NEUHAUS Academy for More-Than-Human Knowledge

Home , Design Academy Eindhoven, Gerrit Rietveld Academie, Hans Jansen, Het Nieuwe Instituut, Piet Zwart Institute

NEUHAUS

Academy for more-than-human knowledge

1 Het Nieuwe Instituut “Let us therefore create a new guild of craftsmen craftspeople without the class distinctions that raise an arrogant barrier between craftsman craftsperson and artist. Culture of the few and the many, research and experience, human and nonhuman, science and poetry! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting everything in one unity a multiplicity which will one day rise toward heaven from the hands of a million workers like the crystalline living symbol of a new faith.”

— Walter Gropius, Bauhaus Manifesto, April 1919; updated by Neuhaus, April 2019

3 Het Nieuwe Instituut In collaboration with academies, designers, artists, theatre makers, machines, chefs, inventors, researchers, algorithms, activists and neighbours, Neuhaus ran a open-ended curriculum that revolved around the following questions:

What could humans—if they actively ignore their own values and needs—learn from and with more-than-human actors and in what ways can humans arrive at these alternative forms of knowledge? With special thanks to Gerrit Rietveld Academie Rawshaping (Jeroen Kramer, Iskra Vuksic, (dr. ing. Robert E. Wendrich) Maze de Boer) Research Institute of Botanical Alexandra Oudewater Gert Staal Linguistics Alexia Manzano Goethe-Institut Rotterdam Rianne Makkink Alexis Destoop (Claudia Curio) RNUL Interactive Ali Eslami Grâce Ndjako (Aart Muis, Rob Donkers) Andy Weir Hackers & Designers NEUHAUS Rozi Toth Angela Rui (Anja Groten, Juliette Lizotte) Ruben Jacobs Annika Kappner Hanna Valle Samiha Awad ARGUS working group Night(s) Hans Jansen SHIFT of Philosophy Haus der Kulturen der Welt (Jan Peter Scheen & Lenn Cox) Arthur Boer & Boris Smeenk Heleen Klopper Sien van Look Asmus Tietchens Hendrik-Jan Hunneman Space4Good Bas van Koolwijk Ian Ingram (Andrej Bocin-Dumitriu, Alexander Bauhaus Kooperation Berlin Inès Leverrier Péborde Gunkel, Liliana Garcia, Elke Sauter Dessau Weimar Jo Goes Hunting & Madhusudhan Srinivasa) Academy for Bennet Edwin Kruit Joe Ziemba Squirrel Nation Carolin Lange & Dico Kruijsse Johanna Weggelaar (Erinma Ochu & Caroline Ward) Center for Philosophical Technologies Jonas Hejduk Stefan Prins at Arizona State University Joost van Veen Stefanie Korrel (Stacey Moran & Adam Nocek) June Yu Stimuleringsfonds Creatieve Industrie more-than-human Chris Arends Katya Stepanova Studio Cream on Chrome Clovis Wieske Klasien van de Zandschulp (Jonas Althaus & Martina Huynh) Commonplace Studio, Lara Balladi Studio Moniker Jesse Howard & Tim Knapen Lea Berner Studio New West Cooking Sections Léon Bloch (Edward van Dongen) knowledge (Daniel Fernández Pascual & Lisette Smits Tabita Rezaire Alon Schwabe) Lotte Haagsma Team Landstra Ontwerp & Uitvoering De Beeldvormers Louis Buurman The Empress & Tchozn (Machteld Aardse and Kyra Sacks) Mamali Shafahi The House of Being Corradino Garofalo Mark Baker The Laboratory of Electronic Ageing CreativeMornings Marie-Louise Schmidlin (LEA) Danae Io & Callum Copley Mark Bergwerff The Learning Lab Dani Ploeger Mark Poysden The Otolith Group Daniel de Bruijn Mediamatic Theun Karelse Daphne van Schaijk Menno Schilthuizen Thieu Besselink David OReilly Merle Bergers Tjacco Bakker Dimitri Le Roux Michael Strebel Verbruggen Paddestoelen BV Design Academy Eindhoven Mona Lisa’s Vincent Koorstra Dora Lionstone Nadine Botha Waèl El Allouche Driessens & Verstappen NASA Wieland Textiles Elaine Gan MAMA Willem de Kooning Academie Elfi e Tromp (Nathalie Hartjes) (Aldje van Meer & Franciska Elisa Yvelin Nederlands Film Festival Wierenga) Eric Kluitenberg Nicolas Rotta Wim van Egmond Eric Maltz Offi cina Corpuscoli World Wilder Lab Ernestien Idenburg (Maurizio Montalti) (Erik Overmeire, Kasia Molga) ESA Ollie George Z33 House for Contemporary Art Esben Ingemann Larsen Oregon State University (Jan Boelen, Ils Huygens, Eva Bullens & Floortje Zonneveld Patricia MacCormack Tim Roerig) Eva Langerak Patrycja Beliniak NEUHAUS is supported by Evelina Domnitch & Dmitry Gelfand Pauline Rip Fashion Machine Peter Betner and many more Gemeente Rotterdam (Conny Groenewegen) Peter Kalkman Willem de Kooning Academy Federico Campagna Piet Zwart Institute (Liesbeth Bik) Center for Philosophical Technologies, Floriek Landeweerd Plants & Animalia Francisco López (C.E.S. & Felicity Mangan) Arizona State University Frank Bruggeman Platform-Scenography Frans-Pieter Vonk (Sanne Leufkens, Sigrid Merx, Anne Gaile Pranckunaite & Mislav Žugaj Karin ten Bosch, Ariane Trümper) Gerard Forde PolakVanBekkum Gerard van der Ree Puck van Donselaar Gerjan Piksen Raoul de Jong 1 Raphael Coutin Content Introduction Over the course of 2019, Neuhaus organised a multifaceted curriculum In 2019, exactly 100 years after the together with artists, designers, 5 19 foundation of Bauhaus, the German art academies, theorists, makers TIME WORLDS EXTENDED SENSES art school that combined crafts and more-than-human bodies and fine arts to bring about a new that occupied and transformed 6 20 A STRANGER IN THE CITY NEUHAUS AFFENKÄFIG type of design for ‘the modern man’, Het Nieuwe Instituut’s building On the Tarot and Urban Time BY MONA LISA’S Het Nieuwe Instituut transformed and facilities, adding new ones, A Column by Adeola Enigbokan Visual essay into Neuhaus, a temporary and opening them up to co-create, transdisciplinary academy for co-own, share and perform. 9 PANDORA’S BOX a new type of designer, focused on An interview with Adam Nocek 25 the ‘more-than-human’. NEUHAUS is a collective of humans and MEETING MATTER In Neuhaus, Het Nieuwe Instituut nonhumans 26 wanted to challenge a notion of 12 MATTER SERIES progress that has for centuries NEUHAUS MULTISPECIES URBANISM revolved around the specific needs is a spatial entity and interests of some humans 13 An interview with Debra Solomon 28 with the result that the realities of NEUHAUS almost all other bodies, species, is a learning environment OTHER SUBJECTIVITIES creatures and ecosystems have 30 been side-lined. Today’s ecological NEUHAUS 15 BORDER OBJECTS by Het Collectief and socio-political crises are a is an inclusive place COLLECTIVE BODIES direct consequence of this ethos and exclusionary mechanism. NEUHAUS 16 is an environment that learns THE ZOÖP 33 An interview with Klaas Kuitenbrouwer What happens if we decentre MORE-THAN-HUMAN the human, and embrace the NEUHAUS challenges perception LANGUAGES more-than-human in design? 34 What do we need to learn and NEUHAUS NEULAB how do we learn it? What type of speaks non-verbal metaphors An interview with Aldje van Meer designer emerges then? NEUHAUS produces other knowledge in the age of reset

