In our paper we want to investigate the question whether it will make sense for regions to compete for new high-tech industries to settle down in their region. The justification for giving subsidies is based on the general believe in politics that attracting high-technology firms will cause positive externalities in the sense of Arrow (1962) and of course will directly create working places and an additional tax revenue in the long run. Additionally, it is a general believe in politics that competition between regions will enhance the efficiency of local authorities and local administration. At the moment such new high technologies are bio-technology firms, ICT firms, nanotechnology firms etc.
MULTIFILE
In our paper we want to investigate the question whether it will make sense for regions to compete for new high-tech industries to settle down in their region. The justification for giving subsidies is based on the general believe in politics that attracting high-technology firms will cause positive externalities in the sense of Arrow (1962) and of course will directly create working places and an additional tax revenue in the long run. Additionally, it is a general believe in politics that competition between regions will enhance the efficiency of local authorities and local administration. At the moment such new high technologies are bio-technology firms, ICT firms, nanotechnology firms etc.
MULTIFILE
De horeca-sector en het toerisme worden zwaar getroffen door de huidige crisis. Omzetschade is historisch groot; tegelijkertijd zijn er vanuit de praktijk veel vragen over hoe nieuwe werkwijzen moeten worden ontwikkeld en toegepast. Voor onze sector voorziet onderzoek in het kader van de Impuls-regeling daarom onmiskenbaar in een grote maatschappelijke behoefte. Hotelschool The Hague (HTH) zet strategisch in op het behoud en de versterking van praktijkgericht onderzoek en op het onderzoekend vermogen van haar studenten. Onderzoekend vermogen is, voor toekomstige afstudeerders in een snel veranderende arbeidsmarkt, door de HTH gedefinieerd als cruciale kernvaardigheid. In dit kader zijn recent de onderwijs- en onderzoeksprogramma’s van de HTH hervormd rond de principes van Design Oriented Research. Door de COVID-19 crisis is de continuïteit van het praktijkgericht onderzoek van de HTH, misschien nog wel meer dan bij brede hogescholen onder druk komen te staan. Met het hier voorgestelde Impuls 2020 bestedingsplan wil HTH de onderzoeksfunctie van haar praktische outlets — haar schoolrestaurants en -hotels— verder versterken zodat deze kunnen worden ingericht en gebruikt als ‘test-beds’ of HTH Labs. De schoolrestaurants en -hotels worden hiermee een faciliteit voor experimenteel, praktijkgericht onderzoek waar in commerciële bedrijven vaak geen mogelijkheid voor is. Dit Impuls 2020 voorstel behelst de visievorming voor de HTH Labs en de netwerkvorming met andere kennisinstellingen en met bedrijven als beoogde afnemers van de kennis die in de Labs ontwikkeld zal worden. Het voorstel voorziet tevens in de uitvoering van 3 pilotstudies die de mogelijkheden van de HTH Labs inzichtelijk maken voor het bedrijfsleven. De Impuls financiering zal uiteindelijk resulteren in een operationele onderzoeksfaciliteit in de schoolrestaurants en -hotels van de HTH, en in drie onderzoeksrapporten met bijbehorende disseminatie-activiteiten.
The message we intend to communicate is that in the future, our cities can (partly) feed themselves with healthy foods grown in microbial gardens, which can be part of a household kitchen or community garden for providing fresh green "vegetables" where the energy for the artificial LED lighting for the microbial garden is coming from solar panels on roofs thereby making this system free from fossil energy.For Floriade 2022, we would like to introduce the Urban Microbial garden pop-up restaurant for feeding and greening the city. The menu will include a speciality microbiota vegan burger made from algae, seaweed, fungi and fava beans served on dishes made from baked mycelium. Our objective is to elicit consumer perception and opinion on the future of our new microbial food chain, which is fully sustainable and safer for the environment. Consumer opinions will be video recorded and compiled into a short movie/video for further inspiration and analysis for product/service development. This pop-up restaurant is a logical extension of the Art-Work by 4F.STUDIO (Kim van den Belt, Joshua Kelly, Steven Wobbes) already present in Kavel 123 at Floriade as part of the Light Challenge. The artwork depicts a future object for community gardens which supports the idea of locally produced microbes. Since we already have work at Floriade, this living-lab project has the benefit of broadening the vision of their work through more in-depth and visceral feedback.
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?
