Kompakt’s next Pop Ambient compilation, curated by Wolfgang Voigt, comes out on November 30th, 2018. My friend Yui Onodera, who’s working on the soundtrack of the cage I’m currently producing, has also contributed a track.

Here’s Voigt’s statement: “When a record label thrives after 25 years thanks to a focus of what was expected to be a short-lived music phenomenon called techno, then it stands to prove two things; that techno has taken its place amongst ‘serious’ genres. KOMPAKT has never been only for techno, but stands as a broad-minded entity that has set out to cross-pollinatewithin the realm of electronic music. Through its course, KOMPAKT has sent all kinds of sub-genres, and crossover adventures based on the non-negotiable 4/4 beat around the world. The 100% kick drum-free Pop Ambient series is the most endearing and enduring concept that I have had the pleasure to curate. I felt there was a strong need to add a certain elegance — ensouled by discourse as much as hedonism — to a sound that was recognized as ‘chill out’ music that could be heard in back rooms and forgotten festival areas. Over the years, I like to imagine that Pop Ambient has crystallized into musical universe of its own. I put together this year’s edition by plowing through an ocean of sonic jewelry from all over the world. For this special edition, I create a homogenous experience that would both appeal to our followers and continue our tradition while integrating new micro-facets from neighboring musical universes as much as possible. The headline ‘Ambient’ might sound a little too humble but it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland’s abstract-floral cover design that keeps on pleasing our sore eyes year after year. Although every Pop Ambient edition doesn’t shy away from diving into the relevant question of ‘What is contemporary discourse music’, in the end it boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. Pop Ambient is sacral music for non-believers.”

A1 Thore Pfeiffer – Alles Wird
A2 Coupler – A Plain Of
A3 The Black Frame – The Uncertainty Principle
B1 Kenneth James Gibson – Gone Too Soon
B2 Morgen Wurde – Schien Immer feat. Maria Estrella
C1 Gregor Schwellenbach – Rot 2
C2 Last Train To Brooklyn – Bluebird
C3 Max Würden feat. Luis Reichard – Zweitens
C4 Thomas Fehlmann – Karenina
D1 Leandro Fresco – Araña De Vidrio
D2 Yui Onodera – Cromo 3
D3 Triola – Adren
D4 Max Würden – Core


Place: International University Centre (IUC), Dubrovnik, Croatia

Address: Don Frana Bulicá 4 HR – 20000 Dubrovnik, Croatia

Dates: May 29th –31th, 2019

Theme: The conference committee invites contributions, which analyse and discuss political communication based on Niklas Luhmann’s perspective on systems theory. The overall theme of the conference is to promote a better understanding of how political communication codes various areas of contemporary society.

We welcome contributions from scholars who practice and study political communication at all levels of society. The conference is relevant for theoretical and empirical studies in politics, aesthetics, sociology, theology, history, economics, health, psychology, ecology and organization. Contributions are not limited to studies focusing solely on political systems, but may also include politically coded communication in other areas of society. Analytically, systems theory is empirically open. As it turns out, new semantics, different codes, and changing forms transform and develop structures at varying and opposed levels. As such, contributions could, for example, focus on how the media of power is formed; how the code government/opposition informs communication; how double contingency is handled within politically coded communication; which paradoxes emerge in conjunction with political coding and how they unfold. The conference aims to gather scholars working with theoretical and methodological clarifications, as well as empirical studies. Furthermore, contributions are welcome that compare or combine system analysis with other forms of analysis or aim at developing systems theory by including thoughts from other traditions (e.g. Foucault, Bourdieu, Deleuze, analysis of discourse, ANT, STS).

Abstracts of no more than 400 – 800 words should be send to the conference organisers by March 1, 2019 – full papers should be circulated prior to the conference.

Course directors:

Klaus Laursen, Aarhus University, Denmark klausb.laursen@mgmt.au.dk

Steffen Roth, La Rochelle Business School/Yerevan State University, France strot@me.com

Markus Heidingsfelder, Xiamen University Malaysia, markus.heidingsfelder@xmu.edu.my

Gorm Harste, Aarhus University, Denmark

Gina Atzeni, Ludwig Maximilians University of Munich, Germany

trump images

Z: Congratulations to your latest publication on Trump in the Journal of European Studies.

M: Thank you.

Z:  Tell us about your paper! What was your motivation to do research on Donald Trump?

