entire regions descend into war. The Great Pacific Garbage Patch (also known as the Pacific Garbage Patch) located in the North Pacific Ocean 10 years ago covered the West Coast of the United States of America, Mexico's Pacific Coast, the coastline of Central America and the coast of Colombia reached.

Established a sea trial of an innovative system designed to clean the world's seas and oceans.

PARTICIPANTS

Gabriela Acuña, Universiteit van Rosario Rama Al Aisami, Leibniz Universiteit Hannover Angel Baron, Universiteit van Nariño. Onderdaan van Colombia Martha Castilla, Universidad del Norte Elena Dieci, City College of New York María Angélica García, U. Piloot uit Colombia Daniela Manjarres, Universidad del Norte Alba Marín, Leibniz Universität Hannover Christina Mauersberg, Leibniz U.

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