From mathieu.oneil at anu.edu.au Tue Apr 10 11:49:56 2018 From: mathieu.oneil at anu.edu.au (Mathieu O'Neil) Date: Tue, 10 Apr 2018 09:49:56 +0000 Subject: ::fibreculture:: CFP: Understanding the spread of misinformation in the Australian and US media fields Message-ID: CFP: Understanding the spread of misinformation in the Australian and US media fields Concepts and Methods Symposium News & Media Research Centre, University of Canberra Friday 7 September 2018 Networked misinformation Growing fragmentation in media systems has resulted in dramatically increased choice for media consumers. This process has been accelerated by the growth of digital platforms for news and information which open media spaces not only to a wider diversity of outlets but also to foreign and domestic information operations: strategic actors can sow disinformation relatively covertly, distancing their activities from their foreign or domestic patrons. We distinguish misinformation - the accidental statement of factually incorrect claims - from disinformation, which is strategic or intentional. To what extent are these activities enabled by the affordances of social media such as 'echo chambers' (media environments where people only connect with like-minded others) and 'filter bubbles' (resulting from media content being algorithmically selected to match previous consumer choices)? There has been much empirical debate as to the existence of echo chambers and filter bubbles. To the extent they exist, both phenomena result in media consumers being exposed to information that reinforces previously held beliefs. The disappearance of attitude-challenging content and attendant rise of misinformed opinion is thought to have played a role in the 2016 US Presidential election, where information untethered to reality (see for example ?Pizzagate?) spread amongst some Republican Party supporter networks. Whether they are used by strategic actors seeking to achieve political objectives or not, echo chambers and filter bubbles challenge the functioning of the news media as a public sphere where the informed confrontation of contrasting viewpoints can lead to common understanding and agreement about what exists, and what matters. The consequences are profound: we may be arriving at a cultural moment where a significant part of the population no longer believes that facts are knowable. Symposium aims and submissions Are echo chambers and filter bubbles real? If they are real, to what extent do they contribute to the spread of misinformation? Are ?filter-bursting? strategies available? What?s it like in there, anyway? Are journalists part of the problem, or are they the solution? If journalists in the US and UK failed to anticipate Brexit and the election of Donald Trump because of filter bubbles and echo chambers, is the Australian journalistic field similarly afflicted? The Understanding the spread of misinformation in the Australian and US media fields Symposium will bring together journalists and researchers, cutting-edge computational methods and first-hand accounts of actors in the field, to assess to what extent filter bubbles and echo chambers contribute to the spread of misinformation. Please send 500-word abstract of presentations to mathieu.oneil at canberra.edu.au by 31 May 2018. Suitable presentations will be invited to contribute to a journal special issue. Researchers and journalists are encouraged to address questions including, but not limited to: *Are there echo chambers, filter bubbles and fake-news spreading hubs in the Australian media field? *Comparative approaches: misinformation and disinformation in the Australian and US media fields, and beyond. *How are foreign or domestic strategic actors using media spaces and to what extent and through what mechanisms are they impacting news reporting? *Is Australia at risk of being swamped by ?fake news?? Why or why not? *Bubbles in the eye of the beholder: when does a belief become a conspiracy? *Do the specific features of the Australian media field (duopolistic structure, late arrival of Cable News, public broadcasting) affect the spread of misinformation? *What steps are journalists taking to counter the impact of social media on meaningful democratic deliberation? *How can confirmation bias (biased information confirming previously held beliefs as plausible) be addressed? *Is the rejection of professional journalism and expertise, common among populists who have emerged in response to neoliberalism, limited to certain sectors of the ideological spectrum? Why or why not? *Does focusing on algorithmic filtering obscures other processes detrimental to democratic politics? Additional factors may have played a key role in the 2016 US election, such as the manipulation of recommendation systems through the exploitation of so-called ?click-workers? and ?like farms?, often located in poor countries (Casilli, 2016). In 2015 it was estimated that 58% of the accounts which ?liked? Donald Trump?s Facebook page were fake, for example (Brown, 2015). Organising committee Mathieu O?Neil, News & Media Research Centre, University of Canberra Michael Jensen, Institute for Policy and Governance Analysis, University of Canberra Robert Ackland, Virtual Observatory for the Study of Online Networks (VOSON) Lab, Australian National University Amy Remeikis, Political Reporter, The Guardian Australia Background The loss of a common political discourse resulting from a fragmenting of the online population into narrowly-focused groups of individuals solely exposed to information confirming previously held opinions and biases was first referred to as ?echo chambers? by Sunstein (2001) whilst Van Alstyne & Brynjolfsson (2005) described a process of ?cyber-balkanisation?. This fragmentation facilitates the seeding of misinformation by strategic actors to sympathetic audiences, who are more likely to believe claims not on the basis of factual predicates, but on that of their resonance to their identity (Miskimmon et al. 2013, Benkler et al. 2017). However, while the concept of the filter bubble is widespread, there is scant empirical evidence for the existence and impact of filter bubbles with many researchers simply assuming that filter bubbles exist, and that something needs to be done about them. Filter bubbles almost bear the hallmarks of a ?moral panic?, with social scientists, computer scientists and engineers vying to provide solutions to a phenomenon that is yet to be properly explored and understood. The limited research that is relevant to filter bubbles has tended to involve either surveys of social media users (?where do you get your news??) or analysis of ?big data? collected unobtrusively from social media. Big data studies and network analysis tend to provide support for the filter bubble thesis while survey-based research tends to discount it. Nielsen (2016) uses data from the 2015 Reuters Institute Digital News Report to argue that ?social media users in fact use significantly more different sources of news than non-users?. Similarly, a more recent study reveals that social media use tend to diversify news consumers? diet rather than narrow it (Fletcher & Nielsen, 2017). The research on the drivers of networked misinformation such as echo chambers and filter bubbles can be advanced in several ways. First, this research usually pertains to the perils posed by online echo chambers to general users. Less attention has been paid to how such phenomena, when operating in influential sectors of society such as the journalistic field, can be detrimental to the plural public discourse that is essential to democracy. Second, this research deals with very general notions such as ?the Internet?, ?social media?, or ?Twitter?, obviating the fact that not only are there ?online spaces which develop distinctive and well-ordered cultures? (Hine 2015: 38), but that these online spaces are frequently embedded in highly distinctive offline locales. Finally, research on filter bubbles has tended to eschew consideration of a key behaviour that contribute to these phenomena: how people engage with news. References Benkler, Y., Faris, R., Roberts, H., & Zuckerman, E. (2017). Study: Breitbart-led right-wing media ecosystem altered broader media agenda. Columbia Journalism Review, March 3. Brown, J. (2015). There's something odd about Donald Trump's Facebook page. Business Insider, June 18. Casilli, A. (2016). Never mind the algorithms: the role of exploited digital labor and global click farms in Trump?s election. Fletcher, R. & Nielsen, R.K. (2017). Using social media appears to diversify your news diet, not narrow it. Nieman Lab. Hine, C. (2015). Ethnography for the Internet. London: Bloomsbury Academic. Menczer, F. (2017). Misinformation on social media: Can technology save us? The Conversation. Miskimmon, A., O'Loughlin, B., & Roselle, L. (2013). Strategic Narratives: Communication Power and the New World Order. Routledge, New York. Nielsen, R. K. (2016). Pariser, E. (2011). The Filter Bubble: How the New Personalized Web Is Changing What We Read and How We Think, Penguin Press. Sunstein, C. (2001). Republic.com. Princeton University Press, Princeton. Van Alstyne, M. & Brynjolfsson, E. (2005). Global village or cyber-balkans? Modeling and measuring the integration of electronic communities. Management Science, 51, 851?868. -------------- next part -------------- An HTML attachment was scrubbed... URL: From ned at nedrossiter.org Tue Apr 17 10:15:24 2018 From: ned at nedrossiter.org (Ned Rossiter) Date: Tue, 17 Apr 2018 18:15:24 +1000 Subject: ::fibreculture:: Seminar on Automation and Gender Message-ID: <4a3207ae-fc5d-acf9-fbe1-f59276680684@nedrossiter.org> Institute for Culture and Society Western Sydney University *?* *Seminar on Automation and Gender* *Professor Caroline Bassett, Sussex University* *Associate Professor Helen Thornham, University of Leeds* *?* Date: Tuesday, 24 April 2018 Venue: PS-EA.1.04 (Parramatta South campus) Time: 11am-1pm *?* *Helen Thornham* */Autom-data-ed bodies and the irreconcilable/*** *?* Steph is one of the 12 young women we worked with for 2 and a half years on a project exploring the felt and lived impacts of the Digital by Default agenda of the UKs Coalition (2010-15) and Conservative (2015-) governments. She tells us on many occasions:? ?I might as well have a big fucking sign on my head: [It says] ?