Dit boek is een brede collectie teksten over eigentijds fascisme, geschreven door het Nederlandse theoriecollectief Bilwet in de periode 1983-1994. De map bevat onder andere een lezing over wolven, zes kleurplaten met Kuifje en Hitler, een analyse van getuigenissen van SS’ers, mijmeringen in Berlijn en een ambulant-wetenschappelijk artikel over filosofenmode. De Bilwet fascismemap, indertijd gemaakt voor scholingsdoeleinden in de kraakbeweging, werd niet eerder uitgegeven. Waarom dan nu toch wel? Vijfendertig jaar oude fascismeanalyses zijn niet zomaar toepasbaar op de huidige maatschappij. Maar in de antifascistische discussies, die in links-progressieve kringen nog niet zo lang geleden gemeengoed waren, liggen belangrijke lessen voor het heden. Hoe zag dat antifascistisch discours eruit? Wat was de relatie tussen klasse- en seksestrijd? Hoe vond de kennisoverdracht tussen de generaties toen plaats en hoe verloopt die nu? De Bilwet fascismemap geeft inzicht in deze vragen en daarmee een inkijk in de geschiedenis van wat ook wel de niet-fascistische, feministische mannenbeweging genoemd kan worden.
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Urban farming projects often involve the (temporarily) redevelopment of urban space by local co-productions of citizens and/or entrepreneurs. To realize their ambitions these coalitions often need support of public (government) resources such as time, money, space and regulation (Green Deal Stadslandbouw, 2013). This paper asks the question to what extent the development of urban farming projects can be understood as an example of planning through direct citizen participation/ participatory governance (e.g. Cornwall, 2004; Roberts, 2004) and what this means for the role of the municipal planning professional or civil servant in making these projects successful. Literature on the role of the municipal planner or civil servant in urban farming projects mainly concerns the role as enabler of projects given the many difficulties for projects. However, when looked at the development of urban farming as an example of citizen participation/ participatory governance and the transfer of social functions towards society other roles and tasks of planners seem to be important to make urban farming successful. This discussion paper looks to the role of planners and civil servants in some related government domains such as landscape (e.g. Van Dam et al. 2008, 2010, 2011) and neighbourhood development (e.g. Frieling et al., 2014) to complement our understanding of the role of planners in making urban farming projects successful. With this analysis the paper sets the scene for further research into tools for the planning professional or civil servant to support urban farming. In the paper the situation in Amsterdam serves as an example.
The ‘Grand Challenges’ of our times, like climate change, resource depletion, global inequity, and the destruction of wildlife and biodiversity can only be addressed by innovating cities. Despite the options of tele-working, tele-trading and tele-amusing, that allow people to participate in ever more activities, wherever they are, people are resettling in cities at an unprecedented speed. The forecasted ‘rurification’ of society did not occur. Technological development has drained rural society from its main source of income, agriculture, as only a marginal fraction of the labour force is employed in agriculture in the rich parts of the world. Moreover, technological innovation created new jobs in the IT and service sectors in cities. Cities are potentially far more resource efficient than rural areas. In a city transport distances are shorter, infrastructures can be applied to provide for essential services in a more efficient way and symbiosis might be developed between various infrastructures. However, in practice, urban infrastructures are not more efficient than rural infrastructures. This paper explores the reasons why. It digs into the reasons why the symbiotic options that are available in cities are not (sufficiently) utilised. The main reason for this is not of an economic nature: Infrastructure organisations are run by experts who are part of a strong paradigmatic community. Dependence on other organisations is regarded as limiting the infrastructure organisation’s freedom of action to achieve its own goals. Expert cultures are transferred in education, professional associations, and institutional arrangements. By 3 concrete examples of urban systems, the paper will analyse how various paradigms of experts co-evolved with evolving systems. The paper reflects on recent studies that identified professional education as the initiation into such expert paradigms. It will thereby relate lack of urban innovation to the monodisciplinary education of experts and the strong institutionalised character of expertise. https://doi.org/10.1007/978-3-319-63007-6_43 LinkedIn: https://www.linkedin.com/in/karelmulder/
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This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
