Caradt

Filter

  • Cultural and Creative Industries
  • Situated Art and Design
  • Biobased Art and Design
  • All

Search

Making and Breaking Webjournal

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries publishes its own online journal makingandbreaking.orgarrow that intervenes in societal debates around cultural production.  

Making and Breaking Webjournal

The web publication makingandbreaking.orgarrow delves into questions around the role of cultural production as a contributing force for emancipatory social transformation. The first edition was launched January 2019 at V2_Lab for the Unstable Media, in Rotterdam.

Webjournal

The webjournal is produced by Caradt. The role of cultural production as a contributing force for emancipatory social transformation is an urgent and difficult question today. The ways through which, since the 1980s, much cultural production lubricates neoliberal operations (especially its spurring of inequality), and the plight of critical practices whose modes of antagonism are frequently subsumed, are symptoms of this urgency. As a result of decades-long neoliberal transformation, many systems of cultural production bend towards ideological machines supporting, whether inadvertently or not, the thesis of capitalist realism: that there is no alternative, that there is no possibility of political propositions that break with our current trajectory. 

Completed project, ended January 2019. 

Principle investigator  
Sebastian Olma    

Other researchers involved
Arjen Mulder, Amsterdam
Florian Cramer, Rotterdam
Max Dovey, London
Benjamin T. Busch, Berlin
Rhian E. Jones
Dulcie Abrahams Altass
Katherine Cross

Collaborators  
Master Institute of Visual Cultures: students of Situated Design, Visual Arts and Post Contemporary Practice and Ecology Futures 
CMD ACUE, VOID lab  

Industries  
V2_lab, Rotterdam 

Institute
Avans University of Applied Sciences

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.

Sebastian Olma arrow

Publications

Olma, S. (2018), Art & Autonomy: Past – Present – Future, Rotterdam: V2_.

Olma, S. (2017), Using Usership: A (Hopefully) Useful Introduction, In Erik Haagort et. al. Usersip, Breda, Avans University of Applied Sciences.

Olma, S. and Altena, A. (2017), Serendipity, Sagacity, Politicsarrow, V2_ Blog.

Olma, S. (2017), Raum für Müssiggang und Spinnerei – Für eine Radikale Politik der Innovation,” ChangeX, 4. April.

Olma, S. (2017),  In Defence of Serendipity. The Silicon Emperor is Wearing No Cloths, arrowThe Conversation (Australia), June 13.

Olma, S. (2017), In Defence of Serendipity, Audio Book: Audible.

Olma, S. (2017), For the Scene Needs Changing: Notes on Paul Segers’ Comradeship with Time,” Paul Segers The Scene Needs Changing, Eindhoven, Onomatopee.

Olma, S. and Reljic, T. (2017), Cities of justice: Reclaiming Valletta from the Market Forces of Gentrification, Malta Today, November 13.

Olma, S. (2017), Art and Autonomy: Past, Present, Future, Rotterdam: V2_.

Olma, S. (2016),  University as Übungsraum. In: Higher Education and the Creative Economy: Beyond the Campus,
London, Routledge.

Gerritsen, M. (Eds.) and Olma S. (Eds.) (2016), From Data to Dada,arrow Breda, MOTI Museum Of The Image.

Olma, S. (2016), Autonomy and Weltbezug. Towards an Aesthetic of Performative Defiancearrow,
Breda, Avans university of Applied Sciences.

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

Read more arrow
All projects arrow

Cookies are used to ensure that you're given the best experiences on this website.

Accept
Decline

Thank you for your subscription! Please check your email inbox to confirm.

Okay