/On Benefits/?. ? Drawing on the work with young women who are NEET (not in education, employment or training), I suggest that the increasing elision between the datalogical and discursive is repositioning issues of gender and class in problematic ways. The category of NEET is arrived at through longstanding digital bureaucratic processes embedded in education, social and health services that can, through a series of binary quantifications at the age of 16, label the young adult ?NEET? (not in education, employment or training). Once the NEET status is generated, it is powerful both within the datalogical system and beyond it: it has utility and meaning across different systems and at different scales; it creates ?brutal expulsions? (Sassen 2014) and inequalities.? ? NEET is an algorithmically generated category, but it is also a socio-economic category positioned within a wider culture of gendered neoliberalism that seeks to construct individuals as responsible for their own status. There is a particular elision between the normative consensus and the values of the datalogical system, which we should not ignore (see also Berry 2014: 14, Cheney-Lippold 2011: 165) ? a particular convergence of the datalogical and the discursive. It is this, I think, that for Steph generates the feeling of obviously and problematically being labelled as ?on benefits? and I want to suggest in this talk that this is incredibly important for two reasons. The first is because of what it reveals about the close correlations between datalogical and discursive systems. The second reason relates to what this does to gender, namely subsuming or even obscuring gender within a wider datalogical system that is also ? as Steph?s experience reminds us ? lived and everyday. ? *Caroline Bassett* */The Automation of Gender /* */?/* The automation /of/ gender can be taken to concern algorithmic operation and machine learning; the impression and learning of gender bias: the operation of gendered divisions. Automation /and/ gender meanwhile suggests an exploration of the relationship between processes of automation and forms of social discrimination or discrimination; and in response the distinction between feminist accelerationism and its unmarked other (an accelerationism in general that feminism feels the need to write against) is germane here. Looking back to earlier moments of the encounter between the computational and the cultural the ambiguity amplifies. Then gender was said to have been automated through its ?becoming virtual? ? which was sometimes also taken to imply gender?s confusion, its final end. This is in contrast to the early case of ELIZA, the therapist bot, whose apparently ?gendered? personality was part of why ?she? was (wrongly) celebrated as a marker of AI success in NLP. The automation of gender, in sum, is widely understood to be an intrinsic element of an encounter between automating machines, and human cultures; but what is really meant by this coupling is often left unexamined. This paper begins to redress this neglect - or at least to recognize the complexity of what is often taken to be a simple relation. My interest is partly media archaeological, but also arises out of a concern with the new behaviourism; I am interested in the implications for social subjects of the new behaviourism, and with what might be termed, adapting Mark Andrejevic, the /droning/ of gender in new circuits of everyday life where modulation rather than self-consciousness is the key. ? *Speaker bios* *Helen Thornham*is an Associate Professor in Digital Cultures at the University of Leeds. Her research focuses on gender and technological mediations, data and digital inequalities, embodiment, youth, space, place, and communities. She has been led a number of recent research projects (2012-16) investigating practices in digital media that are funded by the EPSRC, ESRC and British Academy. Author of /Ethnographies of the Videogame: Narrative, Gender and Praxis/ (2011) and co-editor of /Renewing Feminisms/ (2013) and /Content Cultures/ (2014), her forthcoming book (2018) is entitled /Gender and Digital Culture: Between irreconcilability and the Datalogical/. ? *Caroline Bassett*is Professor of Digital Media at the University of Sussex and the Director of the Sussex Humanities Lab, a ?3.7m research programme investigating critical digital humanities. Her research explores digital technology and cultural transformation. She has recently published work on Weizenbaum, automation and behaviourism, and is currently completing two projects; on anti-computing, defined as critical response to automation, to be published by MUP in 2019, and a collaboration exploring feminist technophile politics and writing (with Kate O?Riordan and Sarah Kember). She has published extensively on gender and technology, critical theories of the technological, on automation and expertise, and on science fiction and technological imaginaries. ? ? ? ? -------------- next part -------------- An HTML attachment was scrubbed... URL: From evelyn at zonafranca.biz Tue Apr 17 12:42:49 2018 From: evelyn at zonafranca.biz (evelyn at zonafranca.biz) Date: Tue, 17 Apr 2018 12:42:49 +0200 Subject: ::fibreculture:: Occupythekitchen | Call 2018/19 Message-ID: <20180417124249.Horde.4iiwfyyDl67Nj6y0yxeX9Nr@webmail.zonafranca.biz> Occupy the Kitchen! vol.2 | 2018/2019 CALL FOR ARTIVISTS & RIOTING CREATORS Zona Franca | Varese | Italy occupythekitchen.org[1] F O O D P E R F O R M A N C Y SUBJECT call for Performance + Residency WHEN season 2018/2019 (from September 2018 until June 2019) WHERE Zona Franca, Varese - Italy WHO artists, artivists, activists, designers, gastronomes, creators DEADLINE June 30, 2018 /// CONTEXT /// CALL PURPOSES[2] /// WHO IS CALLED / WHO CAN APPLY[3] /// TERMS AND CONDITIONS[4] /// HOW TO PARTICIPATE / HOW TO APPLY[5] /// SELECTION AND PANEL[6] /// CONTEXT /// ABOUT THE PROJECT[7] /// FOOD ARTIVISM[8] /// INDEMNITY AND GUARANTEES RELEASE FORM[9] /// CONTEXT / MATRIOSHKA Foodpower - Zona Franca - Occupy the kitchen! 