M: Well, you can’t escape him, can you? So far, the mass media are controlling the Trump discourse, and they do it by using moralistic distinctions, by demonizing him, and by placing themselves on the other side as the ‘good guys’, using this whole idea of the press as the fourth estate. I think it’s amazing that the Washington Post changed its slogan to ‘Democracy dies in darkness’ – this is clearly a Trump effect. But what they are actually saying is of course: We won’t let that happen, we’re here to shine a light, to ‘enlighten’ the world.

Z: But wait – so you agree to his thesis that they are organizing a ‘witch hunt’ against him?

M: (laughs) No, of course not. It’s not that simple. But he kind of has a point here. It’s a hunt for information and from the perspective of communication theory, information is anything that surprises you. Anything new. And he gives them that – another breaking of norms, another attack on a political opponents or on the press, another funny or mysterious tweet, more embarrassing behaviour – they’re complicit in this – also in making Trump bigger than he actually is. Especially as one of their main selection mechanisms is conflict, and as you know, Trump is a master of conflict ceremony. It is his favourite communication strategy, for a number of reasons. But I think the biggest problem is the mass media’s interest in persons, in heroes and in villains. They overestimate the importance of individual actions. So that’s the deficit I tried to compensate – to point at the structures that are at the heart of all those conflicts. And by doing that, live up to my social responsibility as a scientist.

Z: Which is?

M: I would say to ‘tell the truth’. Sounds pathetic, doesn’t it?

Z: Indeed!

M: Well, you have to take it with a grain of salt – it is not ‘the’ truth of course. But that’s our social monopoly, we have the license to distinguish between fake and real, between what is true and what isn’t. Which is why I find it amazing that the mass media are trying to claim this as their main function these days. And why do they do that? Because Trump says they’re spreading fake news. So again, they are just reacting to him, they’re playing his game. He calls them the enemy of the people, and what do they do? They create this strange kind of ‘functional movement’, led by the Boston Globe, appealing to the people: ‘Please listen to us, we are not your enemy!’

Z: I heard you already have a contract for a book on Trump. Is that fake news? And if it’s not, how does that relate to your article, will it be a part of it?

M: No, that’s actually true. The book looks systematically at Trump, relating the phenomenon to the different areas of society, like politics, economy, the law, the mass media, etc. Whereas the article compares Trump to the AfD (Alternative for Germany) –

Z: Which is this new German party.

M: Right. Dr. Tasneem, who is one of the editors of the Journal of European Studies asked me to contribute something to their latest issue of radicalization, so I kind of extended my Trump research and looked at this German equivalent. I consider both as a part of a bigger trend I call the crisis of politics.

Z: In one sentence, how do you define that crisis?

M: In one sentence: Politics has lost its claim to make generally valid decisions for the whole of society. Can I have two more please?

Z: Just two!

M: Well, normally the AfD or Trump or the right-wing movement in general are seen as problems. What I do is, I’m inverting this perspective. They are there for some reason, right? So I see them as solutions. They solve something. And my job is to construct this something, this problem.

Z: And this problem is the crisis of politics?

M: Yes, the mistrust on politics, the mistrust in the ‘political class’ if you like, in the political elite. From that perspective, the people didn’t vote so much for Trump or the AfD – they voted against politics, against that class.

Z: And what can we do about the rise of populism and right wing-ideology?

M: Well, I can only answer that as a researcher: we need to carefully observe these things – and offer our observations to society. I disagree with Marx, in that it’s not enough to simply describe things, that it is our job to change them. And even the Marxists don’t agree with me here, at least someone like Manuel Castells does.

Z: What is Castells saying?

M: Basically that trying to frame political practice with social theory is a dead end. That our task is to free people from uncritical adherence to ideology, that we should not tell them what to do, but offer them different interpretations of what is going on. That’s what I try to do with my Trump research – offer a different interpretation of the phenomenon.

Z: Thank you very much for this interview. And please keep us posted about your Trump research.

M: I will.

Z: One last question – do you think he will be impeached?

M: Absolutely no idea. So far it doesn’t look like it. But I’m not a prophet. The future is uncertain, that is its exact definition.

Link: https://habib.edu.pk/HU-news/donald-trump-and-alternative-fur-deutshland-afd-the-crisis-of-politics-dr-markus-heidingsfelders-paper-published-by-the-journal-of-european-studies/

Images: SPIEGEL-Cover by Edel Rodriguez

Trump wird gern als taktlos beschrieben, was in den Massenmedien als Defizit angesehen wird. Doch was genau ist das, über das er offenbar nicht verfügt? Genauer gefragt: Wie läßt sich ‘Takt’ operationalisieren?

