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Privacy by design is a widely acknowledged necessity, yet its practice is still in its infancy. Many scholars have argued that privacy by design requires a cross-disciplinary approach in which privacy perspectives from different disciplines need to be integrated from the beginning of the design process. This paper investigates the potentials and shortcomings of a workshop format, used in the early stages of a (re)design process, to integrate viewpoints of multiple stakeholders from different disciplines. The workshop is used in two cases involving privacy issues, in the healthcare and in the insurance domain. The results show that different stakeholders, representing social, technological, ethical, legal, domain and user perspectives, identified different problems. Together, they thus provided a more complete view on the issues at stake, forming a better starting point to account for privacy in the design process. Based on the results, the paper suggests a number of research directions for combining diverse views from multiple stakeholders.

Research and publishing have always been closely related but are currently undergoing changes. Informed by technological and cultural developments, their practices and definitions are being debated. For new forms of interdisciplinary and artistic research, there is a corresponding need for new forms of publishing that go beyond the traditional academic textbook. WdKA Hybrid Publishing, a cross-departmental lab for art and design research publications at Willem de Kooning Academy, develops new, experimental forms of artistic research publications for print and digital media. The plan is to extend hybrid publishing to the multidisciplinary research practice at the Rotterdam Arts and Sciences Lab.

The current Facebook farewell activism will likely end up being just as ineffective as the Post-Snowden crypto activism of the last few years and Linux install parties before that. Facebook-quitters will likely rejoin the network after a hiatus, if they haven’t stayed on Whatsapp and Instagram anyway. With too much symbolic campaigning and virtue signaling, the current Anti-Facebook wave is doomed to remain a storm in the teapot.

Zine for Pluriversale VII: Stealing from the West, Akademie der Künste der Welt, Cologne, Germany. This missalette was intended as a companion document to a conversation. It contains emails, texts, and images exchanged between Florian Cramer and Clara Lobregat Balaguer regarding the theme Stealing from the West.

Underground culture and non-institutional arts of Eastern Europe, North America and Western Europe of the 1970s/1980s often included experimentation with the dispensation of individual signatures and identities, in favor of pseudonyms and collective-anonymous identities. This included dispensation of ownership and property - including copyright. A parallel phenomenon existed in computer hacker culture where, since the 1960s, freely sharing information and even one’s personal computer logins became part of a “hacker ethic”. This culture gave birth to Free Software, later branded Open Source, and its “copyleft”. The Free Software practice of collective project development on the basis of giving up traditional authorship had existed for decades, but only became wider known in the 1990s and 2000s with the rise of the Linux operating system and, some years later, Wikipedia whose opencollective authorship is based on the development model and copyleft principle of Free Software. Both traditions - collective-anonymous (sub)culture such as in underground and as well as Free Software, Open Source and copyleft - could be seen as working practices of “the commons”, in a time where the commons are broadly advocated as an alternative to capitalist production and as an antidote to the imminent ecological catastrophe from over-exploitation of resources and anthropocentric blindness for the earth as a system. Contemporary Open Source culture can even be seen as a showcase for a post-humanist worldview, since most of it originates in collaborations of human and nonhuman actors, human developers and automated software agents. But as a real-life test case for a posthumanist commons, Open Source exhibits the flaws of these models: unclear governance with lack of democratic participation, in the worst case oligarchies disguised as meritocracies and corporate politics disguised as community service.

The history of 20th century painting conventionally identifies abstraction with modernism and the return of figuration with postmodernism...

The terms “post-media”, “Post-Internet” and “post-digital” are popular yet confusing. Despite their similarity, they refer to greatly different, sometimes unrelated notions of “medium” and “media” that have historically coexisted in the arts and the humanities. On top of that, each of them refers to a different concept of “post” and to different traditions in contemporary arts and critical theory. Now that these schools converge, terminology often gets conflated without many people noticing. This article will attempt to cut through the mess.

"Depression" has two conventional meanings: It can refer to an individual state of mind or to such collective conditions as economic crises. Each yielded their own visual languages and performances in the arts. With today's entrepreneurship of the self, the two states seem to have converged. The fall of the wall, the 1990s dotcom boom and bust, the global financial crisis suggest that cycles of euphoria and depression have become collective and hyper-individualized at the same time. Ultimately, depression concerns notions of past, present and future. 'A Solid Injury to the Knees' comes out of Double Bind (2015-2016), an exhibition in five venues, initiated by Rupert center for art and education, Lithuania and realised in collaboration with The Academy of Fine Art at Oslo National Academy of the Arts, Norway and The Living Art Museum, Iceland, curated by Maya Tounta and Justė Jonutytė. Double Bind was an exploration of depression featuring commissioned works by Valentina Desideri & Denise Ferreira da Silva, Morten Norbye Halvorsen, Styrmir Örn Guðmundsson, Berglind Jóna Hlynsdóttir, Juha Pekka Matias Laakkonen, Lina Lapelytė, Viktorija Rybakova and Augustas Serapinas. It was accompanied by a lecture series with the contributors of the book. This book forms part of the project Interdisciplinary Art Project: Politics of Emotion: Art in the Expanded Sphere in collaboration with Rupert, Lithuania, The Living Art Museum, Iceland, and Oslo National Academy of the Arts, Norway. It is produced under the Programme LT07, the EEA Financial Mechanism and Lithuanian Republic.

Introductory essay for Jan Van Den Dobbelsteen's artist's book on his picture disc collection

In de Verenigde Staten mag auteursrechtelijk beschermd werk vrij worden gebruikt, in naam van de kunst (of de porno-industrie). Deze rechten zouden wij ook moeten hebben, betoogt Florian Cramer.