2 Het Nieuwe Instituut 3 This reader offers an overview of the core themes—the learning trails—of the Neuhaus curriculum, giving an impression of the many TIME contributions and events that took place and will be further developed in the near future. These include WORLDS the continuation of conversations with art and design academies about how to incorporate the more- than-human, the Dutch contribution to How Will We Live Together? at the 17th International Architecture Exhibition of La Biennale di Venezia that will build upon the multispecies urbanism trail, and the experiments around the zoöp that will continue in Fort Abcoude and at Boerderij Bodemzicht, south of Nijmegen. Contemporary humans live within develop knowledge of the world Follow the developments in the web a system in which they have to at different speeds, and use magazine with events, research material, navigate through seemingly that knowledge to adapt. videos and essays at https://neuhaus. incompatible time scales beyond hetnieuweinstituut.nl/en the temporal experience and The Time Worlds learning trail

perception of their species. On asked what can be learned the one hand we humans are only from more-than-human time just beginning to become aware scales in order to understand of our position within geological what it means to live in a time and its processes that used more-than-human world. to slowly unfold over the course of millions of years. At the other end of the spectrum there is the elusive speed of the man-made, digital infosphere that envelops human life, but also manipulates it intensely. Plants, animals, systems and collective bodies such as forests or coral reefs

4 Het Nieuwe Instituut 5 Rituals of welcome are timeless. A cup of “The Bauhaus was a political community as (1) The Foreigner’s Home, lecture given at (2) water offered. Tea brewing. Boots taken much as it was an artistic one.” It was a École Normale Supérieure, Paris, A STRANGER IN THE CITY and replaced with comfy slippers. A formal place of welcome for strangeness, a place 19 December 2003. bow, the host’s head lowered to the guest. to experiment with different and radical (2) Holleran, Max, ‘The Dean: out of the ruins of war Walter Gropius made a vital political A handshake. One, two or three kisses. relationships. But by 1925, the citizens ON THE TAROT AND community’ The New Republic, April 2, 2019. An embrace. No matter the length of the of Weimar kicked out this community of (3) “Our geological bonfire illustrates just how URBAN TIME journey, these rituals open the way for strangers and the school had to move to unusual the project of humanity is. We are new relationships. Every time one leaves Dessau. By 1933, the school was completely trying to retrieve, burn down, and metabolize all the forests and sea life ever buried, from alien A column by Adeola Enigbokan and returns, or arrives for the first time, disbanded, as the fascist machine made worlds long past. We’re not merely lighting a a new relationship must be established everyone foreign in their own home. match to the Amazon and imperiling everything with a place. that lives in it with extinction, but also “The question is are [Science and Art] And now, in 2019, at the Neuhaus academy summoning creatures long dead to return to Earth’s surface and give up the ancient energy married, or just engaged? Or perhaps To be strange in the city is not simply to be in Rotterdam’s Het Nieuwe Instituut, we they took to the grave. This global industrial they’re still just flirting? Or perhaps unknown, it is to be unwelcome—a ritual of experiment with contemporary forms of metabolism, this heedless combustion of the we don’t know it but they’re already welcome has yet to take place, connecting a teaching and learning, while the ancient life at the planet’s surface and throughout its divorced? Well, we know they’ve met, person to the land, to the people of the city, Amazon forest burns.(3) But what do we history, is a new phenomenon on the face of the Earth. It is a forest fire of the eons.” because they were both born in the to its habits and pathways. Strangers move really need to learn in this time? — Peter Brannen, ‘The Amazon is not earth’s same neighborhood—probably the same in time signatures that defy or disconnect— lungs‘ The Atlantic, August 27, 2019. house, which is the house of Magic. out of sync—with the rhythm of the city. They My teacher is a tarot deck called Xultun. (4) Tenochtitlan is the Aztec name for Mexico City. Magic exists, as the origin and root of eat at the wrong times, in the wrong places. The deck draws upon the voice and both [Science and Art]”. They travel in the wrong directions. They cosmology of the Aztec and Maya people — Toni Morrison(1) miss cues of speech and communication. of Mexico and central America. Next Dr. Adeola Enigbokan is an environmental Or no one speaks to them. In their ignorance year, it will be the 500-year anniversary psychologist. She researches architectures and aloneness they are in danger, and they of the massacre in the Great Temple of of trust, connection and belonging in cities are the danger. Tenochtitlan.(4) On 22 May 1520 Spanish around the world. strangers, welcomed into the Aztec capital, I am strange in many cities. I must learn massacred men, women and children of https://www.whyadeolabecause.com/grows many new movements. The tarot travels the local elite at an annual feast in the most with me, providing a way into the times and sacred place in their city. This is the promise resonances of place. The rhythm of ritual— and the fear of the stranger entering the city; quiet, shuffle, cast, cut, spread, pick—drops in the encounter with difference one may me deep into the timing of a place. And when lose one’s entire life. I am in a familiar place, the tarot makes me strange again, inducing me to meet and greet I ask this American deck to help me the energies of my city, to make my known navigate cities as far flung as Rotterdam and world unknown, unknowable. In a world in Melbourne. I open myself every day to fear which more and more of us are without (one) of the stranger, to fear of difference, and country, or (one) city, the ability to welcome the cards provide me a map to find welcome strangers and to experience oneself as in places I do not understand and that cannot strange, are invaluable. understand me. Now is the time for learning how to welcome change, difference, In 1919, amidst the wreckage of war, and even death. architect Walter Gropius and his students and colleagues set up a school in Germany. Melbourne, August 2019 They tried, through practice, to teach and learn how to reverse war technologies—

6 Het Nieuwe Instituut 7 How does this project aim to show how we are bringing about our own extinction? PANDORA’S BOX Pandora’s Box is an invitation to reﬂect An interview with Adam Nocek on how mythology propels our thinking about the end of human history. In this spirit, the project encourages the Pandora’s Box is an instalment of the participant to entertain how the human Synthetic Times series, a collaborative species is confronting an end that is of its and iterative design project that critiques own design (extinction), but which cannot and reimagines human and nonhuman be framed using the methods and tools time in relation to modern and future that brought it about in the ﬁrst place, technologies. It is a project conceived namely the technologies of modern by NON+ consisting of Conny reason, science, and design. Groenewegen (fashion designer and material researcher), Maurizio Montalti As designers and philosophers we are (design researcher and hybrid designer), especially compelled to think alongside Adam Nocek (philosopher and design Deborah Danowski and Eduardo Viveiro researcher), and Stacey Moran (feminist De Castro who wrote that “the end of philosopher and writer). the world is one of those famous types of problems of which Kant used to say human reason cannot solve, but cannot help posing at the same time either; and it does so in the form of mythical fabulation or, as it is fashionable to say nowadays, of ‘narratives’ that orient and motivate us”. (The Ends of the World, 8).

