At the NECS (European Network for Cinema and Media Studies) conference in Gdańsk, the publication committee organizes a workshop on open access/open scholarship on Friday, June 14th, 2019, 13:45-15:30.
After a short introduction to the topic by Jeroen Sondervan and some reflective notes by Catherine Grant, we will collectively work on a NECS statement on Open Scholarship during the rest of the session by using a Google Doc for collective writing. The document (click here) is now open for commenting prior to the workshop.
Our aims for are:
1) To share with participants NECS´s draft statement on Open Science and Scholarship and invite views on a number of pre-selected points (this document will be opened for commenting prior to the conference);
2) To engage in a conversation about the nature and implications of Open Science and Scholarship for researchers, educators, practitioners and archivists in the area of Media Studies.
Spread the word, come join the conversation, participate (in person or virtually), and keep an eye out for more when the conference approaches.
Pour commander le livre en version imprimée au Québec, en France ou en Afrique, cliquez sur le bouton Paypal en bas de cette page.
Acheter un livre, c’est nous soutenir et permettre à ceux et celles qui ne peuvent l’acheter de le lire en libre accès.
Une couverture universelle des soins de santé en 2030 pour tous les êtres humains, du Nord au Sud? Réaliser cet objectif de développement durable aussi ambitieux que nécessaire exigera une exceptionnelle volonté politique, mais aussi de solides données probantes sur les moyens d’y arriver, notamment sur les interventions de santé mondiale les plus efficaces. Savoir les évaluer est donc un enjeu majeur. On ne peut plus se contenter de mesurer leur efficacité : il nous faut comprendre pourquoi elles l’ont été (ou pas), comment et dans quelles conditions. Cet ouvrage collectif réunissant 27 auteurs et 12 autrices de différents pays et de disciplines variées a pour but de présenter de manière claire et accessible, en français, un florilège d’approches et de méthodes avancées en évaluation d’interventions : quantitatives, qualitatives, mixtes, permettant d’étudier l’évaluabilité, la pérennité, les processus, la fidélité, l’efficience, l’équité et l’efficacité d’interventions complexes. Chaque méthode est présentée dans un chapitre à travers un cas réel pour faciliter la transmission de ces savoirs précieux.
Une co-édition des Éditions science et bien commun et des Éditions IRD.
ISBN ePub : 978-2-924661-60-4
ISBN pour l’impression au Canada : 978-2-924661-58-1
ISBN pour l’impression en France : 978-2-7099-2766-6
483 pages
Date de publication : juillet 2019
Utilisez le bouton Paypal au bas de la page pour commander le livre imprimé au Canada ou en Europeou l’obtenir en format ePub (prêtable) ou télécharger le bon de commande Le livre sera bientôt disponible dans nos librairies dépositaires : la Librairie du Quartier à Québec, Zone libre à Montréal, à venir pour Paris, Genève et l’Afrique.
Table des matières
Partie I. La phase pré-évaluative et la pérennité
L’étude d’évaluabilité
Une intervention de prévention de l’usage de drogues à l’école au Québec
Biessé Diakaridja Soura, Jean-Sébastien Fallu, Robert Bastien et Frédéric N. Brière
L’évaluation de la pérennité
Une intervention de financement basé sur les résultats au Mali
Mathieu Seppey et Valéry Ridde
Partie II. Les approches qualitatives et participatives
L’évaluation qualitative, informatisée, participative et inter-organisationnelle (EQUIPO)
Exemple d’un programme en faveur des femmes victimes de violences en Bolivie
Mathieu Bujold et Jean-Alexandre Fortin
La méthode photovoix
Une intervention auprès de populations marginalisées sur l’accès à l’eau potable, l’hygiène et l’assainissement au Mexique
Lynda Rey, Wilfried Affodégon, Isabelle Viens, Hind Fathallah et Maria José Arauz
L’analyse d’une recherche-action
Combinaison d’approches dans le domaine de la santé au Burkina Faso
Aka Bony Roger Sylvestre, Valéry Ridde et Ludovic Queuille
Partie III. Les méthodes mixtes
Les revues systématiques mixtes
Un exemple à propos du financement basé sur les résultats
