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The first major publication investigating the legacy of the riotous vanguard of Dutch designHard Werken: One for All is the first major publication on the work of the Rotterdam and Los Angeles-based experimental design group Hard Werken. Hard Werken formed in the late 1970s with an underground magazine of the same name (soon to be a collector's item), and attracted fame in the 1980s as the riotous vanguard of Dutch design. Hard Werken finally folded in 1994 after a shotgun wedding to a Dutch packaging company.Hard Werken's anarchic aesthetic, which disregarded typographic conventions, characterized the group as a brash, elusive and distinctly Rotterdam phenomenon. This chunky book investigates Hard Werken's legacy in Holland, LA and the UK, and addresses their contemporary significance, from the innovative ways that the group combined graphic and fine-art languages to their navigation of newly emerging cultural and commercial spheres.

How the curation of digital art challenges and expands museological conventionsWhat is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art through more than 20 interviews with artists and curators plus an extensive timeline, this book focuses on how the work of curators, artists and designers created fresh possibilities for reconfiguring traditional models for presenting and accessing digital art.Contributors include: Pita Arreola-Burns, Evelyn Austin, LaTurbo Avedon, Paul Barsch, Livia Benedetti, Bob Bicknell-Knight, Elliott Burns, Tom Clark, Marco De Mutiis, Constant Dullaart, Madja Edelstein-Gomez, Amber van den Eeden, Rebecca Edwards, Rózsa Farkas, Marialaura Ghidini, Manique Hendricks, Tilman Hornig, Florian Kuhlmann, Kalle Mattsson, Anika Meier, Marie Meixnerová, Laura Mousavi, Katja Novitskova, Domenico Quaranta, Stefan Riebel, Ryder Ripps, Sakrowski, Katrina Sluis, Lilian Stolk, Systaime aka Michaël Borras, Gaia Tedone, Jon Uriarte, Miyö Van Stenis, Nimrod Vardi, Marcela Vieira and Zhang Ga.

An inspirational guide to constructing and navigating selfhood in the age of social mediaWe are constantly encouraged to lead the ideal life. Where once our identities were shaped by our communities, families and friends, today we write our own success stories on social media. We design our own identities to an unprecedented extent, constructing ourselves as we wish to be seen. Ways of "upgrading" oneself--dieting to achieve the perfect body, transforming your talents into a successful business, finding bliss by meeting a new love--may therefore be seen as new forms of creativity, or self-design. In Help Your Self! Dutch designer and director Mieke Gerritzen provides an inspirational guide for designing your ideal self, and shows you how to get started, while also scrutinizing the self-help industry with wit and intelligence.

On an exemplary case of Indigenous and non-Indigenous conflict and its legaciesThe People's Action against the Nordic Áltá-Guovdageaidnu Waterway (c. 1978-82) radically shook the course of history in the region. Its call to "let the river live" clamored against the construction of a large dam across the Alltáeatnu river in Norway. The action grew to an unexpectedly broad movement of solidarity across civil society--Sámi and Norwegian, as well as Indigenous and non-Indigenous peoples internationally--in which Sámi artists played a pivotal role. Let the River Flow takes this eco-Indigenous rebellion, the first in Europe and inspirational worldwide, to reflect on events at the time and their correlations with international artists' eco actions today. It is conceived as a reader, and addresses innovations in political organizing, new influences of Indigenous thinking on contemporary politics and the centrality of artists within the constellation of these activities. It also considers other Indigenous artists' protests that happened in parallel to the actions mentioned.

In the age of "fake news" and "alternative facts," artists take on truth and fiction"Fake news" and "alternative facts" have recently entered the public lexicon, speaking to a renewed confusion over concepts of truth and reality. But these concerns have long been addressed in the field of documentary art, well before the recent attention in politics and media related to facts, truth, reality and fiction. Artists who work with archival materials or scrutinize their own subjective position while making documentary work, for example, have long had to reckon with the boundaries between truth and fiction. When Fact Is Fiction collects contributions from and about artists who explore the boundaries between fact and fiction by playing with the "documentary." Looking at how artists deploy concepts such as truth, reality, fiction and post-truth, this volume explores how the fine lines between fact and fiction can be used to reimagine versions of the present and the future.

An intersectional approach to design that incorporates one's context and selfThe "auto-ethnographic turn" in design is emerging from a growing recognition of design's capacity to make sense of one's world. This book's first section, Ideas and Dialogues, compiles reflections and conversations between theorists, educators and practitioners on conceptions of auto-ethnography and the self. The second section, Projects and Practices, demonstrates auto-ethnographic approaches.Contributors include: Anna Aagaard Jensen, Gijs Assmann, Bruno Baietto, Jurgen Bey, Joel Blanco, Théophile Blandet, Jan Boelen, Hsin Min Chan, Chongjin Chen, Meghan Clarke, Adelaide Di Nunzio, Billy Ernst, Hi Kyung Eun, Teresa Fernández-Pello, Andrea Gaspar, Konstantin Grcic, Metincan Güzel, Jing He, Aurelie Hoegy, Hicham Khalidi, Zan Kobal, Lorraine Legrand, Gabriel A. Maher, Micheline Nahra, Thomas Nathan, Miguel Parrrra, Timo de Rijk, Marie Rime, Sjeng Scheijen, Bianca Schick, Carlos Sfeir Vottero, Weixiao Shen, Matilde Stolfa, Oli Stratford, Marianne Theunissen, Goda Verikaite, Erik Viskil, Barbara Visser and Ben Shai van der Wal.

