At the end of the 20th century, hacking was bleeding edge. When the ideas, practices and pranks of this experimental niche of technophiles attracted the attention of a handful of activists in Italy, they understood that information and communication were what would give shape and voice to social, political, and cultural processes in the near future.+KAOS is a cut and paste of interviews, like a documentary film transposed on paper. It describes the peculiar relationship between hacktivism and activism, in Italy and beyond, highlighting the importance of maintaining digital infrastructures. While this may not sound as glamorous as sneaking into a server and leaking data, it is a fundamental topic: not even the most emblematic group of hacktivists can operate without the services of radical server collectives.
MULTIFILE
From the traditional and pragmatic perspective on European cooperation shared by the Dutch political establishment, the French initiative for the Conference on the Future of Europe (CoFoE) was initially met with scepticism. Yet, during the experiment, the Dutch government and parliament translated their initial reluctance into assertive involvement. Rapporteurs from the bicameral parliament of the Netherlands became actively involved in CoFoE. They used it as an opportunity structure to pursue their political interests, which came down to watering down too-ambitious text proposals and stressing that the active participation of the citizens should be taken seriously. This chapter shows how both Houses used a wide range of parliamentary instruments – rapporteurs, delegations, plenary debates, committee hearings, questions, and a parliamentary citizens’ consultation – to debate, scrutinise and influence the CoFoE. Representatives and staff actively engaged in inter-parliamentary information exchange. In preparation for the plenaries, a sense of ‘esprit de corps’ developed between Dutch government representatives, members of parliament (MPs), Members of the European Parliament (MEPs), and supporting staff. This resulted in a remarkably coherent all-Dutch positioning up until the closure of the Conference and shared disappointment on the lack of a follow-up.
MULTIFILE
Collecting local memories on-line is a growing practice with participatory elements on different levels. Three levels of participation – micro, meso and macro – are introduced by describing an exemplary case: the Memory of East in Amsterdam. These levels of this particular case can be grounded in the statements of the Convention on the Value of Cultural Heritage for Society. This indicates that the Memory of East case might be a good practice. However, looking at 53 other cases shows that the three levels are present, but designed differently with respect to the degree in which residents participate. Since the convention is not specific enough we choose the notion of cultural citizenship to assess the value of cases like these. We claim that the cases that have more focus on ordinary residents participating on all three levels assures a sustainable and self-feeding system, which is the best answer to the goals of the convention.
DOCUMENT
My research investigates the concept of permacomputing, a blend of the words permaculture and computing, as a potential field of convergence of technology, arts, environmental research and activism, and as a subject of future school curricula in art and design. This concept originated in online subcultures, and is currently restricted to creative coding communities. I study in what way permacomputing principles may be used to redefine how art and design education is taught. More generally, I want to research the potential of permacomputing as a critical, sustainable, and practical alternative to the way digital technology is being taught in art education, where students mostly rely on tools and techniques geared towards maximising productivity and mass consumption. This situation is at odds with goals for sustainable production and consumption. I want to research to what degree the concept of permacomputing can be broadened and applied to critically revised, sustainable ways of making computing part of art and design education and professional practice. This research will be embedded in the design curriculum of Willem de Kooning Academy, focused on redefining the role of artists and designers to contribute to future modes of sustainable organisation and production. It is aligned with Rotterdam University of Applied Sciences sectorplan masters VH, in particular managing and directing sustainable transitions. This research builds upon twenty years of experience in the creative industries. It is an attempt to generalise, consolidate, and structure methods and practices for sustainable art and design production experimented with while I was course director of a master programme at WdKA. Throughout the research I will be exchanging with peers and confirmed interested parties, a.o.: Het Nieuwe Instituut (NL), RUAS Creating 010 kenniscentrum (NL), Bergen Centre for Electronic Arts (NO), Mikrolabs (NO), Varia (NL), Media Arts department at RHU (UK), Media Studies at UvA (NL).
