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Speculative Facts
The Department of Speculative Facts connects two seemingly contradictory approaches: Speculation which attempts to think and act beyond existing knowledge and structures, and fact-checkers in search for a solid consensus on which our reality can be built. When stretching knowledge and speculating with fiction, what sense of responsibility is needed in times of democratized opinions and fake news? Learning from the other SF--Science Fiction--we think of speculation through facts, and facts through speculation, to situate truth culturally. The backbone of this book is an e-mail exchange between two fact-checkers from the New York Times Magazine, which we handed over to artists to re-write, re-perform, and re-design. The publication includes the original letters, workshop scripts, as well as additional texts by philosophers, journalists, writers, and artists looking at new social contracts, with which we can anchor ourselves in the present.
Design Technology and Digital Production
This book is a rigorous account of architecture’s theoretical and technological concerns over the last decade. The anthology presents projects and essays produced at the end of the first digital turn and the start of the second digital turn. This anthology engages and deploys a variety of discourses, topics, criteria, pedagogies, and technologies, including some of today’s most influential architects, practitioners, academics, and critics. It is an unflinchingly rigorous and unapologetic account of architecture’s disciplinary concerns in the last decade. This is a story that has not been told; in recent years everything has been refracted through the prism of the post-digital generation. Design Technology and Digital Production illustrates the shift to an architectural world where we can learn with and from each other, develop a community of new technologies and embrace a design ecology that is inclusive, open, and visionary. This collection fosters a sense of shared experience and common purpose, along with a collective responsibility for the well-being of the discipline of architecture as a whole.
Lonnie van Brummelen and Siebren de Haan
Drifting Studio Practice begleitet Lonnie van Brummelens und Siebren de Haans partizipativen Dokumentarfilme Episode of the Sea (2014) und Stones Have Laws (2018), die sie in Zusammenarbeit mit der niederländischen Fischergemeinde Urk und mit den Saamaka- und Okanisi-Maronen von Surinam, einer ehemaligen niederländischen Kolonie im Amazonasgebiet, gedreht haben. Die Künstler skizzieren, wie sie mit kollektivem Drehbuchschreiben und performativem Geschichtenerzählen experimentierten. Ausgehend von ihrer früheren Arbeit Monument of Sugar (2007) entwickelt sich der Bericht zu einer praxisorientierten Auseinandersetzung mit Koautorenschaft und (Nicht-)Menschenrechten als Strategien zur Bewältigung des Plantagenozäns.
Perhaps it is High Time for a Xeno-architecture to Match
"Our decision to start the series of conversations with you is based on your implementation of the "xeno" in your perspective practices. Perhaps it is high time for a xeno-architecture to match aims to unpack the prefix xeno, probing what it entails -not merely rhetorically but also as a means of practice- in an attempt to bring the ideas it contains more concretely into the domain of architecture. It proposes to link the more philosophical discussions on the notion of xeno with the questions of instrumentalization and governance that are necessarily involved in the praxis and geopolitics of architecture. And it relates the significance of legal architectures and technologically driven transformations in the metaphysics of law back to the agenda of xeno-architecture."
De vrijheid van de grens
Kunnen we, in het besef dat grenzen vrijheid mogelijk maken, op een duurzame manier de kring verruimen van mensen met wie we ons vereenzelvigen?’ – Paul Scheffer De vluchtelingencrisis laat onze verlegenheid met grenzen beter dan ooit zien. Wie zijn wij, wereldburgers, om anderen de toegang tot ons grondgebied te ontzeggen? In dit essay betoogt Paul Scheffer – verwijzend naar filosofen als Bauman en Sloterdijk – dat een open samenleving alleen kan bestaan door enige ruimtelijke afbakening. Het gaat hier niet over de grenzen van de vrijheid, maar over ‘de vrijheid van de grens’. Anders gezegd: hoeveel begrenzing heeft een beschaving nodig die democratie en mensenrechten wil bevorderen? En wat is tegen die achtergrond een eigentijds vooruitgangsideaal?
Wat we gemeen hebben
De economische crisis, de pandemie en de klimaatcatastrofe hebben een deuk geslagen in ons (neoliberale) zelfbeeld als autonome individuen. Overal klinkt de roep om meer ‘gemeenschapszin’. Maar wat verbindt ons eigenlijk? Die vraag wordt meestal beantwoord in termen van ‘normen en waarden’ of ‘nationale identiteit’, en tegenwoordig zelfs onomwonden in termen van etniciteit of ras. Geïnspireerd door een breed scala aan kritische denkers, vindt Thijs Lijster een alternatief in de traditie van het denken over de zogenaamde commons, of meenten. De meenten zijn gedeelde bronnen waar iedereen gebruik van kan maken zonder dat ze iemands bezit zijn. Vroeger waren dat bossen of velden, maar ook (wetenschappelijke) kennis, de openbare ruimte in de stad of het internet kunnen als zo’n meent gezien worden. Het kapitalisme bedreigt de meenten en verandert ze steeds weer in (privé)bezit. Lijster laat zien waarom het van belang is dat we cruciale aspecten van ons leven (zoals wonen, zorgen en leren) niet als koopwaar behandelen, maar als meenten. Want zonder meenten hebben we niets gemeen.
The Future of the New
In The Future of the New, artists, theorists and professionals working the art field reflect on the role of the arts in a world that is speeding up and changing through the joint forces of globalization, digitization, commodification and financialization. Can artistic innovation still function as a source of critique? How do artists, theorists and art organizations deal with the changing role of and discourse on innovation? Should we look for alternative ways to innovate, or should we change our discourse and look for other (new!) ways to talk about the new? Combining timely analyses of contemporary art and inspiring visions for the future, The Future of the New attempts to set the agenda for the debate on the function, value and future of artistic innovation. It includes writings by leading theorists in this field, such as Franco 'Bifo' Berardi, Suhail Malik, Benjamin Noys, Hartmut Rosa and Nick Srnicek.
The Nightmare of Participation
Including an introduction by Eyal Weizman, a conversation with Chantal Mouffe, an interview by Hans Ulrich Obrist, and post-scripts by Bassam El Baroni, Jeremy Beaudry, and Carson Chan. Welcome to Harmonistan! Over the last decade, the term "participation" has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen's "Participation" trilogy encourages the role of what he calls the "crossbench practitioner," an "uninterested outsider" and "uncalled participator" who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change.
Black Transparency
A Google executive once said: "If you want to liberate a society just give them the Internet." But how does one liberate a society that already has the Internet? Publicly, modern government adheres to the twin ideals of institutional transparency and personal privacy. In reality, while citizens are subjected to mass surveillance, government practice goes unchecked. A new generation has taken to the Internet to defend the right to governance without secrets. From Bradley Manning and WikiLeaks to LulzSec and Anonymous, from the Icelandic Modern Media Initiative to the revelations of Edward Snowden, a coalition is breaking through the secrecy that lies at the core of the modern state. The story gets more complex when open government is contrasted with black transparency, and when a geopolitical rift between the West and Russia becomes the dividing line for whistleblowers and transparency activists seeking refuge. What is transparency for one may be propaganda for the other.
Overwrite
Overwrite: Ethics of Knowledge Poetics of Existence is about writing differently in order to situate oneself in the world differently. It is a book about how new truths are produced when a subject takes responsibility for his/her thinking, experiences and conflicts. When a subject rewrites and overwrites itself, it becomes an other, transforming the world in the process