For this reason, we do not rush to modern science, engineering, or philosophy for answers. Rather, we look to mythology, and to the ancient myth of Pandora in particular, for inspiration. According to some versions of the myth, Pandora was a mere pawn of warring gods, whose curiosity brought about horriﬁc and unimaginable consequences, even though she was not directly at fault. It is hard not to see resonances between Pandora and our current situation; the goodwill and curiosity that drives modern Film stills by Tanja Busking design and techno-scientiﬁc innovation is precisely what paves the way for what is utterly unimaginable in the course of human history—an earth where human history is history.

8 Het Nieuwe Instituut 9 And so while it may seem strange an earth that has no room for it. Under actions have unseen effects —the giant Adam Nocek is an assistant professor in and even naïve to look to mythology these conditions, myths of extinction wheel turns a smaller wheel (a petri dish) the philosophy of technology, and science for tools to understand the earth’s six are at the same time myths of origin mixing organic and synthetic materials and technology studies in the School of Arts, mass extinctions, we think that in an era (our end will bring about something with unknown repercussions. Media and Engineering at Arizona State dominated by technocratic solutionism new). Eschatological narratives become University, and founding director of (which leaves little room for paradox, etiological ones. Western priorities Our sense is that visitors are beginning the Center for Philosophical Technologies. ambiguity, and non-modern ways of such as cause and effect, before and to appreciate that the wheel is not merely relating to the world) it is naïve to think after, are subverted in a kind of ‘design installed to entertain. If you use it, if that we could rely on the styles of thought theology’ that is at once pessimistic you engage with it, then it becomes an More information at https://neuhaus. and reasoning that brought about the and hopeful. Perhaps what we’re apparatus to think with. This is not to say hetnieuweinstituut.nl/en/premises/ problem in the first place. In this way proposing is best framed as an ‘alchemy that the wheel is not a spectacle; it is a synthetic-times our project, as well as our work as a of time’—a transmutation of endings kind of spectacle. Indeed, it is there to collective, calls upon humans to harness and beginnings, of futures and pasts make a spectacle out of all of our good the powers of mythical fabulation in through design. intentions, their troubling connection to order to address our relation to an human narcissism, and all that cannot be earth future that we will bring into being How does the wheel try to make philosophy known about what this combination will (it is a product of human design), but more interactive? What are the reactions of produce. which completely escapes our human visitors to this physical experience? capacities for understanding. What are the future plans for the work around We have a couple things to say about the theme of synthetic time? And what’s In this spirit, the project is deliberately this. First, a widely held misconception next for the collective behind this project, non-linear and full of paradoxical is that philosophy is an abstract, now called NON+? elements. It is an uncomfortable mix conceptual activity that occurs in the of disciplines and methodologies mind and is thus disengaged from the Pandora’s Box is a part of the Synthetic —science, design, art, mythology material world. This is a notion of mind Times series designed and curated and philosophy—that calls upon us that we have inherited from Western by NON+. Moving forward, we will be not only to reflect on the unintended modernity and that does not stand up. exploring how each layer of the project— consequences of our designs but also to Philosophical concepts are born out of sculpture, time, narrative, archaeology, experience the tensions and problems material engagements with the world; bio-design, video, and so on—can stand that arise from them in ways that cannot thinking is an embodied and relational on its own, but can also be (re)combined be calculated, planned for, or understood practice. with new elements, including dance, using solely the powers of human performance, sculpture, and interactive reason. Pandora’s Box is a story about Second, the wheel is deceptive. It is big, media, to generate alternative ways to these tensions—between the past and bulky, and it looks like a cross between a probe what our species is doing to itself the future, the living and the non-living, giant hamster wheel and a hall of mirrors, and to others. We are particularly keen the natural and the artificial, the mythical or so we are told. In any case, the wheel to explore what it means to design and the scientific, and how they came seems like the furthest thing from a spaces for mythic engagement with our to co-exist with one another in what seem ‘philosophical tool’, but once you engage present. We are in conversation with like “incompossible” worlds (as Leibniz the wheel, that is, you get inside of it designers and artists throughout the would say). and turn the apparatus using your arms Netherlands and Europe who want to and legs, what you notice is that you’re collaborate with us on this. We also have Of the many tensions explored in this looking at a distorted image of yourself plans to publish a book that engages with project, there is one that seems to —what your actions produce is just more many of these themes. be especially vivid. Time becomes a warped reflections of yourself. However, metaphysical problem for a species that what this wheel of narcissism does not fabricates stories about its design of allow the visitor to see is that his or her

10 Het Nieuwe Instituut 11 MU is an evolving framework for governance driven by natural world priorities in order AN INTERVIEW WITH to do two things. Firstly, the governance MULTISPECIES DEBRA SOLOMON framework prioritises radically mitigating the effects of the climate crisis and its ill-effects on human / more-than-human Artist Debra Solomon first coined well-being through the immediate URBANISM the term ‘multispecies urbanism’ to decrease of urban heat islands (UHI), indicate her artistic, as well as research, the reversal of biodiversity loss and practice of soil building and urban greenhouse gas production, through regenerative ecology. the production and stewardship of high-value urban natures. These urban natures sequester carbon and rainwater, The term multispecies urbanism (MU) increase biodiversity by providing denotes forms of urban development habitats and food for key species, that prioritise care for the urban natural including humans. Secondly, MU’s aim is world. The concept was first formulated to produce and facilitate environmentally in Soil in the City: The Socio- just and democratic urban environments Environmental Substrate (Solomon for all inhabitants through policies and Nevejan, 2019)(1) which suggests combined with praxis, promoting a new paradigm with urban natures beneficial ecosystem expression serving as stakeholders in their own right – all urban inhabitants. engaging with civil society reciprocally. Due to the ecological destruc - The Multispecies Urbanism MU endeavours to create an urban MU’s urgency lies in our current climate tion of the countryside, the learning trail concentrated on development that facilitates and crisis, caused by capitalist urbanisation bio diver sity in cities is now often inclusive forms of urban nurtures urban ecosystem functions, and the forms of consumption and much greater than in rural development which take the and considers humans as, per definition, spatial production that this engenders. multispecies. MU posits that urban As the effects of global urbanisation environments. As evolutionary needs of all the species that environmental (food and climate) justice are recognised as unevenly affecting ‘hotspots’, urban environments inhabit a city into consideration. can be achieved through ecologically inhabitants, these cause crises of mean that species have to adapt driven policies and practices, recognising democracy in which our publicly rapidly to new conditions. humans as part of the natural world, supported institutions and political and their health and well-being as being figures are ill-positioned to support Moreover, encounters among dependent upon the natural world’s civic structures and their development. ever-new species lead to resilience. MU reprioritises use-value in As climate chaos and plummeting changing food webs. This the spatial and social production of cities, biodiversity further pressure cities and diversity is not reflected in addressing the fact that the global effects urban natures to perform enhanced current design practice; so far, of capitalist urbanisation affect urban social and ecological functions, inhabitants unequally. MU’s strategies my research and praxis towards a cities have been developed surpass ‘nature-inclusive’ policies’ multispecies urbanism addresses how almost exclusively as human business-as-usual approach, which it rethinking the roles and rights of the habitats. sees as perpetuating non-democratic urban more-than-human might produce development. better performing urban natures and cities. How might groups from civil society be involved, in conjunction with nature itself? How can they engage

12 Het Nieuwe Instituut 13 in the production of a democratically Debra Solomon is founder of Urbaniahoeve, landscaped public space? How can an art and research collective that, since they inform and be informed by the 2010, has collaborated with locals to develop ecosystems, woodlands, soil organism, communities of praxis whose expertise COLLECTIVE and requisite plant, animal and microbial maintains public-space food forests. communities? The proposal of MU Aside from re-appropriating public space, investigates citizen-expert collaboration these high-value natures are documented as more-than-humans in the design, to support extraordinary levels of biodiversity BODIES implementation and maintenance of and sequester water and carbon in public space urban greens. the soil organism.