Quan Nha Hong, Anne-Marie Turcotte-Tremblay et Pierre Pluye
L’intégration en méthodes mixtes
Cadre conceptuel pour l’intégration des phases, résultats et données qualitatifs et quantitatifs
Pierre Pluye
La pratique de l’intégration en méthodes mixtes
Les multiples combinaisons des stratégies d’intégration
Pierre Pluye, Enrique García Bengoechea, David Li Tang, Vera Granikov
Partie IV. L’évaluation de l’efficacité et de l’efficience
Les méthodes quasi-expérimentales
L’effet de l’âge légal minimum sur la consommation d’alcool chez les jeunes aux États-Unis
Tarik Benmarhnia et Daniel Fuller
Les essais randomisés en grappe
Un exemple en santé maternelle et infantile
Alexandre Dumont
La mesure de l’équité
Un exemple d’intervention de gratuité des soins obstétricaux
Tarik Benmarhnia et Britt McKinnon
L’analyse coût-efficacité
Une intervention de décentralisation des soins VIH/SIDA à Shiselweni, Swaziland
Guillaume Jouquet
L’analyse spatiale
Un cas d’intervention communautaire de lutte contre le moustique Aedes aegypti au Burkina Faso
Emmanuel Bonnet, France Samiratou Ouédraogo et Diane Saré
Partie V. L’évaluation des processus et de la fidélité d’implantation
L’analyse des processus de mise en œuvre
Une intervention complexe au Burkina Faso : le financement basé sur les résultats
Valéry Ridde et Anne-Marie Turcotte-Tremblay
L’évaluation de la fidélité d’implantation
Un projet de distribution d’omble chevalier aux femmes enceintes du Nunavik
Lara Gautier, Catherine M. Pirkle, Christopher Furgal et Michel Lucas
L’évaluation de la fidélité et de l’adaptation
Un exemple de mise en œuvre des interventions en santé mondiale
Dennis Pérez, Marta Castro et Pierre Lefèvre
L’évaluation réaliste
L’exemple de l’adoption d’une politique publique de santé au Bénin
Jean-Paul Dossou et Bruno Marchal
Figure 1. Tianjin Binhai Library, Tianjin, China In June 2018, punctum and 4 other open-access book publishers in Europe (Mattering Press, meson press, Open Book Publishers, and Open Humanities Press) formed the ScholarLed collective: The aim of the collective is to explore the potential of working together. This includes developing systems and practices that allow presses[...]
Sous la direction de Valéry Ridde et Christian Dagenais
Une couverture universelle des soins de santé en 2030 pour tous les êtres humains, du Nord au Sud? Réaliser cet objectif de développement durable aussi ambitieux que nécessaire exigera une exceptionnelle volonté politique, mais aussi de solides données probantes sur les moyens d’y arriver, notamment sur les interventions de santé mondiale les plus efficaces. Savoir les évaluer est donc un enjeu majeur. On ne peut plus se contenter de mesurer leur efficacité : il nous faut comprendre pourquoi elles l’ont été (ou pas), comment et dans quelles conditions. Cet ouvrage collectif réunissant 27 auteurs et 12 autrices de différents pays et de disciplines variées a pour but de présenter de manière claire et accessible, en français, un florilège d’approches et de méthodes avancées en évaluation d’interventions : quantitatives, qualitatives, mixtes, permettant d’étudier l’évaluabilité, la pérennité, les processus, la fidélité, l’efficience, l’équité et l’efficacité d’interventions complexes. Chaque méthode est présentée dans un chapitre à travers un cas réel pour faciliter la transmission de ces savoirs précieux.
Sounding Out! was naturally curious about the amazing UC Riverside Punk Con–organized by Marlen Rios-Hernandez and Susana Sepulveda–and so we asked if we could listen in on some of the amazing conversations happening there. Fortunately the wonderful Mikaela Elson volunteered to be our ears on the ground and recorded this excellent keynote presentation by femme and them punk band FUPU (Fuck U Pay Us).
Mikaela chose to feature this keynote because of how they discuss how the voice can be used as a tool to undermine the white male patriarchy. In this talk they discuss how their music is used to cure the sting of a society that is anti-black and which thrives off of using power to suppress black folk, people of color, lgbtq+, disabled, and otherwise marginalized folk. BOOM!!!!
