Alessio Michelotti, OPEN STREET coordinator, said that the term "Cultural Industries" with which we now identify the products of mass culture, was coined by the philosopher Theodor Adorno in “Dialectic of Enlightenment“ in 1947. The distinguished representative of the Frankfurt School called the Cultural Industries as "The Car of the Consensus, which cleared the critical function of culture, hawking products of consume for art products."

While not disavowing the reasons the economy, Michelotti said that today more than ever it is necessary to defend the autonomy of culture, and its independence from the law of profit. For this street art can not and should not be confused with industrial processes.

The following interventions have confirmed the need to shift its focus from industrial production to the economic implications of the cultural sector.

Bourdereau Laurent, director of the department of Chamarande Méréville and the Conseil Général de l'Essonne (FR), spoke in favor of a cultural cooperation that is respectful of those countries which have their own cultural system in a situation of cultural disadvantage, because the culture - the common good - can not be left at the mercy of the market. All European culture belongs to us.

Sylvie Pradayrol of the Council of the Federation Nationale des Arts de la Rue (France) has confirmed that the autonomy of culture and art is a principle shared by artists and French operators. A recent campaign of the Faith, has adopted the slogan "L’Art est Public", and proposes a “façon de les arts en espace public traitér éminemment representative d'une volonté, on a projet et d'une vision démocratique”.

According to Anne De Gent, president of Promotion des Arts Forains, the problem is not whether the economy can be subject to the art of money, but above all to avoid the commodification of art, an aspect on which it pays to be vigilant.

In presenting its findings Tirtiaux Jean Felix recalled to the grounds of the founding project of Namur en Mai, distancing himself from the artistic and economic model of street art in the name of the new and unique artistic category that he calls (with the end untranslatable) "Arts Forains". The companies attending Namur en Mai, said Tirtiaux, continue the story of acrobats, a story of a happy relationship with money.

At this point Alessio Michelotti presented to all present the important activities carried out in the first year experience of cooperation within the framework of the European Open Street project, and the character-European cooperation that characterizes the largest network of OPEN.

With these values between 2011 and 2012 Michelotti said that the promoters of the project are working to achieve a very ambitious set of goals:

- Consolidate the network and strengthen the relationship with members
- Analyze the problems of the sector in each country and groped a summary at the European level
- Publish a guide to the European street art
- Create a European association for the promotion of street
- To make October the second edition of the international showcase
- Develop paths for cooperation on issues such as the creation, vocational training, public training, settlement of tax issues and administrative matters related to professional.