(1) Solomon, D., Nevejan, C., 2019. ‘Soil in the City: the socio-environmental substrate’, in: Field to Palette: Dialogues on Soil and Art in the Anthropocene. Taylor & Francis Group, LLC, CRC Press, pp. 605–624.

What does it mean when The Collective Bodies learning people become part of trail made an inventory of the What also happened collective ecological bodies, possibilities for collaboration together with other people, between groups and species, THE NEW DOMESTIC SCIENCE SCHOOL ONE POINT FIVE DEGREES plants, animals, objects and and also investigated the BY DESIGNER HELEEN KLOPPER machines? How do collectives risks of collective behaviour. During Neuhaus a group of graphic design of people and more-than- One of the projects developed Every Wednesday the new Domestic students from the Gerrit Rietveld Academy human beings work together? within this learning trail Science School opened in Neuhaus. A in Amsterdam evaluated and redesigned school with a curriculum that begins at the content of the IPCC report on climate How does their collective was the ‘zoöp’, a new type home, since our homes, our food and our change. The group consisted of Vica thinking work? What does of cooperation aimed at belongings are directly connected to the Allakhverdyan, Lisa Arkhangelskaya, it entail if we also regard developing ecological quality. major climate issues surrounding agriculture, Giulia Bierens de Haan, Filip Birkner, Ossip the individual human as a industry, transport and construction. How Blits, Joyce Chang, Alix Chauvet, Etienne do you build a wall from seaweed, print a Clerc, Chloé Delchini, Klara Eneroth, Alex collective body—a combination spare part for a repair, clean with the help Feraday, Jim Klok, Camilla Kövecses, Brigita of cells and microbes? of bacteria, get a feel for textile structures, Kudarauskaite, Mona Mercier, Young jin or maintain a compost heap? In the Neuhaus Park, Michelle Parrott, Samuel Pin, Mark Domestic Science School Neuhaüsler Emil Poulsen, Johannes Reisigl, Maxime built, kneaded, dug, tore down, cooked, Selin, Eleonora Šljanda, Helmer Stuyt, preserved, waited, repaired and partied. Swani Vinton, Virginia Vivaldi, Wieke Willemsen and Kirill Zakomoldin.

14 Het Nieuwe Instituut 15 Zoöps lead to increased biodiversity, growth in biomass, cleaner air, cleaner THE ZOÖP water, and beneﬁt the quality of life of nonhumans as well as humans. In An interview with Klaas Kuitenbrouwer order to do this, the zoöp introduces the concept of zoönomy next to that of economy. Zoönomy refers to the quality Zoöp is a proposal for a new kind of and density of ecological relations inside organisation that supports nonhuman and among multispecies communities. populations. As part of Neuhaus, a Zoöps are part of the economic frame- series of four collective design research work, but have an added, important workshops were dedicated to developing aim—to develop their zoönomy. the zoöp legal format. In 2020 the ﬁrst pilot-zoöps will be initiated in Fort How to become a zoöp? Abcoude, where architecture studio Space&Matter will start a hotel that Very different organisations can become should also support the local ecology, zoöps, as long as they have agency and in Boerderij Bodemzicht, south of over a certain volume of biosphere—a Nijmegen, a new kind of farm aimed piece of land, forest, park, a lake or pond, at ecological regeneration. Also, coastal waters, etcetera. the zoöp concept will structure one of the Training for the Future sessions in When a hotel, school, sports club, the Ruhrtriennale in September 2019. business resort, energy company, farm, or other organisation wants to turn into a zoöp, it asks the Zoönomic Mother What is a zoöp? Board to set up a local zoönomic DeepSteward AI perceiving ecological changes Photo: Klaas Kuitenbrouwer and relations at different time scales. By Ian Ingram foundation. This foundation is bound by and Theun Karelse As environmental and societal pressure its charter to only act on behalf of the on nonhuman populations has increased multispecies ecological community at way beyond their adaptive capacity, the organisations’ piece of earth. the search is on for ways to give these populations a means to counterbalance A zoöp comes into being when the our human-centric systems. This is organisation enters a contractual what a zoöp tries to do. The word zoöp cooperation with the local zoönomic is a combination of co-op (short for foundation. Within the operations of a cooperation) and zoë (Greek for ‘life’) and zoöp, the interests of the local collective is the title for a new type of cooperative body of nonhumans is then represented legal entity, one in which humans as well by its zoönomic foundation, which has as multispecies ecological communities voting rights on strategic and policy are partners. decisions regarding the zoöp’s affairs.

The zoöp project has two aims: – to strengthen the position of nonhumans within human societies – to engender ecological regeneration and growth that is resistant to extractivist dynamics.

16 Het Nieuwe Instituut 17 How do zoöps operate in the economy? In some places the work of zoöps may come down mostly to conservation and Zoöps function in the current economic protection of an existing multispecies framework just as their constituent community. In other places zoöps may EXTENDED human organisations do. Their products, generate entirely new multispecies services or yields can be sold to communities in which species meet for customers, which can also be zoöps. the first time, and engage in food webs Zoönomic foundations will add a crucial that did not exist before. SENSES condition to this economic traffic—it should benefit the quality of life of the local collective body of nonhumans, Klaas Kuitenbrouwer is researcher at in the short or longer term. A local Het Nieuwe Instituut. zoönomic foundation is aimed at developing its local zoönomy; it You can find more information at does not generate financial capital https://neuhaus.hetnieuweinstituut.nl/en/ but generates ecological quality for its premises/zoop-research-facility collective body of nonhumans.

Zoöps may deliver ecological services, such as sequestering CO2, cleaning air, or cleaning water. This implies labour on behalf of the local nonhumans. That’s why the local zoönomic foundation will deliberate carefully on how a zoöp Artificial sensors allow humans The Extended Senses learning can deliver these services, because it to perceive their surroundings trail investigated whether the wants to protect nonhuman communities without the need for direct functioning of the organic from exploitation. physical experience. Biological senses could be enhanced, What difference can zoöps make? sensors—touch, taste, smell, and how technological sensory sight—seem to be losing capabilities could be integrated. Different zoöps can make very different importance. Nevertheless, kinds of difference. A primary school or sensory perception is how a sports club with some playing fields in a European city may, over the course organisms such as plants and of a few years, successfully increase animals (including humans) soil life, plant life, insect populations, relate to their environments. possibly bird populations, and could Depending on their habitat and even grow some crops in the borders of lifeform, they sometimes develop the fields. A university in Arizona with a large dedicated human community unique observational qualities. may successfully generate one or more oasis in the Arizona desert. An energy company building wind farms in the North Sea may regenerate huge areas of marine ecosystems by supporting the growth of mollusc- and oyster banks and seaweeds.