2007 - 2014 - 2016. Three projects, one seed, a unique collective journey. Just like a Matryoshka stacking doll, one figure is within and is spurred from the previous, in an almost biological relationship. The great mother, Foodpower, contains a second doll, Zona Franca, which ? in turn ? contains Occupy the kitchen! / BORDER-LINE It all began in Varese, in 2007, in the North West of Italy, in the land between Milan and Switzerland, at a stone's throw from the Canton of Ticino. A strategic border area, renowned for contraband. Foodpower ? and as a consequence, the two other most recent projects ? digs its roots into thriving research which began in December 2007, observing the changes in current society and its relationship with food. As a prime element of contemporary society, today, food has a privileged role which was once dominated by fashion, and which is strictly bound to the body. Food has taken on a strong centrality within the contemporary psyche, involving the most intimate sphere of our body, passing through it, becoming a visceral part of us, every day. / SEMI LIBERI__FREE SEEDS From this premise and these experimentations, Zona Franca was created in 2014, a transdisciplinary project that explores a wide variety of research forms between art and economics. It's both a restaurant, a gourmet take-away, during the day, and also a performance space in the evening. It's a hybrid space, which is in continuous transformation, where ancient seeds are the metaphor of a project and are the essence of the philosophy that keeps it alive. Various rare varieties that aren't included in the European register of regulated seeds are used. Once these are transformed, however, they become legal food. Therefore, ancient seeds circulate in an interstice which is not fully regulated, which takes advantage of the shadows and folds of the market. They lie in between legality and transgression, just like a dark pool. / FOOD ARTIVISM The reflection at the heart of the project takes us to the necessary understanding of ethical choices, either conscious or unconscious, that are subtended each day by our act of nourishment. We believe that art cannot deal with these dynamics, not just because of the increasingly intrinsic relationship between art and economics, but also because they are strictly pertinent to the conditions of human freedom. In this critical knot, in 2016, the Occupy the kitchen! project was developed. OTK! is a food artivism project where contemporary practices that are connected to art and economics are explored through food. This activity ? of research and production ? is carried out through a transdisciplinary approach and an activist attitude. What interests us is examining the exchanges, cross references and the osmotic ad/or conflictual relationships between the global economy and contemporary art, using food as an expressive medium and investigative field. Occupy the kitchen! performs the status quo, highlighting its incongruences, its black holes, the tangible consequences (primarily in health, society and the environment) with actions that are intended to generate individual critical thinking concerning the Food system which we are immersed in, in the prospect of a greater awareness and, consequently, a collective action concerning food sovereignty. Occupy the kitchen! is therefore an area of experimentation and activism. It wants to be a place where reflection can become action and wishes to examine and expand post-modern consumer awareness through art and food. The purpose of this project is to reawaken and energize minds and mouths. Occupy the kitchen! pays homage to 'Occupy Management!', the book by Monika Kostera, a Management lecturer for various European universities (in Poland, the UK and Sweden) and historical collaborator of Zygmunt Bauman. In the book, the author invites students to self-produce and also to self-manage their own lives. /// CALL PURPOSES The convocation is targeted at professionals who ? firstly ? feel committed to the philosophy and vision of Occupy the kitchen! project, who wish to do a residency of 3 days to realize a performance at Zona Franca art space during the 2018/2019 season (September 2018 ? June 2019). The dinner-performances at Zona Franca are performed by creators that have chosen food as a research focus, interested in examining it through live artistic performances. The creators are present, creating dishes (a tailor-made menu for each evening and performance is created), directly manipulating matter, then distributing the dishes to the clientele-public and telling a story about peculiar hot issues of the Food system through food. The transversal principle of Occupy the