Jedes Routinehandeln kann als taktlos angesehen werden. Es ist geradezu ein Musterfall taktlosen Verhaltens. Denn Takt besteht darin, sein Gegenüber “nach Maßgabe seiner eigenen Selbstdarstellung zu behandeln” (Luhmann 1999: 233). Aus dieser Perspektive wird deutlich, dass nicht nur Trump taktlos handelt, sondern auch die Massenmedien, die ihm Taktlosigkeit vorwerfen. Sie behandeln ihn nicht gemäß seiner Selbstdarstellung als ‘stable mental genius’ (wobei dieser Satz wiederum eine Reaktion auf das Buch von Michael Wolff darstellt, eine enorme Taktlosigkeit), sondern als ‘Idioten’. Zwar wahren selbst die von Trump zu Gegnern stilisierten, traditionellen Zeitungshäuser wie die New York Times oder die Washington Post mehr oder weniger die Form und lassen Taktlosigkeiten nur in den dafür vorgesehenen Meinungsrubriken zu. 

Doch genau diese Rubriken erlauben es, die Taktlosigkeit als eigene Form zu kultivieren. Sie tritt allerdings nicht als solche auf, sondern tarnt sich als rationale, gar objektive Stellungnahme. Taktlosigkeit ist also nicht nur eine Frage des Stils. Man kann auch stilvoll taktlos sein – sofern man nicht gewillt ist, dem anderen seine Selbstdarstellung abzukaufen. Dabei geht es gar nicht darum, ob diese gelingt oder nicht, ob sie glaubhaft ist oder Bruchstellen aufweist oder sich – wie im Falle von Trump – gleich selbst dementiert. Es geht allein darum, sein Gegenüber im Hinblick auf die eigene Darstellung zu schonen: “Takt verlangt, dass man den anderen so behandelt, wie er erscheinen möchte, und ihm hilft, einen guten Eindruck zu machen.” (Luhmann 1999: 359)

Aber warum sollte man das tun? Ganz einfach: weil man an einer Fortführung des Kon-Takts interessiert ist. Taktvolles Verhalten tritt deshalb vor allem in Interaktionssituationen auf. Das erklärt, warum die Massenmedien – es sei denn sie übertragen ein Gespräch, also eine Interaktion – weitgehend auf Takt verzichten können. Ist ein Sender an einer Fortführung des Kontaktes interessiert – im Falle von Fox: an einem guten Verhältnis zu Trump – kommt wiederum Takt zum Zuge.

Trumps via Twitter verbreitete Taktlosigkeiten gegenüber Jeff Sessions signalisierten also nicht zuletzt ein Desinteresse an der Fortführung des Kontakts, was von den meisten Beobachtern genau so interpretiert und durch dessen Entlassung schließlich auch verifiziert wurde. Sessions’ Antwort forderte von Trump, ihn gemäß seiner Selbstdarstellung als treuen Staatsdiener zu achten (was insofern problematisch war, weil er damit implizit darauf hinwies, dass er kein ‘Trump guy’ ist; wohl wissend, dass Trump genau das von ihm erwartete). Zu taktvollem Verhalten gehört aber auch, dass man sich mit der eigenen Selbstdarstellung zurückhält. Hier tut sich Trump als besonders taktlos hervor. 

Allerdings ist Takt alles andere als eine leichte Übung: er muß rasch, intuitiv erfolgen und erfordert darüber hinaus ein Feingefühl, dass Trump offenbar nicht besitzt. Zu seinen Gunsten sei jedoch gesagt, dass vor allem der Aufrichtige Schwierigkeiten in Taktfragen hat. (Vgl. Luhmann 1999: 359) Ist Trump also schlicht zu aufrichtig? Da er in einem fort die Unwahrheit sagt, zumindest wenn man den ‘fact checkern’ der Massenmedien Glauben schenkt, scheint letzteres nicht zuzutreffen. (Die Washington Post hat sich aufgrund der Vielzahl der Trump’schen Lügen gar bemüßigt gesehen, eine neue Kategorie einzuführen: den “bottomless Pinocchio”.) Es scheint eher um die Aufrechterhaltung des Images eines aufrichtigen bzw. authentischen Präsidenten zu gehen – eines nicht-politischen Präsidenten, der sich im Gegensatz zum professionellen Politiker nicht in der Kunst der Verstellung übt, sondern ‘unverblümt’ sagt, was ihm in den Sinn kommt: “He’s no paragon of deceit, which requires more plotting, patience and discipline than he could ever muster. He’s a geyser of revelations, and in terms of the transparency with which he shows us the most eccentric and ugliest parts of himself, he’s the most honest president in my lifetime.” (Bruni 2018) Das Paradox besteht darin, dass er ausgerechnet mittels seiner Ausfälle (‘lashing-out’) Tugendhaftigkeit für sich beansprucht. Und tatsächlich macht sein Vorbild – seine gleichsam vorbildliche, tüchtige, erfrischende Taktlosigkeit – in den USA zur Zeit Schule. 

