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Prompting for biodiversity: visual research with generative AI

The concept of biodiversity, which usually serves as a shorthand to refer to the diversity of life on Earth at different levels (ecosystems, species, genes), was coined in the 1980s by conservation biologists worried over the degradation of ecosystems and the loss of species, and willing to make a case for the protection of nature – while avoiding this “politically loaded” term (Takacs, 1996). Since then, the concept has been embedded in the work of the Convention on Biological Diversity (CBD, established in 1992) and of the Intergovernmental science-policy Platform on Biodiversity and Ecosystem Services (IPBES, aka ‘the IPCC for biodiversity’, established in 2012). While the concept has gained policy traction, it is still unclear to which extent it has captured the public imagination. Biodiversity loss has not triggered the same amount of attention or controversy as climate change globally (with some exceptions). This project, titled Prompting for biodiversity, investigates how this issue is mediated by generative visual AI, directing attention to both how ‘biodiversity’ is known and imagined by AI and to how this may shape public ideas around biodiversity loss and living with other species.

Plotting on the blockchain. On the possibility of care among widespread logics of extraction

Blockchains draw everything they touch into a market logic. Is resistance possible?Activist and artistic engagements with blockchain technology point to (at least) threedifferent sets of tactics that aim to subvert this affordance of the technology. The firstis part of an accellerationist logic: riding the waves of capital until capitalism finallycrashes, funding alternative values with whatever profit was accrued while it lasted.The second are part of prefigurative politics: building alternative blockchain systems,often in the form of decentralized autonomous organizations, or DAOs, that perform adifferent kind of politics and social organization, for example cooperativism or self-organized art funding. Then, there are those that explore how blockchain’s logics canbe subverted to make space for different ways of relating in non-financial and more-than-human ways. In this short essay I would like to focus on this third tactic, and toexplore what it might mean, I've been inspired by Patricia de Vries’ take on “plot workas an artistic praxis” (2022) that builds on decolonial theorist Sylvia Wynter describedas “the plot system” that represented small, imperfect corners of relative self-deter-mination within the larger context of colonial plantations (Wynter 1971, 96). De Vriesasks how artistic work, implicated as it is in institutional and capitalist logics, can per-form plot work to create space for relating outside of those logics. But before I adressthis question, it is important to understand what Wynter understands as the logic ofthe plantation.

Amsterdam film festival city

This chapter takes a closer look at the case of Amsterdam as a particular manifestation of a film festival city. Drawing from a new dataset on festivals in the Netherlands, the data supports the view of film festivals as a highly dynamic cultural sector: Internationally acclaimed film festivals exist beside smaller festivals that are more community bound; new festivals emerge annually, and young festivals struggle to survive the three-to-five-year mark.Amsterdam holds a unique position in the Dutch film festival landscape as a third of all film festivals in the Netherlands take place in the capital city. Our data collection helps to bring parts of the city’s film infrastructure to the forefront. On the one hand, Amsterdam’s top five locations for film festival events show clear creative cities logic: The data shows just how powerful the pull of such locations is. On the other hand, we find evidence of placemaking and livable city strategies: Amsterdam’s film festivals extend into the capillaries of the city.Dedicated festival datasets may cast new perspectives on local or national festival landscapes, by revealing patterns that remain hidden in qualitative and case-study based projects. But there are also challenges to address in data-driven research on festival cultures, we name a few such as categorization of data. We conclude that such challenges can be more easily faced if more datasets, of for instance, other cities, are pursued and become available.

Age-friendly cities in the Netherlands

The World Health Organization (WHO) strives to assist and inspire cities to become more ‘age-friendly’ through the Global Age-Friendly Cities Guide. An age-friendly city offers a supportive environment that enables residents to grow older actively within their families, neighbourhoods and civil society, and offers extensive opportunities for their participation in the community. In the attempts to make cities age-friendly, ageism may interact with these developments. The goal of this study was to investigate the extent to which features of age-friendly cities, both facilitators and hindrances, are visible in the city scape of the Dutch municipalities of The Hague and Zoetermeer and whether or not ageism is manifested explicitly or implicitly. A qualitative photoproduction study based on the Checklist of Essential Features of Age-Friendly Cities was conducted in five neighbourhoods. Both municipalities have a large number of visual age-friendly features, which are manifested in five domains of the WHO model, namely Communication and information; Housing; Transportation; Community support and health services; and Outdoor spaces and buildings. Age-stereotypes, both positive and negative, can be observed in the domain of Communication and information, especially in the depiction of third agers as winners. At the same time, older people and age-friendly features are very visible in the cityscapes of both municipalities, and this is a positive expression of the changing demographics. Original article at Sage: https://doi.org/10.1177/1420326X19857216

Mediating cityscapes: the case of the sugar factory in Breda

Plot Work as an Artistic Praxis in Today’s Cityscapes

This is a print publication of the inaugural lecture of Research Professor (Lector) Patricia de Vries at the Gerrit Rietveld Academie, in Amsterdam. In this lecture, she elaborated on the research area of her research group Art & Spatial Praxis. The research group Art & Spatial Praxis focuses on artistic practices that broaden our imaginations of alternative social orders and ways of living within capitalist city structures.The thematic focus of Art & Spatial Praxis builds on Sylvia Wynter’s rich notion of the plot. With her conception of the plot, Wynter connects the historical enclosures of the plantation to today’s cityscapes. The plot stands for other possibilities that are always present. It represents possibilities rooted in different values and different social orders. This is to say, cityscapes and public spaces are relational, contingent and always contested. The plot challenges the forces of domination, appropriation, exploitation, commodification, gentrification, segregation, digitization, and quantification.What if plot work is a praxis that is socially enacted, embodied, narrativised, and materialised in art practices? What could the plot as artistic praxis be(come)? What constitutes it? What conditions and sustains it? What kind of behaviour, ways of seeing, knowing, and relating does it encourage? In short: what does the plot mean as a spatial art praxis in today’s cityscapes? These are some of the questions the research group Art & Spatial Praxis engages with. These are also pressing questions in the increasingly regulated, privatized, surveilled, and diminished public spaces in ever-more neoliberal cities.Over the years, De Vries has written on a range of topics – be it on fungal co-existence or facial recognition technology: the relationship between society, art, design and research is always the connecting thread.