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Featured image of FUPU borrowed from the UCR PunkCon site.
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Mikaela Elson is a media and culture scholar from the University of California, Riverside. She also has an associates degree in art. She creates and documents underground media that stands in opposition to the mass media. Her work focuses on helping to facilitate representation for folks from marginalized communities. She is the personal assistant for graphic novelist and artist John Jennings and host of “Hybrid Virtue” a college radio show on KUCR 88.3fm. To learn more about Mikaela follow her on Instagram @thisismik_
Friday 7 June 2019, 16.00 – 18.00
Master Institute of Visual Cultures, Parallelweg 21-23, ‘s-Hertogenbosch
Entrance is free.
Drinks afterwards
Performative Defiance Lecture Series #2 – Justin O’Connor
This talk responds to China’s creative industries strategy and the implications for the European model of creative industries, essentially asking the question whether there is anything that Europe could learn from the Chinese model.
The UK Government’s 1998 rebranding of ‘cultural industries’ as ‘creative industries’, and the wider embrace of a ‘creative economy’, was meant to establish the competitive advantage of post-industrial in the face of East Asian manufacturing prowess. However, within a few years many East Asian countries had, to varying degrees, adopted this agenda, China doing so in 2006. China presented both deficit and opportunity. Deficit, because an authoritarian state was anathema to the liberal ideas underpinning the creative economy model. Opportunity because the ‘West’ – UK especially – was well-positioned to supply the know – how China would inevitably require to implement such a model. What this narrative ignores is the fact that Chinese creative industries strategy no longer attempts to follow the liberal model of entrepreneurial subjects, working in fluid networks, nurtured by an innovative urban milieu (or ‘hubs’). Instead it looks to ‘developmental state’ models exemplified by Korea and adapted from its own framework of ‘socialism with Chinese characteristics’. China’s is an industrial not a creativity strategy, and in this sense is a challenge to the normative settings of the ‘creative economy’ in Europe.
Biography Justin O’Connor
Justin O’Connor is Professor at the School of Creative Industries, University of South Australia and visiting Professor in the School of Media and Design, Shanghai Jiaotong University. Previously he was Professor of Communications and Cultural Economy at Monash University. He was part of the UNESCO ‘Expert Facility’, supporting the 2005 Convention on the Protection and Promotion of Cultural Diversity. Professor O’Connor is the author of the 2016 Platform Paper “After the Creative Industries: Why we need a Cultural Economy”, and a forthcoming book on Culture and Modernity in Contemporary China. He is co-editor of the Routledge Companion to the Cultural Industries (with Kate Oakley, 2015) and Cultural Industries in Shanghai: Policy and Planning inside a Global City (with Rong Yueming, 2018).
Lecture series
The Performative Defiance Lecture Series is an initiative of the Autonomy Research Chair at the Centre of Applied Research for Art, Design and Technology (Caradt), organized in collaboration with and hosted by the Master Institute of Visual Cultures. Its aim is to provide within Avans University an open, public forum where some of the foremost national and international voices challenge us to think about and discuss the role of art and design for the creation of a different future, to imagine another kind of world, the kind of world we wish to live in.
The notion performative defiance refers to creative practices that depart from the idea of the future as a mere update of the present, and calls for a recharge of aesthetic practice that turns complicity into defiance. What is required of art and design is an aesthetic mobilization to unsettle and then create the conditions that will ensure our survival and enhance our capacity to create and resist in the future. Performative defiance is therefore an articulation of a creative longing for a desirable future that lends itself to a counter position set against the deadlock of the present and against the symbolic misery of our time.
On the final day of the Urgent Publishing conference is “Say It Ain’t So”, a workshop organised by artist Amy Pickles and designer and researcher Cristina Cochior. The topic is speech to text processing, including technical aspects of speech recognition software such as the open source engine PocketSphinx, and issues of visibility and invisibility.
The workshop is in response to an urgent need to raise awareness to digital discrimination arising from voice technology developments. This is illustrated in a mock application interview phone call between Amy and, as it turns out, all of us, collectively reading out lines from a script. It doesn’t go well for Amy; she is rejected due to data drawn from not just what she said, but also how she said it. Her fate is sealed by low percentages of the things that matter, such as confident delivery and use of predetermined key words.
