This article explores the challenges local youth workers face at the intersection of providing social care and detecting violent extremism. Extremism and other radical ideologies are often assumed to be a harbinger of terrorism. Even though both are still a rare phenomenon among adolescents, European states have become highly concerned with being alert to early signs of radicalisation processes. As a result, youth workers as well as other local professionals have been confronted with the task of detecting these early signs. However, despite training and increased knowledge, the question remains whether youth workers are sufficiently equipped to assess potential risks in youth who show no concrete plans for criminal action. In these cases, prevention targets ideas rather than violent behaviour. This article details qualitative results of a case study among Dutch youth workers and suggests that no clear framework exists for detection of radicalisation processes into (violent) extremism. This has two main causes. Firstly, the concepts of radicalisation and (violent) extremism are in practice difficult to distinguish. Secondly, the youth worker's judgement often relies more on individual perceptions rather than evidence-based criteria to identify potential ‘risky’ persons. This situation may lead to undesired side effects such as executive arbitrariness, prejudice or stigmatisation.
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In recent years, the fight against (violent) extremism has focused more on anticipating the threats that they pose. Therefore, early detection of undemocratic ideas by local professionals has become an important part of the preventive approach in counter terrorism radicalisation. Frontline workers who operate in the arteries of society are encouraged to identify processes toward violent behaviour at an early stage. To date, however, little is known about how these professionals take on this screening task at their own discretion. The analysis of 55 interviews with youth workers, municipality civil servants, and community police officers, show that they tended to be insufficiently equipped in general to detect radicalisation towards (violent) extremism at the local level in the Netherlands. Firstly, this is due to varying contents and qualities of training courses which are not suited to building up solid expertise. Secondly, and most importantly, the recognising of deviant behaviour is presumably carried out with a one-sided focus on personal norms and values rather than structured judgements about pathways towards risky behaviour. Various value systems seem to influence the norm for early detection, which means that there is, in practice, a lack of clear indicators.
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In the face of a global ecological crisis, culturally dominant framings of subjective experience as separate from living ecologies are no longer sufficient. Games might offer ways to break down these divisions. Alenda Chang has proposed bringing game ecologies to life. To complement her position, in this paper, we aim to inspire game designers and researchers to explore ways in which video games can remodel the perceived player subject as a pathway to ecological entanglement. We investigate four strategies for decentering and deconstructing the subject. These are: (1) deconstructing the subject to foreground internal sources of entanglement; (2) dismantling, distorting, ignoring, and/or invading the visual perspective; (3) conceptual deconstruction and reframing of a sense of self; and (4) decentering the subject through shifting contexts. For each of these, we introduce relevant examples of narrative and gameplay design in existing video games and suggest steps for further development in each direction.
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Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
Met de opkomst van digitale diensten en de impact van digitale technologie is het vraagstuk van privacy hoog op de maatschappelijke agenda beland. Burgers gebruiken steeds vaker apps en andere online services, met als keerzijde dat we steeds meer informatie over onszelf moeten delen om optimaal gebruik te kunnen maken van deze faciliteiten. Dit kan leiden tot schending van onze privacy. Ook voor de meeste (mkb-)bedrijven is het lastig om inzicht te krijgen in de privacy implicaties van hun online services en in de privacy-eisen om deze implicaties te verzachten. Het privacyvraagstuk is voor deze doelgroepen grijpbaar te maken door de privacy-eisen waar online diensten aan moeten voldoen op een beknopte, overzichtelijke en duidelijke manier te communiceren. Privacy labels, in navolging van energielabels en voedingslabels, zijn hiervoor een veelbelovende methode. Binnen het, door NWO gefinancierde, SERIOUS project is een prototype ontwikkeld om privacy-eisen te visualiseren middels een multidimensionaal privacy label (Barth, Ionita en Hartel, 2020). Op basis van een vragenlijst met betrekking op datacollectie, dataverwerking en datadisseminatie kan de mate van privacy borging en bescherming worden vastgesteld. Het huidige prototype van dit privacy label is generiek. Echter is het mogelijk dat bepaalde elementen van privacy in de praktijk binnen sommige domeinen veel zwaarder wegen dan binnen anderen. Kenniscentrum Creating 010 onderzoekt, naar aanleiding van de vraag vanuit de samenwerkingspartijen van het SERIOUS project, binnen dit project hoe het SERIOUS prototype kan worden doorontwikkeld naar een volwaardig privacy label. Hierbij wordt nagegaan of en hoe het prototype in en voor verschillende sectoren werkt, deze zijn: retail, media en cultuur. Het doel van dit project is om middels een haalbaarheidsstudie de richtlijnen voor een domein-specifiek label te achterhalen en op te stellen die dienen als uitgangspunt voor een vervolgproject voor een domein-specifieke privacy tool.
Being objective as a journalist indicates a distance to your sources and maintaining the role of a neutral bystander. This principle echoes in journalism education; generally speaking, to call something objective is a compliment and to say something is subjective is a warning. This journalistic role perception faces criticism since the late twentieth century. There’s extensive scholarly research looking to bridge the gap between objectivism and subjectivism, but journalistic education still widely prioritizes a binary perception of these principles, putting a strong emphasis on objective reporting. This PD aims to integrate artistic practices into journalism education that advocate a more balanced approach of the assumed objective-subjective dichotomy. One such approach is live journalism, where the artistic method extends to productional outcome, usually in the form of a journalistic narrative brought before a live audience. Research shows that, whereas visitors still think such productions should be fact-based, the fact that journalists had (made) a personal connection to their subject was seen as essential to the credibility of their work. This presupposes that journalism in this context is not merely a profession, but rather a person carrying out a profession. This PD intends to not only accept a certain subjectivity, but to explore its potential in journalism education. It plays with the concept not as being or becoming personally opinionated as a journalist, but as subjecting the self as a reporter. Research shows that for journalists, such an active connection to a target audience and an attitude to want to hear more than an answer to a question leads to a more representative understanding of the position and predicaments of a social group. In this light, the objective and subjective do not present themselves as a T-junction where the journalist chooses either one or the other; they appear in mutuality.