The idea of the "foodscape" refers to the social and spatial organization of networks and food supply systems, taking into account the physical places and practices of food production, processing, distribution, sales, preparation and consumption.In an age when issues of food scarcity, unequal food distribution and pollution and contamination regularly make the news, thinking about food-related problems and challenges is becoming increasingly critical. These issues influence our planet, our global way of life and our everyday existence. Flourishing Foodscapes brings together case studies to explore how bottom-up initiatives and private projects are trying to future-proof food communities around the world. An accessible introduction to a complex topic, Flourishing Foodscapes argues that if we really want to do something about our world's food problems, we will have to think structurally about these issues on a larger scale.

How art can empower and enhance community, with case studies from Central Asia, Latin America, Africa and beyondShowing how artists, artworks and cultural organizations affect people and their social environments, Forces of Art is a dense, polyvocal compendium of current thinking about the impact of art on civil society. It features a large number of essays and case studies located all over the world, from Central Asia to Meso and Latin America, from Africa to Central Europe, from South and South-East Asia to the Middle East. Contributors include: Mariam Aboughazi, Kobina Ankomah-Graham, Ilka Eickhof, Fernando Escobar Neira, Fatin Farhat, Maya Indira Ganesh, Rocca Holly-Nambi, Miranda Jeanne Marie Iossifidis, Nuraini Juliastuti, Visnja Kisic, Diana T. Kudaibergenova, Kabelo Malatsie, Jenny Mbaye, Zayd Minty, Nadia Moreno Moya, Judith Naeff, Laura Nkula-Wenz, Joseph Oduro-Frimpong, Arnout van Ree, Naomi Roux, Vaughn Sadie, Anna Selmeczi, Nishant Shah, Rike Sitas, Lenneke Sipkes, Cristiana Strava, Goran Tomka, Kasper Tromp, Minna Valjakka, Paulina E. Varas and Mark R. Westmoreland.

Art, pedagogy and the destruction of experience under lockdown: how culture defines the difference between surviving the pandemic and thriving beyond itThe Covid-19 crisis has taught us how invaluable human presence is, not least in terms of the arts and pedagogy; ultimately, neither art nor education can do without physical proximity. Like works of art, people lose what one might call their auras, when kept at digital arm's length; few would deny that the pandemic has negatively affected our ability to read bodily cues and non-linguistic signals, and art likewise is lifeless when it cannot engage with the proprioception of bodies. In Nearness, philosopher Marlies De Munck and sociologist Pascal Gielen diagnose this new reality with which we are all contending, arguing that it is culture that defines the difference between surviving and living, that offers a model for thriving rather than merely persisting.

This book highlights the change-making capacity of culture by exploring the intellectual and practical interventions of "courageous citizens." These citizens can be thinkers, artists, activists and collectives--those whose thoughts, ideas and actions play a pivotal role in the struggle for just societies. It is these change-makers who, through their everyday actions, work toward a collective future and complex societal reconfigurations.Looking back at the past decade, this book identifies three themes which have been, and continue to be, relevant to social change: identity and diversity; culture, communities and democracies; and solidarity and fragmentation. It shows how courageous citizens have activated the cycles of thinking and rethinking, doing and changing, which have altered the way we view the world. Combining theoretical perspectives with case studies, this book aims to demonstrate the potential of culture to generate positive social change.

How the enhancement of aesthetic perception can redeem life's precarity: a manifesto from the authors of NearnessIn an era of intense competition and individualism, we tend to hide our weak spots. When something comes too close and threatens to touch us, we shield our vulnerability. This means that there is less and less room for real human encounter. The forces of quantification and evaluation push people back further and further into a virtual shell.In this intimate volume, authors Marlies De Munck and Pascal Gielen and artist Lotte Lara Schröder make a plea for openness and compassion--because all this sheltering keeps us from touching and from being touched.Alongside Schröder's drawings, De Munck and Gielen warmly advocate an aesthetic skill: the ability to experience and embrace a ramshackle and fragile reality, and still understand it as a coherent whole. This is the power of culture: to reconcile us with life, even amid its turbulence, incoherence and precarity.

Tips from the unschooling movement: an inspiration tool for creative educationThe unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both the student and the teacher. No School Manifesto enumerates key concepts, values and attitudes such as Curiosity, Magnetism and Zigzag through an A-Z lexicon, complemented by examples of students' work. Authors include: Matthijs Andriessen, Martijn Aslander, Erik op ten Berg, Danae Bodewes, Heidie van den Brink, Fabiola Camuti, Matthijs van Cruijsen, Steven Dorrestijn, Berty Feijen, Jan Erik Fokke, Ron van Hal, Richard Hassink, Simone Heij, Danny Jeroense, Selma Jonkers, Jeanny Kaethoven, Cor de Koning, Kim van Laanen, Jeroen Lutters, Saskia van den Muijsenberg, Josine Neyman, Laura Nieuwenhuis, Ben Oligschlager, Ilse Ouwens, Olga Potters, Bart Schouten and Betje Stevens.