In contrast with the perception that discrete parts of language are mostly stable, speech recordings contain more dynamic, complex elements than we imagine. Speech to text uses a ‘bag of words‘ model; utterances are sliced into basic units of language and indexed by frequency. More frequent combinations are matched with corresponding equivalents from sourced dictionaries; speech to text and vice-versa. This is illustrated in a quick demonstration of PocketSphinx transcription with mixed results; either rendering (relatively) faithfully or producing comical phrases that barely resemble natural language, especially when confronted with accents.
Writer Ursula K. Le Guin’s “carrier bag theory of fiction” suggests that the first tool was a bag (rather than a weapon), with contents that allowed us to form narratives through powerful relational qualities. In this workshop, spread out on a carpet, are a collection of plastic bags filled with printed texts. We are invited to record ourselves reading from them in groups, either obscuring or emphasising elements. Most adopt tactics of sabotage and subterfuge, such as broken syllables, speaking continuously, using languages other than English, etcetera. Some aim for clarity; text to speech, exploiting acoustics or carefully pronouncing certain words.
The workshop wraps up with listening to recordings from the morning, and reading printed transcriptions. Each transcription contains a list of phonemes next to eerily accurate but semantically unrelated matches. We record parts of the transcriptions and assign them as phone ringtones to play during the plenary session, with comedic effect. It’s easy to laugh at the mess made of what comes so naturally to us; language. But there are more serious implications, as we see in a screening of a video of academic Halcyon Lawrence, who maintains that homophony is engrained, and confronting accent bias is a crucial part of ensuring access to technology.
The hallmark of algorithmic natural language applications is invisibility, relying on a participant’s lack of awareness of the process. However, invisibility is also a result of these applications, in their ability to discriminate between the contents of the bags of words they employ, and so hide differences; discarding what is considered to be indistinct.
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
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Breaking down the paywalls of academia can take many forms, but lifelong learning collectives centered around a shared passion may perhaps be one of the most fun. The Blues and Jazz Dance Book Club is an international group of people connected by a love of blues and jazz culture, who read books together and tune in—free of charge—via Youtube Live to lectures and Q and As from experts and scholars from around the United States. Literature scholars such as Jessica Teague have discussed jazz poetry and August Wilson’s blues influence; dancer and scholar Dr. Fenella Kennedy has offered an online mini-workshop and discussion forum; and blues musician Tad Walters has played music and discussed the Delta Blues and its origins, among other lectures. All of these lectures are available on the Book Club’s website and on YouTube for anyone to enjoy.
An open-access scholarly project founded in 2014, The Blues and Jazz Dance Book Club (BJDBC) was the brainchild of Sara Cherny, Damon Stone, Devona Cartier, Brenda Russell, and Kelly Porter (no longer a participating member). This team envisioned a free online space where people could learn about and discuss the history of blues, jazz, and African American dances, enriching both their own knowledge and the knowledge of the blues and jazz groups in which they participated. The Book Club’s current administrator, Chelsea Adams—PhD candidate at the University of Nevada, Las Vegas with a specialty in blues and African American dances in literature—took over operations in 2016.
Since then, Adams has worked hard to create a space where all blues and jazz lovers could access new scholarship on both the music and the dances done to that music, building a website to better facilitate the growing global group. Adams even coordinates live lectures at times that work the best to connect audiences who regularly chime in or visit the BJDBC website from Australia, England, Korea, Spain, France, Canada, Brazil, Sweden, the Netherlands, Germany, China and Hong Kong, among other places.
A Blues and Jazz Book Club live lecture by Dr. Jessica Teague, UNLV English
Recently, the Book Club has expanded to include multiple offerings for both scholar and enthusiast. One addition is quarterly feature articles, interviews, and community spotlights on blues and jazz topics. International dance instructor Julie Brown recently wrote the article “A Landscape of Slow Drag,” cataloguing and exploring how scholars and dancers have described the partnered blues idiom dance. Also featured is a never-before-published interview with Joe McQueen, the Oklahoma Jazz Hall of Fame inductee and Ogden, Utah’s King of Jazz.
