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20-03-2017How do we increase biodiversity in the Netherlands? By working together! What can food forests and restaurants mean for each other? This report focuses on the question: “What is the potential of collaborations between food forests and restaurants in the Netherlands?”Interviews revealed that successful partnerships are based on direct supplier relationships, internal motivation and niche products that create a unique selling point.
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02-05-2020
This study describes the process of developing a typical dish for a slow city, using the lens of co-creation and coproduction. The slow movement argues that appreciation of local cuisine increases through events and developing slow food practices. Participant observation and interviews with actors involved in the development process revealed the symbolic components used to enhance the cultural heritage of Vizela, Portugal as a slow city. The research shows that the slow city initiative has gradually provided the basis for a gastronomic attraction to support tourist development. The development of a typical dish for the city was found to aid the recovery and revalorization of local knowledge, while the support of gastronomic culture by the local authority and community participation helped to strengthen regional identity and to develop an attractive and sustainable tourist offer. Thus, this study revealed the importance of residents in this development process as well as showed requirements that may support the rescue and cocreation of typical dishes for tourism.
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31-12-2022De horeca-sector en het toerisme worden zwaar getroffen door de huidige crisis. Omzetschade is historisch groot; tegelijkertijd zijn er vanuit de praktijk veel vragen over hoe nieuwe werkwijzen moeten worden ontwikkeld en toegepast. Voor onze sector voorziet onderzoek in het kader van de Impuls-regeling daarom onmiskenbaar in een grote maatschappelijke behoefte. Hotelschool The Hague (HTH) zet strategisch in op het behoud en de versterking van praktijkgericht onderzoek en op het onderzoekend vermogen van haar studenten. Onderzoekend vermogen is, voor toekomstige afstudeerders in een snel veranderende arbeidsmarkt, door de HTH gedefinieerd als cruciale kernvaardigheid. In dit kader zijn recent de onderwijs- en onderzoeksprogramma’s van de HTH hervormd rond de principes van Design Oriented Research. Door de COVID-19 crisis is de continuïteit van het praktijkgericht onderzoek van de HTH, misschien nog wel meer dan bij brede hogescholen onder druk komen te staan. Met het hier voorgestelde Impuls 2020 bestedingsplan wil HTH de onderzoeksfunctie van haar praktische outlets — haar schoolrestaurants en -hotels— verder versterken zodat deze kunnen worden ingericht en gebruikt als ‘test-beds’ of HTH Labs. De schoolrestaurants en -hotels worden hiermee een faciliteit voor experimenteel, praktijkgericht onderzoek waar in commerciële bedrijven vaak geen mogelijkheid voor is. Dit Impuls 2020 voorstel behelst de visievorming voor de HTH Labs en de netwerkvorming met andere kennisinstellingen en met bedrijven als beoogde afnemers van de kennis die in de Labs ontwikkeld zal worden. Het voorstel voorziet tevens in de uitvoering van 3 pilotstudies die de mogelijkheden van de HTH Labs inzichtelijk maken voor het bedrijfsleven. De Impuls financiering zal uiteindelijk resulteren in een operationele onderzoeksfaciliteit in de schoolrestaurants en -hotels van de HTH, en in drie onderzoeksrapporten met bijbehorende disseminatie-activiteiten.
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?