kitchen! performances and cultural events is the intention to trigger critical thinking and discussion around acts associated with food, consumer choices, awareness of the system of large retailers, and all of the area of actions and values that we associate with food and activate around it. With the intention of reflecting upon concepts of globalization and capitalism that are closely connected to the phenomenon of compulsive consumerism, the second live season of food performances at Zona Franca will be inaugurated. /// WHO IS CALLED / WHO CAN APPLY The call is addressed to artists, artivists, activists, designers, gastronomes and creators, with the following characteristics: _RESEARCH AND/OR ARTISTIC PRODUCTION AROUND FOOD Those who have conducted, or who are conducting, or would like to conduct research ? or create a performance ? reflecting oncontemporary issues concerning food, the relationship between man and food, and the relationship between humans analyzed through food. In particular, professionals who examine consumer practices within the global Food market through art, economies, social-anthropological relationships that are created around food and through food, the effects of contemporary social discomfort, the issues of food sovereignty and eating disorders. Any creator that wants to think about and make people think about the semiotics, proxemics, and social, anthropological ? but also and above all ? economical aspects that create, pass through, define and bind food to contemporary society. _A LUCID AND ACTIVIST APPROACH It is our intention to collaborate with professionals whose approach is both active and activist, progressive, drawn towards highlighting those fertile folds in the economy of the food market, its industrial production, targeted consumerism, and the social and environmental pitfalls of these systems acting both on a global and local scale. _HANDS-ON APPROACH The selected creators will be called to a hands-on approach, getting their hands dirty in the kitchen and dealing with the public/clientele. The direct involvement of the creators is a fundamental prerequisite to the 'Occupy the kitchen!' project. /// TERMS AND CONDITIONS Only those performance proposals that respect all three of the previous prerequisites will be taken into consideration. Works that are merely a physical manipulation of food and have no (generative) critical approach to food both in social and economical terms will not be taken into consideration. Administrative fee: ? 30 The fee is to be considered an administrative fee for the curator selection and management of the project proposals, as well as for the PR work to communicate and promote the program and present the selected creators to news networks. Terms for payment of the participation fee: bank transfer payable to: Evelyn Leveghi [head juror] purpose: 'CALL O.T.K. 2018/2019' Amount: ? 30,00 IBAN: IT 18 U 08304 01816 000019329550 BIC/SWIFT: CCRTIT2T76A / BENEFITS The Management will guarantee the following benefits to selected creators: _BOARD food and primary essentials for three days' residency. _ACCOMMODATION a private room in a domestic structure, located in 'Campo dei fiori' Regional Park, in Varese. _ATTENDANCE ALLOWANCE a monetary contribution of ?100 will be given to contribute to anytransportation or any other cost of the artist in order to be present on site and create the best possible performance. Note: Shopping and purchasing of materials for the performance will be defined with management group. / ART MARKET POINT We recommend that the selected creators foresee the sale of a product/object of their own creation connected to the work of the performance, in order to be able to sell a memory of the experience of the performance itself with a symbolic meaning to the public/clients as a democratic and accessible piece of art. /// HOW TO PARTICIPATE / HOW TO APPLY The participation in the program is to be considered valid only after an evaluation of the following criteria by a judge panel: _PRESENTATION VIDEO The candidates should create a brief presentation video (max. 5 min) where the they present themselves and express: . the artist statement . the motivation behind the willingness to participate in Occupy the kitchen! . the performance concept. _PORTFOLIO The candidates should show previous work which they feel is relevant to their selection to participate in the project. These can be in one of the following formats: book in .pdf / digital portfolio / portfolio website / link to platforms where the artist's work is presented. _ONLINE FORM To have a complete vision of the most important information about the artist and their project proposal, the following online form should be completed. / LANGUAGES This material can be presented either in English or Italian. / PRESENTATION METHODS The presentation video can be shared online (Google Drive, Youtube, Vimeo) via links or by sending it in .mp4 format via wetransfer to evelyn at zonafranca.biz. The same methods are valid for the portfolio presentation. The online form should be completed directly on the website at this link: http://bit.ly/2oOkX47. /// SELECTION / Selected creators 10 artists will be selected through the evaluation of the 10 best projects and performances. The results will