The aim of the project is to empower older workers in communication and self-regulation in work and working conditions (Houben 2002). The project is an example of a developmental approach of an age diversity policy. The large scale project started in September 2005 in different organizations: an industrial organization, a management consultancy firm, etc.
The quest of organization haunts us. If anarchists were once said to defy authority, nowadays we defy organization. Structures are perceived to hold us back and pin us down with the iron cage of identity. The solidified social limits our freedom with its demand of never-ending “engagement.” How desperate is it to live your life as an insulated rebel without a cause? Instead, we should ask, what is pure organization? Is there a new core that we could define and design? What’s commitment outside of today’s technosocial conventions? Are there bonds that create ties, unhinged from procedure, unfettered by bureaucracy? Is there a form of conspiracy that operates without all the tiresome preparations? Mutual aid and local self-organization come to mind, but what if we’re forced to pursue organization of the unorganizables? Does a self-evident General Will exist that does not need to be discussed and exhaustively questioned? Having arrived at this point, we can clearly see the romantic undertone of the Critique of Organization. What’s a lean revolution, an effortless regime change? Can we presuppose a hive mind that performs like an automaton? Humans, coming together, create the Event, simply because of an inner urge to experience relations without guarantees.
MULTIFILE
In today’s world, information security is a trending as well as a crucial topic for both individuals and organizations. Experts believe that nothing can guarantee any system’s security unless humans’ information security behavior is taken under consideration. Opening an e-mail attachment without checking its source, sharing account information with other people and browsing websites without checking its reliability can be considered as common mistakes in information security behavior. This study examines the factors affecting information security behavior by scrutinising its relationship with different variables which are information knowledge sharing, information security organization policy, the intention of attending information security training and self-efficacy. The present study extensively analyses the data collected from a survey of 630 people ranging from students to managers aged between 15 to 79 in order to generalize the Turkish context. The results of reliability measures and confirmatory factor analysis support the scale of the study. The present study’s findings show that there is a positive relationship between the factors mentioned above and information security behavior.
In my PD research, I want to focus on how collectivity is practiced in the arts, by learning from the Indonesian multidisciplinary art collective ruangrupa’s use of [the international art exhibition] ‘documenta’ as a tool, and the potential of continuing the experiences outside this group and context. The art practices programmed by ruangrupa can be understood as complex and ambiguous where art is not at the center of attention but part of a larger communal productivity. And where it is not sufficient to be merely critical, and merely voice opposition, but to engage, and create alternatives in everyday life [without being problem-solving or social design]. My research concerns the potential of continuing these practices and experiences outside this particular artist group and exhibition context. Ruangrupa’s work reveals problems of the current Western art system, how it is (hierarchically) organized, the implicit rules, norms and values it is based on. Ruangrupa's practice thus serves as an exercise and point of departure to answer questions about forms of self-organization within the art field. Its collective and multidisciplinary art practice implies the question whether it also can serve as a model for living together on a larger scale (also outside the arts), beyond hierarchies of social and professional structures. There is currently a lack of research on these particular art practices, so that they are not easily accessible for non-participants. For the art field in particular, this concerns the question whether contemporary art can and needs to take place outside established Western gallery/museum, art/curatorial paradigms and what can be learned from ruangrupa's and documenta fifteen's blending of art practice with daily life practice. This is also an urgent practical issue for art schools (including my school Willem de Kooning Academy) that increasingly develop art study programs outside the studio and gallery art paradigm.
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?