Furthermore, the group’s website is a hub that also offers new reading lists and watch lists, including ones on African American history (and soon to include updated lists for blues and jazz music, and African American dance) and a discussion questions archive, where readers can find past discussion questions for previous books and films that they can access for their own thought or to read and discuss these books with others. Our Facebook page not only has regular posts about not only the Book Club, but also shares other research, news and information on blues and jazz around the United States, as does our Facebook Group.
The JBDBC will be reading Moanin’ at Midnight this Fall!
“Open access groups like Book Club offer a friendly environment to learn how to approach academic literature,” Book Club Organizer Adams says, “while enjoying gaining more knowledge about their hobbies and interests. It’s a form of scholarly outreach that I think is vital if we truly believe in the idea that our research can make a difference outside of the academy.
Groups like this are important because they offer guided access to scholarship and literature to people who for one reason or another do not have the opportunity to learn in formal academic environments or other professional institutions. Scholarly literature is a specific and often intimidating genre to tackle alone, even if someone is interested in learning more about a topic.”
And the engagements the Book Club has are rich and multifaceted. “My favorite experience with a live lecture,” Adams remembers, “was with Dr. Kennedy, when they demonstrated dances out of Jean and Marshall Stearns’ diagrams from their book Jazz Dance. Watching the group actually learn how to dance some of these dances listed in the book was a joy.”
In April 2018, the Blues and Jazz Dance Book Club announced the goal to provide two yearly scholarships: a Community Learning Scholarship for blues and jazz events to bring out a scholar, musician, or practitioner to teach about blues or jazz culture and history, and another for an individual with financial need to attend an event with a blues or jazz history and culture focus or to perform research. To provide these scholarships, the Book Club relies solely on community donations. To date, they have been able to raise the money to fund one Community Learning Scholarship, which will be open for applications starting in August of 2019.
If you would like to participate in the Blues and Jazz Dance Book Club, please check out our website: bluesjazzbookclub.com. We accept abstract submissions for feature articles on a year-round basis, and have multiple volunteer positions available, from one-time positions like guest lecturer to rolling positions such as book discussion leader. If you would like to support the open-access project goals but do not have time to volunteer, we always welcome donations to the cause!
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Featured Image from the Blues and Jazz Book Club, “A Landscape of Slow Drag,” 1925/Published 1961, Info Likely from Harlem, NY Dancers.
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Currently a PhD candidate in English at UNLV, Chelsea Adams focuses her studies on African American literature, blues and jazz music, and African American dance. She writes about minority culture representation in literature, with a focus of representation of black musicians, dancers, and the art forms they produce. She also runs the Blues and Jazz Dance Book Club, an international online book club project, to offer the public open access information about the history of blues, jazz, and black dances. You can learn more about Chelsea and her work at cjuneadams.com.
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
—
Breaking down the paywalls of academia can take many forms, but lifelong learning collectives centered around a shared passion may perhaps be one of the most fun. The Blues and Jazz Dance Book Club is an international group of people connected by a love of blues and jazz culture, who read books together and tune in—free of charge—via Youtube Live to lectures and Q and As from experts and scholars from around the United States. Literature scholars such as Jessica Teague have discussed jazz poetry and August Wilson’s blues influence; dancer and scholar Dr. Fenella Kennedy has offered an online mini-workshop and discussion forum; and blues musician Tad Walters has played music and discussed the Delta Blues and its origins, among other lectures. All of these lectures are available on the Book Club’s website and on YouTube for anyone to enjoy.
An open-access scholarly project founded in 2014, The Blues and Jazz Dance Book Club (BJDBC) was the brainchild of Sara Cherny, Damon Stone, Devona Cartier, Brenda Russell, and Kelly Porter (no longer a participating member). This team envisioned a free online space where people could learn about and discuss the history of blues, jazz, and African American dances, enriching both their own knowledge and the knowledge of the blues and jazz groups in which they participated. The Book Club’s current administrator, Chelsea Adams—PhD candidate at the University of Nevada, Las Vegas with a specialty in blues and African American dances in literature—took over operations in 2016.