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NEUHAUS AFFENKÄFIG BY MONA LISA’S

Visual essay The artist collective Mona Lisa’s Photographs by Mona Lisa’s organised a three-day imagination training to disconnect from everyday reality and start a shared process of reinvention. Through a series of trials, meditative techniques, intensive exercises and masterclasses, participants activated their creative force and discovered new ways of being (together).

20 Het Nieuwe Instituut 21 22 Het Nieuwe Instituut 23 MEETING MATTER

Thinking in terms of materials The Meeting Matter learning trail still has an important place in explored design approaches in many design courses. This which the continuity of matter reduces the physical environment supersedes the transience of What also happened to a supplier of usable (or the material, and it will be unusable) raw materials. continued as a public research Neuhaus prefers to talk about programme in 2019 / 2020. FAR IS NEAR WORKSHOP BY matter, thereby naming a world POLARVANBEKKUM that is shared by all biological This workshop took people out onto the and technological beings. street to ‘become’ different objects —a tree, Unlike material, which is a bridge, a car, or a bus stop. As they walked, completely subordinate to human they did experiments with their ears one productivity, matter has its metre apart, then two metres, ﬁve metres, twenty metres… It’s as if their head was own existence and right to exist, getting bigger and bigger. its own function and meaning.

More information at https://neuhaus. hetnieuweinstituut.nl/en/timetable/far-near

24 Het Nieuwe Instituut 25

MATTER MATTER VS. SERIES MATERIAL

Matter is a programme series by the Matter precedes and exceeds material. Research department of Het Nieuwe Instituut Atoms and particles, rare earth elements and that explores the shifting relationship hybrid composites, precious metals and toxic between design practice and matter. It liquids, fossils and minerals, microwaves imagines non-exploitative and nonhuman- and vapours —matter is commonly perceived centric forms of engagements with as a passive commodity, a resource, materiality, and inquires what it means to mere stuff that ought to be mobilised and design with social and ecological sensitivity transformed to become material. The self- in the age of escalating environmental crisis. propelling system of ﬁnancial capitalism By focusing on the global cartographies pushes industries and designers to explore of matter, from molecules to rare earth the economic potential of materials elements, the regulation of hidden material on ever smaller scales—continuously ﬂows, and the capacities of matter itself to instrumentalising more matter through the act, the project looks at how contemporary practices of extraction, mining, manipulation design practice is embedded and implicated and dispersion. In the meantime, the Photo: Eva Bullens in various techno-political systems. How operation of vast digital platforms and can designers challenge the market-driven planetary-scale computation, as well as the approaches to materials, and promote crucial developments in renewable energy What also happened alternative systems of value and exchange? are deeply dependent on the material processes of the transformation of matter into energy, metallurgic alchemies, and NUCLEAR CULTURE ROUNDTABLE: SANDLAB: EXPLORING ROTTERDAM’S the geopolitics of minerals. DESIGN FOR THE DEEP FUTURE DEPENDENCE ON SAND

When approached through a lens of human Departing from central issues of the Sand is one of the five resources with the productivity, only certain facets of matter Nuclear Anthropocene, this event addressed highest global demand, being centre stage for are recognised as a valuable part of the strategies for dealing with nuclear waste, political, economic, and ecological warfare. market, leaving other aspects such as the difficulty of communicating and marking In the form of quartz and silica it is essential material waste or toxicity overlooked. In contaminated sites for future generations, and to the technological infrastructures shaping The series is facilitated by the words of political theorist Jane Bennett the challenges of designing infrastructures our everyday life, as cement and steel it acts Anastasia Kubrak, researcher at in Vibrant Matter: The Political Ecology of for the deep future. The Nuclear Culture as the literal building block of modernity, Het Nieuwe Instituut. Things, “materiality can never be thrown Roundtable was organised in collaboration and in the form of land mass it demarcates ‘away’, for it continues its activities even as with Z33 House for Contemporary Art, the poor and the rich. In relation to its overall More information at https://matter. a discarded or unwanted commodity.” and welcomed Dr Ele Carpenter, Andy size, the Netherlands is the biggest sand hetnieuweinstituut.nl/en By stressing the difference between matter Weir, Ewoud Verhoef (COVRA), Svitlana transformer after Singapore. The workshop and material, the conversations invite Matviyenko, Anna Volkmar, and Ruby de Vos. by Michaela Büsse explored the politics designers, artists, scholars, scientists, of human-sand relationships in a field trip lawyers and other stakeholders to imagine More information at https://neuhaus. to Rotterdam’s harbour Maasvlakte 2. ethical forms of cohabitation between human hetnieuweinstituut.nl/en/timetable/nuclear- and matter, beyond the premise of novelty culture-roundtable-design-deep-future More information at https://neuhaus. and economic growth. hetnieuweinstituut.nl/en/timetable/sandlab- exploring-rotterdams-dependence-sand

26 Het Nieuwe Instituut 27 OTHER SUBJECTIVITIES

Each organic or technological The Other Subjectivities learning being perceives their environment trail investigated the subjective through their collection of senses perceptions of other human (see the Extended Senses trail). and more-than-human entities. Because each species (and each individual) has its own needs and its own history, they will interpret the signals they perceive in different ways. In this way all beings create their own worlds within a world that they also share. When the various beings and species have to work together, it is important that they understand each other’s different perceptions.

Photo: Het Collectief

28 Het Nieuwe Instituut 29 From human-centred to more-than-human Interview What challenge do you recognise for students to work with the more-than-human? BORDER OBJECTS BY We seek to introduce a more-than-human What was the value of Neuhaus for perspective to design. This perspective Het Collectief? Working with the more-than-human HET COLLECTIEF requires the removal of human needs from poses a challenge for anyone, not just the centre of design. By acknowledging The programme and intentions of students. As human beings, it is difficult that the world we live in is shared with Neuhaus formed a starting point for the to extricate ourselves from the centre Statement actors beyond our own knowledge and work of Het Collectief and marked a of our own thinking. As students, being understanding, we seek to give agency to deviation in our production, particularly part of an institution that does advocate As students of Design Academy Eindhoven, that which exists beyond the human body. from our academic environment at for the development of individual we are asked to design design. We are asked Design Academy Eindhoven. Reflecting design practices, coming together as a to question what design is actually for, and From individual to collective on the paradigms set by modernism, collective meant that we immediately had in turn, what we are here for. However, even Bauhaus, and the phenomenon of to consider perspectives other than our in a school where we are asked to develop We seek to disrupt the idea of design being ‘Dutch design’, which still hold a large own. But to go beyond this, to consider an avant-garde stance in our work and an individual activity, instead adopting a amount of influence in design education the more-than-human before ourselves, worldviews, the idea that design holds all the different time scale, slowing down the today, Neuhaus prompted us to consider is a difficult step. answers for our failing world still persists. process of design in order to work as a questions that we had never thought We seem unable to remove ourselves— collective of seventeen humans. Together, about in our own studies, particularly What do you imagine as the next step the humans—from the centre of design we adopt an interdisciplinary approach to around how to engage different actors for Het Collectief? discourse and activity. We, Het Collectief, reinterpret and experiment with notions of throughout the process of design. Aside are attempting to shift away from the human- more-than-human knowledge. from this, Neuhaus also lent us a platform To carry our practice forward the centred context in which design currently to experiment and extend our research, collective will continue experimenting operates, by means of three alternative and From prototype to probe sharing it with a far wider audience with Border Objects, and expand our intersecting methodologies. through the exhibition, symposium, narrative. We wish to continue bridging We seek to address that which is unknown. and dinner. different institutions and running various In considering the practice of design, the workshops and exhibitions to engage product and prototype have traditionally How does Neuhaus relate, from your with a wider audience. We have also been used as a definitive offering and a perspective, to the Design Academy? recently established a curriculum that promise of a certain possible future. In our will be launched during Dutch Design work, we aim to move beyond the prototype Both Neuhaus and Design Academy Week with a workshop, publication, and embrace the probe as a means of Eindhoven advocate for a critical and exhibition. testing the boundaries of that which perspective in design and design is known. This mode of exploration is research, and also actively facilitate manifested in an ongoing series of Border spaces for debate and discussion. The Het Collectief consists of: Zan Kobal, Object experiments. Neuhaus programme and the Design Zeniya Vreugdenhil, Charlotte Blödel, Academy also encourage design as a Miguel Guevara Parra, Victoria Plasteig, By engaging with audiences within and tool for future imaginaries, and explores Charlelie Flamant Sofia Bresciani, Sergi beyond Neuhaus, the collective seeks to themes of change, and different forms of Casero Nieto, Anna Dryaeva, Anna Jakob, cross the borders of our familiar modes personal and environmental awareness. and Manon Aubry. of knowing. This allows the collective to However, while there is a certain degree function as a site for thinking and exploration of crossover, both fulfil very different of indeterminacy in design. roles; one is within a cultural institution and able to engage a wider public, and the other is a private educational institution that operates on a far smaller scale, beholden to educational guidelines.

