Boek: ‘The map as art’, Katharina Harmon & Gayle Clemans

The Map as Art, Katharina Harmon & Gayle Clemans

Zeer informatief, helder beschreven en mooi vormgegeven boordevol inspirerende voorbeelden van de combinatie kunst en cartografie. Vanuit verschillende invalshoeken wordt het onderwerp benaderd van conceptueel tot beeldend. We zijn inmiddels zo gewend geraakt om ons op de meest efficiënte manier van A naar B te verplaatsen dat we het avontuurlijke aspect van navigeren een beetje vergeten zijn. Dit boek draagt bij om dat avontuur weer meer op te zoeken.

CERN welcomes its first artist in residence

Geneva, 12 March 2012. Creative collisions have begun at CERN1 with the arrival of Julius von Bismarck as the laboratory’s first Collide @ CERN artist in residence. A rising star of the international arts scene, von Bismarck will team up with theoretical physicist James Wells as he works alongside the lab’s engineers and scientists for the next two months before moving to the Ars Electronica Centre2 in Linz, Austria for the second part of his residency. Von Bismarck and Wells will give a public presentation in CERN’s Globe of Science and Innovation on 21 March. Doors open at 6.45pm.

“Particle physics and the arts are natural partners, both explore our place in the universe and both examine what it is to be human,” said CERN Director General Rolf Heuer. “We are delighted to welcome Julius von Bismarck as our first artist in residence and we look forward to his creative interrogations and interactions with our science.”

Julius von Bismarck is the winner of the first Prix Ars Electronica Collide @ CERN3 residency award, which attracted close to 400 entries from 40 countries around the world. He was given the award by an international jury for “his proposal and work, which manipulates and criticises our notions of reality in unpredictable ways, often with inventive use of video, objects and public interventions”. His works are also characterised by his fascination with complex philosophical and scientific ideas.

 “Putting an artist in a place where thousands of scientists are looking for things that nature has never exhibited before is very exciting and, of course, I wanted to be that artist,” said von Bismarck. “I am fascinated by making things perceivable which were never perceived before, and CERN is potentially a goldmine for unperceivable or even unimaginable things.”

The Smell of Data

The Smell of Data is a project by designer Leanne Wijnsma and filmmaker Froukje Tan in which they contribute to the fight for a safer and more secure internet by designing a smell. By adding smell to data they hope to make the Internet a more instinctive place. Greenhost supports their project and through our blog they will keep you and us up to date of their search.

Our sense of smell has helped early humans to survive. We used it to trace our prey and it warned us in case of danger. Our nose was the watchdog of our senses. But since then our hunting and gathering has moved to the digital environment. We collect enormous amounts of data in an uninhibited manner. We graze the internet without being interrupted, most of us unaware that we are being spied on. And our noses can’t warn us anymore. Our sense of smell as a primary instinct for survival seems to have disappeared to the background. That is why we plea to start using our nose again when fulfilling age-old necessities online.


Our nose helps us in detecting danger, but not every danger has a scent. Our inspiration for this project is strongly guided by the development of the smell of gas: gas is a dangerous substance without a smell. After the New London school gas explosion (Texas) in 1937 the aromatic substance Ethanethiol was added to scentless gasses. A very distinct scent detectable in an instant even in tiny dosages. We learned that this is a smell of danger. You were taught to be alert as soon as you recognise the smell of gas at young age. 1. Close the gas tab immediately 2. Open a window and 3. Don’t use fire. The smell of gas became fully accepted in society. It helped us to use gas more safely.

Data are scentless too. We create enormous amounts of data on daily basis, and we don’t always know where it flows. It is time to use that data more securely. Just like what was done with gas, we want to ‘add’ smell to scentless data as a warning mechanism. The goal with the development of The Smell of Data is to return to smell as a power of alerting danger, even in digital spaces. We hear a lot about possible risks and data mining, especially since the 2013 NSA leaks. But for the majority of the internet users those risks are too easy to neglect. That is because we don’t directly ‘feel’ the danger.

The Smell of Data will become a new smell that instinctively warns internet users in case of data leaks by releasing a warning signal when personal data are at stake. With the Smell of Data we want to make bone-dry data sensible by linking it to smell. We will make a film to show the search of how smell (instinctive) can be interwoven with data (cognitive) to stimulate consciousness of online behaviour.

The Smell of Data is a project in which science, technology and design will meet. The launch of the smell and the premiere of its film are planned for spring 2016. Bits of Freedom and Greenhost are our partners on the data terrain, we want to thank them a lot for their expertise and work. Input from their readers, no matter from which angle, is more than welcome: don’t hesitate to get in touch with us trough


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Onderwijs in transitie: De Bildung Academie Een opleiding die studenten midden in de maatschappij plaatst

In augustus afgelopen jaar is De Bildung Academie van start gegaan. Een opleiding voor én door studenten waarin je  door vooraanstaande hoogleraren en deskundigen wordt opgeleid om je eigen plek te vindenin de huidige maatschappij. Meer dan in het reguliere onderwijs wordt er aandacht besteed aan ethiek, retorica, filosofie en zelfontplooiing. Het kijken buiten het eigen vakgebied en het constant reflecteren vormen hierbij kernacties.