Since then, Adams has worked hard to create a space where all blues and jazz lovers could access new scholarship on both the music and the dances done to that music, building a website to better facilitate the growing global group. Adams even coordinates live lectures at times that work the best to connect audiences who regularly chime in or visit the BJDBC website from Australia, England, Korea, Spain, France, Canada, Brazil, Sweden, the Netherlands, Germany, China and Hong Kong, among other places.
A Blues and Jazz Book Club live lecture by Dr. Jessica Teague, UNLV English
Recently, the Book Club has expanded to include multiple offerings for both scholar and enthusiast. One addition is quarterly feature articles, interviews, and community spotlights on blues and jazz topics. International dance instructor Julie Brown recently wrote the article “A Landscape of Slow Drag,” cataloguing and exploring how scholars and dancers have described the partnered blues idiom dance. Also featured is a never-before-published interview with Joe McQueen, the Oklahoma Jazz Hall of Fame inductee and Ogden, Utah’s King of Jazz.
Furthermore, the group’s website is a hub that also offers new reading lists and watch lists, including ones on African American history (and soon to include updated lists for blues and jazz music, and African American dance) and a discussion questions archive, where readers can find past discussion questions for previous books and films that they can access for their own thought or to read and discuss these books with others. Our Facebook page not only has regular posts about not only the Book Club, but also shares other research, news and information on blues and jazz around the United States, as does our Facebook Group.
The JBDBC will be reading Moanin’ at Midnight this Fall!
“Open access groups like Book Club offer a friendly environment to learn how to approach academic literature,” Book Club Organizer Adams says, “while enjoying gaining more knowledge about their hobbies and interests. It’s a form of scholarly outreach that I think is vital if we truly believe in the idea that our research can make a difference outside of the academy.
Groups like this are important because they offer guided access to scholarship and literature to people who for one reason or another do not have the opportunity to learn in formal academic environments or other professional institutions. Scholarly literature is a specific and often intimidating genre to tackle alone, even if someone is interested in learning more about a topic.”
And the engagements the Book Club has are rich and multifaceted. “My favorite experience with a live lecture,” Adams remembers, “was with Dr. Kennedy, when they demonstrated dances out of Jean and Marshall Stearns’ diagrams from their book Jazz Dance. Watching the group actually learn how to dance some of these dances listed in the book was a joy.”
In April 2018, the Blues and Jazz Dance Book Club announced the goal to provide two yearly scholarships: a Community Learning Scholarship for blues and jazz events to bring out a scholar, musician, or practitioner to teach about blues or jazz culture and history, and another for an individual with financial need to attend an event with a blues or jazz history and culture focus or to perform research. To provide these scholarships, the Book Club relies solely on community donations. To date, they have been able to raise the money to fund one Community Learning Scholarship, which will be open for applications starting in August of 2019.
If you would like to participate in the Blues and Jazz Dance Book Club, please check out our website: bluesjazzbookclub.com. We accept abstract submissions for feature articles on a year-round basis, and have multiple volunteer positions available, from one-time positions like guest lecturer to rolling positions such as book discussion leader. If you would like to support the open-access project goals but do not have time to volunteer, we always welcome donations to the cause!
—
Featured Image from the Blues and Jazz Book Club, “A Landscape of Slow Drag,” 1925/Published 1961, Info Likely from Harlem, NY Dancers.
—
Currently a PhD candidate in English at UNLV, Chelsea Adams focuses her studies on African American literature, blues and jazz music, and African American dance. She writes about minority culture representation in literature, with a focus of representation of black musicians, dancers, and the art forms they produce. She also runs the Blues and Jazz Dance Book Club, an international online book club project, to offer the public open access information about the history of blues, jazz, and black dances. You can learn more about Chelsea and her work at cjuneadams.com.
Hoewel we massaal bezig zijn met ontspullen, en we dus niet zitten te wachten op nog weer een nieuwe theepot of een andere stoel, groeit de aandacht voor design. Het label design wordt letterlijk overal opgeplakt. Wat is er aan de hand? Waarom is design zo populair?