30 Het Nieuwe Instituut 31 MORE-THAN- HUMAN LANGUAGES

Photo: Johannes Schwartz It has long been thought that only The More-Than-Human people use symbolic signs to Languages learning trail aimed What also happened communicate, but it is now clear to gain insight into the languages that animals, insects and plants of all beings with whom humans SUMMER COURSE OTHER VOICES do the same. All bodies, including must be able to communicate BY LISETTE SMITS those of humans, also use in order to really live and work chemical, physical and material together. Three days on voices, language, the law, signals. In order to be able to bodies, and more-than-human logic. Workshops, readings and presentations by: cooperate with other species, Rana Hamadeh, Nissa Nishikawa, we need to understand the way Jamila Johnson-Small/ /Last Yearz in which more-than-human Interesting Negro, Karima Boudou, beings communicate. This may Tarek Lakhrissi. enable us to make connections More information at https://neuhaus. and prevent human language hetnieuweinstituut.nl/en/timetable/ alone from determining how we summer-course-other-voices understand other beings.

32 Het Nieuwe Instituut 33 Can you describe Neulab and its ambition? necessity to keep rethinking the usage of materials, tools and instruments, NEULAB Within Neulab we wanted to create and welcome nonhuman entities and An interview with Aldje van Meer an educational environment where other experts / disciplines within our visitors and students would be able educational environment. The ﬁrst step to make and design with more-than- will be to invite and involve students in Neulab is realised by Het Nieuwe human knowledge. In a lab setting you this further development. Their initiatives Instituut’s Education department in are able to explore and investigate —for example, setting up a rooftop collaboration with the Willem de Kooning your relationship with plants, animals, garden, starting a food lab, and setting Academy (WdKA). With installations things, machines and AI. Neulab is a zero waste goal for 2025 across the by Arthur Boer & Boris Smeenk, a do-it-yourself activity—a workspace. entire academy, can be concrete starting Hackers & Designers, Rawshaping, By doing and making, the relationships points for change. RNUL Interactive, and World Wilder Lab. are examined and experienced. Which experiments help us to reconstruct and re-imagine the world? Aldje van Meer is thinkerer at Why is more-than-human knowledge Willem de Kooning Academy important for WdKA? What challenge do you recognise for students working with the more-than-human? Within the WdKA we question how this transforming society—think of In a world where we are getting out of ecological crises, political crises and touch with the physical and tangible, migration issues —and the rise of new and have lost control over the virtual, it’s technologies calls for new ways of crucial for designers and artists to again making, and what this means for art engage with the substantial—the ‘real education. When you think of it, we are world’. If we want to make room so used to making and designing in for more-than-humans, we need to get What also happened favour of us; humans. More-than-human rid of preconceived ideas about the world knowledge is important to be able to we live in and look again at what is in critically engage and make in a world front of us—which is not as easy as it CROSS-SPECIES SURVIVING WHAT DOESN’T KILL YOU BY DESIGNER where we run out of resources and where sounds. As artist and designers we have INÈS LEVERRIER PÉBORDE nonhuman systems like algorithms to learn to collaborate and communicate inﬂuence our lives. Within (art) education with nonhuman entities. To do so we are The Research Institute of Botanical In this performative lecture Péborde explored this means there is work to be done. depending on knowledge and experience Linguistics organised a Cross-Species toxic substances while reconstructing an What knowledge, materials, tools and from other disciplines. We think we have Surviving lunch to investigate the age-old panacea that revealed how the instruments within (art) education can to let go of our artistic ego and get rid of interwoven, symbiotic modes of living meaning of poison has evolved over time. we provide to investigate and experiment twentieth century ideas about authorship. across species for a common-oriented life. with the crucial phenomena of this time They looked into plant survival strategies, More information at https://neuhaus. and age? How can we help students What do you imagine as a next step? using this as inspiration for alternative hetnieuweinstituut.nl/en/timetable/what- to show solidarity with other entities scenarios of living and being together, doesnt-kill-you-0 while making? Some of Neulab’s ‘tools and instruments’ discussing and speculating about alternative will be installed at the Willem de Kooning. social and value practices. Our aim is to further develop our learning environment, ‘the workshop’, which More information at https://neuhaus. critiques human-centred thinking / hetnieuweinstituut.nl/en/timetable/ making, and considers solidarity to other crossspecies-surviving entities while making. This means the