be published on Zona Franca and Occupy the kitchen! websites and an email will be sent to all the selected artists. The selected performances will be planned (according to the availability of the artists) within the Occupy the kitchen! vol. 2 calendar, which will be from September 2018 to June 2019. The selected artists will be asked to create a performance at Zona Franca, Varese, on a date to be agreed with Management. The performances will take place once a month. / EXCLUSION Each false or incomplete declaration will lead to the immediate exclusion of the artist. Any projects presented after the deadline, presented partially, or in contrast with any rules of this project are to be considered invalid. The artists are also invited not to contact any members of the Judge panel directly, as this could lead to their immediate exclusion. / SELECTION COMMITTEE The board of professionals that will select the proposals: _Alfred Agostinelli / photographer, visual artist, contributing writer; _Filippo Bonomi / chef; _Franca Formenti / [food] artivist; _Monika Kostera / professor and writer, author of 'Occupy management!'; _Evelyn Leveghi / relational [food]designer, indie researcher; _Stefano Liberti / journalist, reporter, filmmaker and writer, author of 'I signori del cibo' and 'Land grabbing'; _Alice Pasin / landscape architect, seedsaver, farmer; _Luca Rossi / chef; _Michele Angelo Rugo / Surgeon, Psychiatrist, Psychoanalist, Eating disorder specialist, Philosophy degree; _Francesca Sironi / Investigative Journalist (L'Espresso); _Oliver Vodeb / Extradisciplinary Designer, Researcher, Writer, Educator, Curator, Memefest & Lipstick + Bread director; /// INDEMNITY AND GUARANTEES By taking part in this selection process, each artist expressly declares that the Project does not violate in any way, shape or form, any rights or copyright of third parties, immediately relieving Occupy the kitchen!, Zona Franca and Foodpower from any responsibility, compensation or sanctions applied by third parties concerning the performance. It is implied that if the artist's project should be among those selected, the artist commits to publishing the event and giving adequate advertising space of a banner via their own website and/or social media page. The judge panel and Occupy the kitchen!, Zona Franca and Foodpower team guarantee that any data provided for the participation in this project will only be used for communicative purposes of the program of the single evening sessions. /// RELEASE FORM By taking part in this selection process, the artists authorize Occupy the kitchen!, Zona Franca and Foodpower to publish a brief description of the project and/or documents presented to participate in this selection (How to take part) on their websites and social media, and/or promote the project in other forms or means to the public in order to stimulate a cultural debate. The presented materials connected to the Projects, just as the Project itself, can be used by Occupy the kitchen!, Zona Franca and Foodpower in their working environments through ordinary and extraordinary marketing on the Occupy the kitchen! and Zona Franca websites, on social media and other communication channels via the internet, radio, and press. Even in the phase following the online publication, the team of experts may examine the content of the projects that do not correspond to the indicated criteria to take part in this selection process, or are considered to be detrimental to the rights of third parties. It is implied that the release form to use the Project and/or documents presented to take part in the selection are conceded by the artists without any territorial or frequency limitations, either as a whole or partially, singularly or combined with other material, including and without any limitations, texts, photographs or images predisposed and/or created and/or chosen by Occupy the kitchen!, Zona Franca and Foodpower or any other entity involved in the development of this Project, in any format, via the internet or radio, press and for the entire duration of the selection process. It is also implied that, by taking part in this selection, this release form is conceded with the same methods described above concerning Selected Projects, forever, becoming a part of the archive of the project to allow Occupy the kitchen!, Zona Franca and Foodpower or any other entity involved, to promote this initiative to the public and to advertise the development of the selection process itself. /// PRIVACY Personal data is regulated by the privacy policy. The selected artists and participants in the Occupy the kitchen vol. 2 program will be asked to sign a release form on site concerning any photos/videos of the performance itself For more information or enquiries, please write to: evelyn at zonafranca.biz Links: ------ [1] https://occupythekitchen.org [2] https://occupythekitchen.org/CALL-Purposes-Obiettivi [3] https://occupythekitchen.org/CALL-Who-can-apply [4] https://occupythekitchen.org/CALL-Terms-and-conditions [5] https://occupythekitchen.org/CALL-How-to-participate [6] https://occupythekitchen.org/CALL-Selection-and-Panel [7] https://occupythekitchen.org/About [8] https://occupythekitchen.org/Food-Artivism [9] https://occupythekitchen.org/CALL-PRIVACY-POLICY