Dat is de vraag achter het Amsterdam Design Debat, dat op dinsdag 28 Mei 2019 @Droog zal plaatsvinden. Bij binnenkomst worden deelnemers en publiek ingedeeld in verschillende vakken, publiek mag zelf kiezen:
Design voor kunst en discours
Design voor creatieve industrie en economie
Design voor een betere wereld
Alles om ons heen is design. Er is over nagedacht. En beter nadenken kan de oplossing zijn voor het dilemma dat veel mensen voelen: aan de ene kant de noodzaak of zelfs de behoefte om te blijven consumeren, aan de andere kant de zorg over het milieu, de klimaatverandering of ons privéleven.
Wie kiest voor een soberder leven, voor ‘ontspullen’, mag hogere eisen stellen aan wat hij overhoudt. Wie zich ergert aan de drukte in de stad, zou op zoek kunnen gaan naar een slimmere inrichting van zijn omgeving. Wie teveel kleren heeft, is wellicht geïnteresseerd in productiemethoden voor hergebruik. En wie zijn mening wil uitdragen zoekt naar orginele vormen van visuele communicatie.
We signaleren ook steeds meer nieuwe vormen van design. Het waaiert uit en zo bestaat sinds enige tijd het begrip Design Thinking. In de jaren 90 werd dit begrip geintroduceerd als een methode voor onderzoek en proces op het gebied van innovatie. Maar inmiddels heeft Design Thinking zich gemanifesteerd in de wereld van business, management en marketing. Een andere vorm is Design Fiction. Het wordt ook wel Design for Debate genoemd of speculatief design. Het gaat over het maken van prototypes, het is een soort oefenen voor de toekomst met nieuwe ideeën. We kunnen producten en situaties perfect simuleren met nieuwe technologie.
Maar de meest populaire vorm van design tegenwoordig is het design voor een betere wereld. Ook al was je eerst een vervuiler, het is nooit te laat om iets goeds te doen. Massaal worden designprogramma’s ontwikkelt die oplossingen kunnen bieden voor het klimaatprobleem en andere bedreigingen voor de aarde.
Het Amsterdam Design debat wordt georganiseerd omdat we benieuwd zijn naar de onderlinge verbanden tussen verschillende vormen van design, de toekomst en de betekenis van design als vorm van kunst.
Jasper van Kuijk (cabaretier en columnist), Yuri Veerman (ontwerper en performer), Anja Groten (ontwerper Hackers en Designers), Caroline Nevejan (wetenschapper, Chief Science Officer Amsterdam), Nikki Gonnissen (directeur Thonik/president AGI), Jurgen Bey (directeur Sandberg Instituut), Richard van der Laken (ontwerper, directeur What Design Can Do), Hans Gubbels (directeur Cube Design Museum), Ruben Pater (designer), Mark van Iterson (Heineken Design), Tessa de Boer (Maison the Faux), Angelique Spaninks (MU), Marleen Stikker (Waag Society), Roosje Klap (designer), Geke van Dijk (STBY), Ben Schouten (HvA), Dirk van Weelden (schrijver), Koert van Mensvoort (Next Nature), Luna Maurer (Moniker), Kim de Groot (Mona Lisa’s), Carolyn Straus (Slowlab), Guus Beumer (Het Nieuwe Instituut)
Moderator: Dagan Cohen (Social Inc, What Design Can Do Challenge)
Het Amsterdam Design Debat is een initiatief van Mieke Gerritzen en Geert Lovink. Met dank aan het Amsterdams Fonds voor de Kunst, Stichting Droog, Stimuleringsfonds voor Creatieve Industrie, The Image Society en het Institute of Network Cultures.
REWIND! . . .If you liked this post, you may also dig:
An open-access scholarly project founded in 2014, The Blues and Jazz Dance Book Club (BJDBC) was the brainchild of Sara Cherny, Damon Stone, Devona Cartier, Brenda Russell, and Kelly Porter (no longer a participating member). This team envisioned a free online space where people could learn about and discuss the history of blues, jazz, and African American dances, enriching both their own knowledge and the knowledge of the blues and jazz groups in which they participated. The Book Club’s current administrator, Chelsea Adams—PhD candidate at the University of Nevada, Las Vegas with a specialty in blues and African American dances in literature—took over operations in 2016.