Doch der eigentliche Grund für Trumps Problem mit dieser “Doppelgleisigkeit” (Luhmann) ist seine ‘Eingleisigkeit’, seine – gleichsam fanatische – Überzeugung, dass es für alle Fälle richtige Situationsauslegungen gibt. “That is probably the worst thing about him – his certainty. That all he knows is all anybody ever need to know.” (Bill Maher) Die Welt des Taktes muss ihm aus dieser Perspektive notwendig wie eine unwirkliche Scheinwelt vorkommen. (Vgl. Luhmann 1999: 359). Diese Vorstellung hängt eng mit seiner Ablehnung der üblichen politischen Umgangsformen inklusive der politischen Rhetorik und der politischen Notwendigkeit der Verstellung zusammen, die professionelle Politiker im Laufe der Zeit lernen. Aus Sicht der Massenmedien ist er schlicht nicht in der Lage, sich zu verstellen, es übersteigt seine kognitiven Kapazitäten: “It’s not merely that this emperor has no clothes. This emperor has no camouflage, at least none that’s consistent and effective.” (Bruni 2018) Trump ignoriert die Funktion des Taktes, weil es ihm nicht um die Vermittlung von Selbstdarstellung und das Interesse des Sozialsystems an der Fortsetzung des Kontakts geht – sondern gleichsam um Selbstdarstellung um jeden Preis.

Auch wenn die Vertreter der Massenmedien in Interaktionssituationen wie den Pressekonferenzen im Weißen Haus den Repräsentanten weitgehend ihre Würde lassen (nicht zuletzt, um künftig ob mangelnden Taktes nicht von ihnen ausgeschlossen zu werden, wie es Jim Acosta widerfuhr) – sobald inkonsistente Fakten sichtbar werden, sind sie nicht mehr an “as if arrangements” (Burns 1953) oder “polite fictions” (auch) interessiert, sondern im Gegenteil daran, Widersprüche des Verhaltens aufzudecken, also Trumps Taktlosigkeiten mit Taktlosigkeiten zu begegnen. Auch hier können sie dem Präsidenten, der sie tagtäglich damit beliefert, dankbar sein. 

Takt läßt sich nicht formalisieren, wird also mit Hilfe informaler Normen institutionalisiert, mit Hilfe von Kollegialität und Freundlichkeit. “Wer taktlos und unfreundlich handelt, fällt auf.” (Luhmann) (1999: 362) Da genau das in der Absicht Trumps liegt, kommt es ihm entgegen. Die ‘gute Erziehung’, die eine Sally Yates genossen hat, verbietet es ihr, auf Trumps Attacken einzugehen: “I am not going to dignify that with an answer.” (Yates 2016) Obwohl einer höheren Gesellschaftsschicht entstammend, legt Trump keinen Wert darauf, diesen Status in seinem Verhalten zum Ausdruck zu bringen – womöglich auch um der Darstellung von ‘Volksnähe’ willen. Doch seine Impulsivität, seine mangelnde Wartefähigkeit und Unkontrolliertheit des Ausdrucks scheinen nicht Ausdruck einer wie immer gearteten Taktik zu sein. In der Regel wirken diese verwandten Einstellungen taktstabilisierend, im Falle von Trump stabilisiert ihr Fehlen die Taktlosigkeit. Auch seine via Twitter beglaubigte Unfähigkeit, sich an weiten Zeithorizonten zu orientieren, gehört hierher.