Uit pure interesse en bovenal nieuwsgierigheid naar de precieze insteek van deze nieuwe onderwijsinstelling gingen wij, Imke en Marieke van Nieuw Amsterdam, een gesprek aan met de organisatie achter De Bildung Academie. Deze bestaat uit studenten die zich vrijwillig inzetten en zich bezighouden met het onderwijsprogramma, de begroting, marketing, promotie, acquisitie en het gidsen van de studenten. Dylan, Merel, Kirsten en Koen staan ons te woord.

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The art of impact


The Art of Impact is een tijdelijk stimulerings- en onderzoeksprogramma, gericht op nieuwe en bestaande kunst- en kunstenaarsprojecten met duidelijke impact op een maatschappelijk thema of vraagstuk.

The Art of Impact biedt financiële en immateriële ondersteuning aan bestaande en nieuwe projecten die, al dan niet in samenwerking met een maatschappelijke partner, duurzame impact nastreven binnen én buiten het culturele domein.

Daarnaast doet The Art of Impact onderzoek naar de werkwijze van makers en producenten, de succes- en risicofactoren van samenwerking en de kwalitatieve resultaatmeting van de ondersteunde projecten.

Ten slotte draagt The Art of Impact bij aan de zichtbaarheid van de geselecteerde projecten, door middel van een interactieve website, de organisatie van bijeenkomsten met makers en maatschappelijke producenten en verschillende presentatiemomenten van ondersteunde projecten.

In 2015 hebben er twee open oproepen plaatsgevonden. Uit in totaal ruim 700 aanvragen werden ongeveer 80 nieuwe projecten geselecteerd. Daarnaast worden in totaal ruim 40 bestaande projecten geselecteerd door de intendant. In 2016 zal het programma zich voornamelijk richten op de uitvoering van de geselecteerde projecten, op onderzoek en op het beter zichtbaar maken van de voortgang en de resultaten van de geselecteerde projecten.

The Art of Impact is in opdracht van minister Jet Bussemaker (OCW) ontwikkeld door de zes landelijke publieke cultuurfondsen: Fonds Podiumkunsten, Stimuleringsfonds Creatieve Industrie, Nederlands Filmfonds, Fonds voor Cultuurparticipatie, Mondriaan Fonds en Nederlands Letterenfonds.

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Arts Participation and Students’ Academic Outcomes

Conversations | The Future of Artistic Practice | The Artist as Urbanist

Did Someone Say Participate? An Atlas of Spatial Practice

Did Someone Say Participate? An Atlas of Spatial Practice

ed. Markus Miessen and Shumon Basar , (Revolver, Frankfurt am Main, 2006)


The idea of architecture as multidisciplinary and socio-politically engaged underpins this reader. The editors, Markus Miessen and Shumon Basar, have brought architectural theorists together with historians, anthropologists, activists, curators, policy-makers and other experts under one conceptual umbrella as ‘spatial practitioners’. In the introduction they declare: ‘rather than being yet another publication dealing with the state of contemporary architecture as a crisis of style or shape, this book attempts to dismantle the idea of “the architect” being the one in charge of space.’ Many of the contributors are associated with the relatively new Centre for Research Architecture at Goldsmiths College, London.

The book’s no-nonsense layout, interspersed with contributions by visual artists, was created by graphic design team Åbäke, who used their ‘Olive Nouveau’ typeface. The jacket apes an old schoolbook: an atlas of sorts, but one that maps an extended academic circle and its response to a built world being radically reshaped by conflict and globalization.

Accordingly, the book deals with subjects as diverse as the experiences of a UN aid worker in Iraq, the geo-politics of water in Nepal, Berlin’s ruined centre, a day around the Gate of Damascus in Jerusalem, the European Kunsthalle in Cologne and Rebecca Gompert’s extraterritorial floating abortion clinic. In some sections the writing tends to be a bit leaden, but by way of recompense there are also contributions that are hard-hitting and cogently argued, for instance, Stephen Graham’s ‘Remember Fullujah: Demonizing Place, Constructing Atrocity’, a sharply honed critique of military strategy, orientalist dehumanization and urban warfare. (Did you know that the US army offers a kind of recruitment-driven free computer game called America’s Army, which apparently includes simulations of ‘counter terror warfare in densely packed Islamic cities’?) Equally tough is Eyal Weizman’s essay ‘Architecture, Power Unplugged: Gaza Evacuations’, which examines the arguments and proposals for new uses, or the demolition, of evacuated Jewish settlements in the Gaza Strip: a complex situation that Weizman calls ‘a rare opportunity to question […] the possible reuse of architecture, in particular the architecture of exclusion, violence, and control at the moment such architecture is unplugged from the socio-political-military power that had been sustaining it’.

Visual arts related contributions include Celine Condorelli and Beatrice Gibson’s ‘Mumbai City Dictionary’, a documentation project about orientation in a mega-city where the GPS signals are scrambled and no map exists. In his essay ‘The Museum of the Future’ Peter Weibel argues for ‘unpredictable, incalculable, high-risk but risk loving’ institutions. Last but not least, Hans Ulrich Obrist heads up the book with a preface that includes a list of definitions of the future by artists, architects, science fiction authors and futurologists. Two favourites: ‘the future is overrated’ (Cerith Wyn Evans) and ‘the future will be repeated’ (Marlene Dumas).

Dominic Eichler

The Science of Interconnectedness: Cassandra Vieten

Why art is important | Katerina Gregos