34 Het Nieuwe Instituut 35 NEUHAUS curriculum 18 Apr 19 May –15 Sept ARTEZ FUTURE MAKERS, Every Wednesday, 11:00–17:00, Colophon 27 Nov 2018 DESIGNING FOR PRECARIOUS HELEEN KLOPPER, THE NEW INTERIOR ARCHITECTURE AND CITIZENS DOMESTIC SCIENCE SCHOOL FURNITURE DESIGN / KABK, A research-by-design evening by Artez Public research into ecology, education RECALIBRATE YOUR SENSES Future Makers, the centre of expertise for and the household. Cover images Neuhaus and students of Interior interdisciplinary design based research. Dora Lionstone Architecture and Furniture Design at 23 May the KABK (the Royal Academy of Art 25 Apr ARVID & MARIE, THE UNIVERSAL in The Hague) organise a unifying GOETHE INSTITUUT, DECLARATION OF MACHINES RIGHTS Editorial team small-scale dining experience under EXPANDING BAUHAUS # 04: Workshop about the debate of machine Het Nieuwe Instituut the title of Recalibrate your senses! FACADES AND INTERIOR rights, its importants and its critics. Film screening with work from 7, 8 Feb 2019 Rebecca Ann Tess, Martina Wolf, 24 May Text edit ART ROTTERDAM: THE BAUHAUS IN Moira Zoitl and Tobias Zielony. ZOÖP, LEGAL REPRESENTATION Jack Eden SONNEVELD HOUSE FOR (COLLECTIVE BODIES OF) A lecture about the relationship between 2 May NON-HUMANS Graphic Design the Bauhaus and Sonneveld. REMOTE READING ROOM: In this fi rst in a series of workshops ANNA TSING the statues of the foundation are worked Christine Alberts 14 Feb Professor of anthropology Anna out that arranges for the infl uence of GOETHE INSTITUUT, EXPANDING Lowenhaupt Tsing read, by means of a collective bodies of non-humans within Printing BAUHAUS #01: CREATING WORLDS an audio piece, her work The Mushroom a “zoöp”. robstolk Film screening with work from at the End of the World. Dimitri Venkov and Miriam Gossing & 26 May / 12 June / 17 July / 14 Aug Lina Sieckmann. 18 May BENNET EDWIN KRUIT, NEUHAUS SYMPOSIUM SELECTIVE AUDITORY ATTENTION Het Nieuwe Instituut 14 Mar The Neuhaus opening symposium set Collective workout and workshop on Museumpark 25 EVELINA DOMNITCH, FÜSUN the tone of the academy by outlining focus and awareness in relation to sound TÜRETKEN & ALICE TWEMLOW, the challenges and presenting the core and a connection to the whole space/time 3015 CB Rotterdam READING MATTER themes, and thereby introduced the continuum. www.hetnieuweinstituut.nl Lecture about different forms of curriculum. With Gerjan Piksen, Federico engagements with materiality, that Campagna, Grâce Ndjako, Cooking 13 June inquires what it means to design Sections, Annika Kappner, Elisa Yvelin, BORDER SESSIONS, HOW TO with social and ecological sensitivity Menno Schilthuizen, Evelina Domnitch MEASURE THE ECOLOGICAL in the age of escalating environmental & Dmitry Gelfand, Tabita Rezaire DEVELOPMENT OF A ZOÖP? crisis. (remotely), The Otolith Group, Elaine Workshop on the conceptual framework Gan, Patricia MacCormack, Elfi e Tromp, for a tool to assess zoönomic conditions. 11 Apr – 5 May The Empress, De Beeldvormers, Raoul GERMAN NATIONAL TOURIST De Jong, Plants & Animalia. 13, 20, 27 June BOARD AND DUS ARCHITECTS, DANAE IO & CALLUM COPLEY, TINY [BAU]HAUS 18 May SCHEMAS OF UNCERTAINTY In the 3D-printed mini-house, visitors MULTISPECIES OPENING PARTY Series of workshops on uncertainty can get a complete sensory experience Opening of the Neuhaus programme. as a generative space, with artists/ of the three Bauhaus locations Weimar, With more-than-human hosts via The researchers. Dessau and Berlin. Performance Bar, drinks by Bloesembar, snacks by EAT ART collective, as well 13 June 11 Apr as an edible coral sculpture by Studio WORLD WILDER LAB, GERMAN NATIONAL TOURIST Martijntje Cornelia. The Mona Lisa’s SECRET MULTINATURAL AGENTS BOARD AND DUS ARCHITECTS, will help you make a more-than-human This workshop explores how to live 100 YEARS OF BAUHAUS IN GERMANY mask or a multispecies decoration in and work in partnership with other Discover why Bauhaus was so the run-up to their Neuhaus Affenkäfi g. nonhuman makers. revolutionary, and how pioneering With performances by dance students architects inspired the designer of TINY from Codarts, Iris Woutera, DJ’s Jetti & 14, 15, 20 June [BAU]HAUS with a viewing by architect Post and Oberman and Konduku from MONA LISA’S, NEUHAUS AFFENKÄFIG Hans Vermeulen. Nous’klaer Audio. Three-day imagination training with artists’ collective Mona Lisa’s and several 9 Apr – 5 May 19 May –15 Sept, Every Sunday guest tutors. ARTEZ FUTURE MAKERS, DESIGNING SUNDAY STROLL FOR PRECARIOUS CITIZENS Guided exploration of Neuhaus, with 16, 23, 30 June In this pop in exhibition the contemporary brand new unravellers and experience JUNE YU, SCALE TRAVEL designers Frank Kolkman, Klasien van experts: Pia Canales, Alexa Hakkenbrak, Workshop traversing different scales of de Zandschulp and Giuditta Vendrame Joëlle Hoogendoorn, Sven Jansse, time/space, bridging human and non- took upon the challenge to translate Bas van der Kruk, Nevill Mitchell Martins, human, living and non-living matter. 36 Het Nieuwe Instituut Niegeman’s ideas to today’s society. and Aissa Traore.

16 June 5 July / 16 Aug / 23 Aug 27 July HET BAUHAUS IN RHOON THE HOUSE OF BEING, GERJAN PIKSEN, PRIMORDIAL SOUP Study session and excursion to the SCHOOL FOR THE APOCALYPSE Lecture, guided meditation and sound ‘Voorbij de Wegen’ house, designed by Series of workshops in a Summerschool, piece on the primordial soup. Bauhaus alumnus Jan van der Linden. on the interaction between art, death, and the end of our current mode of being. 1 Aug 18–23 June SANDLAB: EXPLORING ROTTERDAM’S 2ND YEAR GRAPHIC DESIGN 6 July / 10 Aug DEPENDENCE ON SAND STUDENTS GERRIT RIETVELD EVELINA DOMNITCH & DMITRY Fieldtrip and workshop on human- ACADEMY, ONE POINT FIVE DEGREES GELFAND, AEROBIOME material relations in and around Public re-assessment/redesign of the Workshop on living matter, microbiology, Rotterdam, with artistic researcher IPCC report on climate change. biochemistry and aerial ecosystems. Michaela Büsse and others.