Gerade im Rahmen kollegial-kooperativer oder organisatorischer Arbeitszusammenhänge wird die Individualität der beteiligten Personen ‘herabgedimmt’. Sie ist hier eher hinderlich, denn sie wird schlicht nicht benötigt und deshalb auch kaum honoriert. Der Finanzbeamte, der uns gegenüber seine Individualität herausstellt, wird uns eher skeptisch machen; genau wie der Kollege, der ständig seine Vorliebe für das Werk von Frank Zappa kundtut, anstatt sich auf die Sachaufgabe zu konzentrieren. Takt gebietet uns dann, darüber hinwegzusehen. In der Regel stellt sich unser Gegenüber aber auf diese Grenzen der individuellen Selbstdarstellung ein. Im Falle Trumps können damit weder Parteigenossen, andere Staatsmänner- und frauen noch seine eigene Untergebenen rechnen.

Illustration: Hammad Siddiqui, Trump Structure (2018)

“Stories for a more-than-human world” is a group exhibition with a series of talks and tours. The invited positions for the exhibition range from sculptures, drawings and video, to installations with electronics or living bio-matter. The main selection criteria was that the works emphasize a non-anthropocentric viewpoint and critically or playfully investigate understandings of being human, being machine, being hybrid in a present where the impact of technology – be it on the environment or on our own bodies – is ubiquitous.
The theme of the event is a reaction to recent discussions between humanities and natural sciences about new approaches to thinking about, looking at, working with, and being inside nature. It draws references from fields of posthuman theory, new materialism, cybernetics and science and technology studies.

Artists & speakers:
Christian Faubel & Wolfgang Spahn, Benjamin Grosser, Désirée Förster, ℌEXOℜℭℑSMOS, Bianca Kennedy & Felix Kraus, reiner maria matysik, Margherita Pevere, Alexandra R. Toland.

Opening 5. July 19:00
Talks 6. July 17:00+, Film-Screening 20:15

Museum Kesselhaus Herzberge*
*Herzbergstr. 79, Haus 29

More info here: www.morethanhuman.info

Guided Tour by Dr. Markus Heidingsfelder, Assistant Professor, Communication and Design at Habib University, through the German part of Outsiders: Geniale Dilletanten.

The guided tour takes place on Friday 23rd of April, from 3pm-4pm. The exhibition is open from 11am to 5 pm (except for Sundays) until 30th of April.
The Goethe-Institut Pakistan, in collaboration with Amin Gulgee Gallery is thrilled to present Outsiders, a curated event series that showcases the intense flurry of cultural activity that was the ‘Brilliant Dilletantes’ (or Geniale Dilletanten) subculture in 1980s Berlin and across Germany, curated by Mathilde Weh and Leonhard Emmerling.
It is an international touring exhibition which is accompanied by live performances, film screenings and panel discussions in featuring revered artists and experimental musicians. Since the early 1980s particularly Berlin has been a magnet and inspiration for international artists such as Nick Cave, The Necks, David Bowie, and Brian Eno.
Geniale Dilletanten was the term used to announce a concert held in Berlin’s Tempodrom in 1981. The deliberately misspelled title has become synonymous with an era of artistic upheaval in Germany that brought the country’s edgy artistic scene international recognition. Exploding from its roots in German art schools, punk rock and Dada, the movement represented a radical departure from the mainstream, marked by cross-genre experimentation, the use of new electronic equipment, and adopting German rather than English as language. It portrays seven key experimental bands – Einstürzende Neubauten, Die Tödliche Doris, Der Plan, Freiwillige Selbstkontrolle (F.S.K.), Palais Schaumburg, Ornament und Verbrechen, and Deutsch-Amerikanische Freundschaft (D.A.F.) – as well as visual artists, filmmakers and designers from West and East Germany. The exhibition is the most comprehensive survey of the 1980s German subculture to date, incorporating a rich array of video and photographic material, interview films, audio samples, magazines, posters and other artefacts capturing the bold and daring scene, exploring the simultaneous rapid and rebellious developments in art, film, fashion and design.
The Pakistani counterpart is curated by Amin Gulgee, Zarmeene Shah and Zeerak Ahmed. Posed as a response to the German exhibition, the Pakistani segment explores notions of sub/counter-culture in the country, investigating myriad forms of this from the 1970s to present day. By no means a definitive survey, the exhibition in fact attempts to prompt a series of questions that investigate the idea of counter culture in the Pakistani.
What can you expect (take your time to explore the exhibition):
Photos, posters, vinyl covers, texts and songs from the early 80s.
A wealth of audiovisual content including audio tracks on iPads by all the seven featured bands.
Films about these bands:
•           Deutsch Amerikanische Freundschaft/ D.A.F. (20:24)
•           Ornament und Verbrechen (06:41)
•           Freiwillige Selbstkontrolle/ F.S.K. (24:16)
•           Der Plan (22:00)
•           Palais Schaumburg (14:58)
A film about subcultures in the GDR (German Democratic Republic): Memories of a Happening/ Spuren des Performativen – Intermedia I in Coswig 1985. A film by Thomas Claus (45:00)
Interviewfilm 1 and 2 (23:23/48:56) with eyewitnesses and musicians from the time
A selection of experimental art films, curated by Florian Wüst (60:00)
A film on fashion and art (55:26)
For registration please contact Zoya Ahmed: Zoya.Ahmed@goethe.de
Amin Gulgee Gallery, ST-2A, Clifton Block 3, Karachi (next to South City Hospital)