Anonymous, imageboards, memes. ePunk des 21.Jahhunderts

Virtuelle Realität. Der Friedenspreis für Jaron Lanier - und die Missverständnisse, auf denen er beruht

The term "post-digital" was coined in 2000 for electronic music, but reflecting on larger developments in technology and culture, to describe a perspective on digital information technology that is no longer focused on technical innovation or improvement. In the meantime, "post-digital" has acquired new meanings and uses, from neo-analog tendencies in art and design to everyday commodification of digital devices to critical revisions of network culture after Edward Snowden's disclosures of Internet surveillance. In all cases, "post-digital" boils down to a revision of "new media" as defined by Lev Manovich. This essay summarizes these different meanings and uses with a particular focus on media, arts and popular culture, concluding that both techno-positivist "digital" and techno-revisionist "post-digital" cultures are driven by desires of agency.

Art and design professions are currently undergoing major transformations. Perhaps for the first time in history, Western art education is no longer naturally linked to stabilising norms within the professional creative practice. During the past few decades, art education has been unable to adapt sufficiently to shifting global economic and cultural realities. Neither has it been able to catch up with the new technological requirements which its graduates must face. The nature of the public has changed as well: consumers have become co-creators, while do-it-yourself culture increasingly challenges the role of the artist as the authoritative creative professional. Meanwhile, service design and project-based practices which exist on the boundaries between traditional fields of knowledge are becoming as important as artistic work in the conventional sense. Therefore art education will have to undergo a radical transformation, if it is to go on playing a meaningful role in the 21st century. The contributors to this volume are executives and researchers at the Willem de Kooning Academy, Rotterdam University of Applied Sciences, in the Netherlands.

One could write an alternative history of the Western modern arts as a struggle with industrialization. In this history, there would be almost no connection between classical fine art painting to the modern arts, but it would start with medieval craftsmanship, continue with the Arts & Crafts movement in the 19th century, Bauhaus in the 20th century and end with the contemporary “creative industries” including most of contemporary artistic practice, including artist-made books, zines, cassettes, vinyl, but also electronic circuit bending, Fablab making and software hacking.

Florian Cramer’s essay reframes debates on electronic literature within larger cultural developments in writing and publishing. On the one hand, he shows the commitment of the field of electronic literature - as found in universities or in organizations such as the ELO - to a “literary” intermedia writing for electronic (display) media. On the other hand, he emphasizes a wide-ranging post-digital poetics defined by a DIY media practice rather than the choice of a particular medium, a poetics which is broadly orientated towards writing rather than literature. At stake in this opposition is the larger question of literary studies in a world of creative digital industries.

With co-founder Julian Assange garnering everything from a messianic following to derision and calls to be ‘hunted down like a terrorist', Florian Cramer and Ted Byfield stand in opposing corners of the WikiLeaks ring to debate its impact on the modern state.

On Annemiek van der Hoek’s Epicpedia

Through the so-called Web 2.0 and so-called social media, the notion of sharing, community and participation have been thoroughly perverted . Using the World Wide Web has become synonymous with being tracked and data­ mined. The only resort to responsible social communication is to practice anti-social communication. Analog low-tech media experience a renaissance because of their tactical aptitude for genuine sharing between people, for being more difficult to track.

The greater the technological dependencies of an electronic text on other layers of (software, hardware, networking) technology, the higher the probability that one or more layers will break and make the piece unreadable, and even unpreservable. In the past two decades of electronic poetry, this has happened more often than not. Even with sensible choices of file formats, electronic publication is radically more unstable than print. A common understanding of electronic literature as an expansion of simple text has sped up its slide into technical obsolescence. For better or worse, an in-bred academic poetics, multimedia ideology and rather uncritical choices of technology have contributed to this situation. More sustainable types and cultures of online writing do exist, but suffer from the little technological excitement they offer to new media scholars.

On the Creative Commons licences.

Beschreibung der generellen Verfahrensschritte eines Outsourcingvorhabens mittels explizitzer Unterstützung von detaillierten Prozessanalysen und -bewertungen "Bauchentscheidungen durch valide und methodische Vorgehensweise ersetzen".

Most arguments in favor of command line versus graphical user interface (GUI) computing are flawed by system administrator Platonism. A command like "cp test.txt /mnt/disk" is, however, not a single bit closer to a hypothetic "truth" of the machine than dragging an icon of the file.txt with a mouse pointer to the drive symbol of a mounted disk. Even if it were closer to the "truth", what would be gained from it?

Pornographic coding

Indie porn represents a currently flourishing sub-genre of pornography, in which well known looks from subcultures such as Gothic or Punk are oftentimes staged as anti-commercial, feminist gestures of self-empowerment. In this regard the conflicts that shaped the debates around pornography's obscenity from the sixites onwards are however avoided in favor of alternative sexual aesthetics -pornography thus loses one of its basic features. But can there ever be pornography beyond the obscene?

Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.

Im Rahmen des vorgestellten OEF-Projektes hat es sich das Fraunhofer-Institut für Materialfluss und Logistik zur Aufgabe gemacht, die sich in der letzten Zeit stark gewandelten Anforderungen an die Beschaffungsdienstleister zu erfassen und zu klassifizieren. Auf dieser Basis soll in einem weiteren Schritt ein Konzept entwickelt werden, welches es den betroffenen Unternehmen erlaubt effizient auf diese Anforderungen zu reagieren bzw. sich umzustrukturieren. Ein wesentlicher Schlüssel zum Erfolg stellt dabei die Kooperation unterhalb der Dienstleister und die Kooperation mit den Kunden dar.