20 June 11 July 3 Aug COOKIES, BODY BUILDING THURSDAY NIGHT LIVE! INÈS LEVERRIER PÉBORDE, Speculative lectures and performances SUMMER SPECIAL X NEUHAUS WHAT DOESN’T KILL YOU on the common radical language that Last —and special —Thursday Night Performative lecture on the changing Lina Bo Bardi and Clarice Lispector Live! before the Summer break, signifi cance of toxins. developed in Brazilian architecture and addressing climate change through a literature in the 1950s–‘80s. Winter Special in July. 11 Aug / 1 Sept NADINE BOTHA, SUGAR: A 22 June / 6 July / 7 Aug 11 July COSMOLOGY OF WHITENESS CAROLIN LANGE & DICO KRUIJSSE, ALI ESLAMI, MAMALI SHAFAHI AND Series of workshops building towards an UNDER THE SAME SUN: KLASIEN VAN DE ZANDSCHULP, alternative history of health, modernity A COLLECTIVE BLUEPRINT SACRED HILL and colonialism from the perspective of Workshop using cyanotype technology Opening performance of a VR-installation a sugar molecule. to collectively explore the relationship by the artists. between (sun)light, time and objects. 24 Aug 2 July ANNIKA KAPPNER, AQUARIAN 27 June ZOÖP, DESIGNING A PROTOTYPE OF GARDENS LIVE SOUNDWALK ARTHUR BOER & BORIS SMEENK, A ZOÖNOMIC MONITOR Live walk through The New Garden OBJECT DETECTION ROLEPLAY Workshop, building on the fi ndings of refl ecting on its (bio)diversity and Performative workshop on algorithmic the previous edition, on the actual design complexity through sensory experiences. object recognition. of a tool to monitor a human/non-human cooperative. 27 – 30 Aug 27 June LISETTE SMITS, OTHER VOICES ADEOLA ENIGBOKAN, 13 July Three-day summerschool on voices, ARCHIVING THE CITY OF THE FUTURE: OLLIE GEORGE, ELIZA LUDD & language, the law, bodies, and more- THE TAROT & URBAN TIME LECTURE THE FOG than-human logic. Lecture/workshop by environmental Workshop starting from historical fi ction psychologist Adeola Enigbokan, on tarot, and working towards spaces for a truly 29 Aug time, rhythm and moving through the city. 21st-century User. JOHANNA WEGGELAAR, A HISTORY OF THE WORLD BY THE ALGAE 28 June 13 July Workshop on writing and visualizing CREATIVE MORNINGS X NEUHAUS NIGHT(S) OF PHILOSOPHY, a ‘world history’ from the alternative Monthly breakfast lecture for the creative THINKING WITH TONGUES temporal, spatial and strategic community. A walk through urban ecosystems in perspectives of algae. the Rotterdam cityscape, during which 4 July participants can eat, taste, harvest, 31 Aug / 1 Sept Z33, NUCLEAR CULTURE pick and sow. SHIFT, SHIFT OUR ECO-BODY ROUNDTABLE: DESIGN FOR THE A so-called ‘24-hour nomadic DEEP FUTURE 14 July (unlearning) design school’, with eight Cross-disciplinary conversation on RESEARCH INSTITUTE OF BOTANICAL blocks of three-hour working sessions scientifi c, artistic, ecological, socio- LINGUISTICS, EXERCISING CROSS- led by an Advisory Board of six different political and infrastructural perspectives SPECIES SURVIVAL guest tutors. on nuclear waste management, with Z33. Lunch and workshop, inspired by the social behavior of plants and 4, 5 Sept 4 July other entities. STUDIO CREAM ON CHROME, MALWARE – SYMPTOMS OF PROXIES ON TRIAL VIRAL INFECTION 14 July / 28 July / 18 August Fictional debate on notions of ‘control’ Opening of an exhibition on the history, JOOST VAN VEEN, SHIATSU and ‘responsibility’ in light of evolution and socio-political signifi cance 30 minute Japanese pressure point (non-)human contributions to issues of the computer virus including lecture by massage as an alchemical process. like climate change. media theorist Jussi Parikka.

5 Sept 8 Sept through the sensorial; to engage with JOHANNA WEGGELAAR, MURAT ALI CENGIZ, The New Garden through the body as a ALGAE MANIFESTO MUSICOGRAPHICS space to connect to the feminine qualities Workshop on writing a manifesto Performance that turns a trusted of receptivity and coexistence to access celebrating human-algae dialogue Bauhaus method on its head: whereas other, more-than-human, possibilities of and rethinking notions of individuality in his years at Dessau Wassily Kandinsky knowing and being. and symbiosis. used musical notation and scores as an inspiration and tool in his design 19 Sept 5 Sept classes, a hundred years later architect GHOSTWRITING FILES WATERSCHOOL, WATER MATTER and musician Cengiz is guided by This Design Dialogue focuses on An evening full of water curated by Rianne design in writing and presenting an the shifting position of the designer Makkink (WaterSchool), with physician improvised composition. within the global geography of freelancing and certifi ed Hado instructor Yuka and current economic climate in the Mizusawa (The Messages from Water) 11 Sept creative sector; one where labour is and designer Aliki van der Kruijs (Water WAEL EL ALLOUCHE, WAYS OF increasingly outsourced, delegated, as Design Entity). KNOWNING: MATERIALISING masked and displaced. THE GAZE 5 Sept In this meeting, participants will 21 – 22 Sept JARD, REDESIGNING AFFECT SPACE develop a better understanding of THE HOUSE OF BEING, Conversation and fi lm premiere on the phenomena around them on the basis APOCALYPSE CAMP interplay between urban public space and of self-constructed ‘tangible data’. During the three-day camp with mobile technology, with Eric Kluitenberg, The House of Being, students will JARD and PolakVanBekkum. 12 Sept implement the fi ndings of the School ORGANIC ARCHITECTURE for the Apocalypse and further develop 5 Sept Mini symposium providing historical their interventions and projects. EVA BULLENS & FLOORTJE and more recent perspectives on ZONNEVELD, THE SLOW ADVENTURE organic (landscape)architecture in Oct Collective drawing, printmaking, audio the 1970s and 1980s. NATURE-INCLUSIVE DESIGN IN recording and exploring workshop on THE CITY humans’ place in nature. 12 Sept Double booklaunch initiating a cross- JOHANNA WEGGELAAR, pollination between two recently 5 Sept DESIGNING HUMAN-ALGAE published guidebooks to nature-inclusive HENK PANNEKOEK, AQUA AURORA ENCOUNTERS design in the city. Get to know the special powers of water Workshop on establishing prototypes in this tupperware party on ‘vital water’ or experiences permitting physical Nov by Henk Pannekoek. encounters with algae, beyond their REDESIGNING THE DESIGNER productivist application. Education meeting in which professionals 6, 7 Sept and stakeholders from the worlds of JARD, CONTRACTS BETWEEN 12 Sept design and education discuss the future HUMANS AND COLLECTIVE BODIES ALI ESLAMI & KLASIEN VAN DE of (design) education beyond human- OF NON-HUMANS ZANDSCHULP, SACRED HILL centred design. Two workshops that will use artifi cial Performative experiment as part of the intelligence to analyse the meaning of VR experience Sacred Hill. collective movement in public space. 13 Sept 6 Sept MULTISPECIES STUDIO VISIT WENDELIEN VAN OLDENBORGH, This special iteration of Studio Visits TWO STONES | WANT DE GROND initiates a cross-pollination of multiple BEHOORT ONS ALLEN TOE Rotterdam-based studios involved Exploration in fi lm of the lives and with multispecies approaches to the ideals of Bauhaus-trained German design practice in the city. architect Lotte Stam-Beese and Caribbean activist and writer Hermina 15 Sept Huiswoud through the dialogues DE VROEDE VROUW, and performances of contemporary WATER DOWSING protagonists. Explore the ancient practice of water dowsing with Betty Spruyt and learn how 6, 7, 14 Sept to work with earth radiations. POLAKVANBEKKUM, FAR IS NEAR City walk and workshop to ‘become’ 15 Sept different objects like a tree, a bridge, ANNIKA KAPPNER, AQUARIAN a car or a bus stop. GARDENS LIVE SOUNDWALK The soundwalk by artist Annika Kappner invites you to explore the (bio) diversity and complexity of The New Garden Het Nieuwe Instituut for Architecture, Design and Digital Culture looks at the designed world and how it is shaped by new technologies, novel ideas and shifting social priorities.

The notion of innovation—central to all the activities of Het Nieuwe Instituut—is expressed through speculative explorations of the future, as well as critical reﬂ ections on the past and present potential for renewal.