Forum on European Culture invites you to contribute to:

Eurolab – New ideas to communicate the EU

In the run-up to the European elections in May 2019 artists, writers and creatives who feel passionate about the European project come together during the Forum on European Culture in Amsterdam from May 31- June 3. During the 4-day Eurolab, they examine what has gone wrong in the communication of, and about the EU and how to make a new and powerful beginning.

In an increasingly interconnected world voices that create division between people and peoples, have gathered momentum and try to unravel the achievements of cooperation and solidarity. Europeans in particular are challenged by nationalist and divisive language from outside and from within the EU.

Eurolab is a fact-finding mission of what went well and what went wrong in the last 25 years of communicating Europe. In workshops and interview sessions we aim to compile a comprehensive toolbox of arguments, strategies, and ideas that can be applied to campaigns across different demographics and used by different professional groups (e.g. ‘Teachers for Europe’ ‘Scientists for Europe’ ‘Farmers for Europe’). Eurolab wants to collect ideas about how cooperation and solidarity can be spoken for in a fresh and compelling way to large audiences. How can the European Union be valued by its citizens and be recognized as a force for good, rather than as a faceless bureaucracy?

We understand that the EU is not perfect and that some of its problems are of its own making. However we are convinced that today’s Europe is the best there ever was, and that the European Project should be protected in these unstable times.

The brief for this open-call is to send us proposals for communicating the advantages of cooperation and friendship amongst people and nations. Please send drafts, designs, photos, poems, words and short film scripts that can be developed and contribute to a clear yet multi-faceted campaign. Across all media. We need messages, how the Union works and how life would be without it; – how it was without it. And we need ideas how to challenge the organisation itself, how to make it better. Alert us of the failings of the EU. Alert us of the successes of the EU. Also welcome are ideas that are not focused on the EU itself, but on its values, and how they play out amongst people in everyday life in non-political ways.

Each entry will be considered by a panel chaired by Rem Koolhaas and Wolfgang Tillmans, and will contribute to the pool of ideas to re-brand Europe. Eurolab operates on an open source model and we are not looking for one ‘winning’ idea. We don’t want to ‘sell’ anything. We believe the idea of the EU is good, and want to present it clear and open. Eurolab aims at building a network across the EU member nations from South to North, from East to West. We will stay in touch with you should your ideas be taken further.

We look forward to inviting a selected number of contributors to Amsterdam in June to investigate Europe’s potential and to find new language and visuals for it. The ambition of the workshop in Amsterdam is to further develop the proposals together with communication and media experts, and turn them into a real and effective campaign.

We are looking forward to receiving your contributions in our mailbox info@cultureforum.eu as soon as possible and no later than April 18. Please send files as PDF, maximum 15mB, with files named as ‘Surname_Name_Eurolab2018’. For more information on the Forum on European Culture, click here.

Eurolab respects the intellectual property rights on the contents of the submissions of the participants. You will retain the rights to it, however you agree that they will become part of larger body of work and broader community and not exclusively yours. At any stage you will be given opportunity to ensure you are correctly represented in the larger framework of the project.

About the Forum on European Culture:
After a successful edition in 2016, De Balie and DutchCulture organize the second edition of the Forum on European Culture from May 31st until the 3rd of June 2018. During this 4-day festival, leading international artists and philosophers will come together at various locations in Amsterdam to share their ideas about the future of Europe. The second edition of the Forum is titled ‘Act for Democracy!’ More info on www.cultureforum.eu. Follow us on TwitterInstagram and Facebook