Characteristic for the information society is the production of immaterial economic value based on services, information, cognitive knowledge and aesthetic experiences as primary sources of value. The traditions of the artist in the city, shaped both by material exigencies and cultural identifications, create a blueprint for contemporary action in a neighbourhood like Möllavångstorget (a square in the southern inner city).
The artists of today still have an idea of what constitutes an appropriate artists’ lifestyle influenced by its legacy – bohemia. Bohemia has often been antithetical to the instrumental – Daniel Bell considered it threatening to the economic order. Where bohemia was once connected with outlaws and alienation, it is now an urban amenity, exportable through the circuitry of mass media and fashion industries. The opportunities to exploit the bohemian ethos multiply in the current mediatized and cultural present. It is the autonomy in relation to capital that makes urban art an authentic source of value. Artistic expression is becoming more experimental and borders between cultural industries (theatre, music and art) are being broken down and integrated in a new aesthetical expression – free ‘spontaneous’ culture. Rules are broken and traditional forms of expression are reinvented into performance, street art and civil disobedience - or flash mobbing. Performance is taken out of traditional aesthetical forms i.e. theatres and music venues and into the streets of Malmö. Hence making (economic) exploitation of this creativity more difficult as the premises for these new aesthetics are changing.