Call For Papers

Sixth International Summer School
organised jointly by the EU FP7 project PrimeLife
and the IFIP Working Groups 9.2, 9.6/11.7 11.4, 11.6
Privacy and Identity Management for Life (PrimeLife/IFIP Summer School 2010)
to be held in Helsingborg, Sweden, 2nd – 6th August 2010
in cooperation with the EU FP7 project ETICA

After the success of the 2009 PrimeLife/IFIP Summer School, the European project PrimeLife and IFIP (International Federation for Information Processing, Working Groups 9.2, 9.6/11.7 11.4, 11.6) will continue their joint cooperation. This year they will hold an International Summer School on the topic of Privacy and Identity Management for Emerging Internet Applications throughout a Person’s Lifetime.

Emerging Internet Applications, such as Web 2.0 applications and cloud computing, increasingly pose privacy dilemmas. When they communicate over the Internet, individuals leave trails of personal data which may be stored for many years to come. In recent years, social network sites, where users tend to disclose very intimate personal details about their personal, social, and professional lives, have caused serious privacy concerns. The collaborative character of the Internet enables anyone to compose services and distribute information. Due to the low costs and technical advances of storage technologies, masses of personal data can easily be stored. Once disclosed, this data may be retained forever and be removed with difficulty. It has become hard for individuals to manage and control the release and use of information that concerns them. They may particularly find it difficult to eliminate outdated or unwanted personal information.

These developments raise substantial new challenges for personal privacy at the technical, social, ethical, regulatory, and legal levels:

  • How can privacy be protected in emerging Internet applications such as collaborative scenarios and virtual communities?
  • What frameworks and tools could be used to gain, regain and maintain informational self-determination and lifelong privacy?

Both IFIP, PrimeLife and ETICA take a holistic approach to technology and support interdisciplinary exchange. In particular, participants’ contributions that combine technical, legal, regulatory, socio-economic, ethical, philosophical, or psychological perspectives are welcome.
We are especially inviting contributions from students who are at the stage of preparing either masters’ or doctoral theses qualifications. The school is interactive in character, and is composed of keynote lectures and seminars, tutorials and workshops with PhD student presentations. The principle is to encourage young academic and industry entrants to the privacy and identity management world to share their own ideas and to build up a collegial relationship with others. Students that actively participate, in particular those who present a paper, can receive a course certificate which awards 3 ECTS at the PhD level. The certificate can certify the topic of the contributed paper to demonstrate its relation or non-relation to the student’s masters’/PhD thesis.

Related European, national, or regional/community research projects are also very welcome to present papers or to organise workshops as part of the Summer School.

A special one-day stream within the Summer School, to which abstracts/papers can be submitted directly, will be organised by the EU FP7 project ETICA on privacy and related ethical issues that arise from emerging information and communication technologies.

Sun Valley Center for the Arts presents I Spy: Surveillance and Security

I Spy: Surveillance and Security
Feb 26 – Apr 30, 2010

Sun Valley Center for the Arts
191 5th Street East
Ketchum, Idaho



I Spy: Surveillance and Security, a multidisciplinary project of the Sun Valley Center for the Arts, examines the relationship between surveillance, security and privacy in the early 21st century. A visual art exhibition is on view from February 26 through April 30.

The attempted bombing on Christmas Day of a Detroit-bound flight reopened the urgent national conversation about security and surveillance that has been going on since September 11, 2001. Government today has unprecedented access into our lives. At the same time that we are debating how to balance civil rights against our need for security, corporations use hidden cameras and track our internet use to sell us their products. Millions of us willingly (or unwittingly) give up our privacy to participate in social networking sites like Facebook.

How has increased governmental and corporate intrusion into our lives shaped our assumptions about what is private and what is public? How has our definition of civil liberties changed? What effect has the Internet and the boom in social networking sites had on our behavior? Are we safer now than we were before?

The exhibition features work by artists Deborah Aschheim, Hasan Elahi, Trevor Paglen and Paul Shambroom.

Between 2003 and 2005, Deborah Aschheim created six installations she called Neural Architecture (a smart building is a nervous building). “Nervous systems” for architecture, these sculptural projects reflect our tendency to think about buildings in human terms. They also convey our ambivalence toward surveillance; technologies that initially seem invasive or Orwellian eventually become simple conveniences. The sculpture Aschheim presents in this exhibition is a recreation of one neural column from her earlier projects.

Hasan Elahi has made his everyday life part of his artwork. Erroneously targeted as a suspected terrorist and interrogated by the FBI, Elahi decided that his best defense was to open up his life to public and governmental scrutiny. Tracking Transience: The Orwell Project is an online database that documents his travels, finances and even the meals he eats on airplanes. For I Spy, Elahi is creating a timely installation that considers security and surveillance in the world of aviation. Tracking Transience: The Orwell Project is a project of Creative Capital.

The work of artist, writer and geographer Trevor Paglen explores the relationship between surveillance and security in a post-September 11th world. His long-distance photographs of secret military installations, badges from classified military programs and photos of U.S. spy satellites in orbit expose a world of secret operations and surveillance that sometimes exists in plain sight.

>From 2003 to 2007 Paul Shambroom photographed Homeland Security training environments like “Disaster City” in Texas and “Terror Town” in New Mexico. His images of personnel in their disaster gear, training in simulated settings, get at the difficulty we sometimes have discerning between legitimate security threats and paranoid fear. Shambroom is a 2001 Creative Capital Visual Arts grantee.

Related Programs

Lecture: Living in a Wired World: Can Personal Privacy Survive in the 21st Century?
by Frederick Lane
Attorney, author and technology expert
Wed, Mar 10, 7pm

Lecture: The Role of Surveillance in National Security
by John Lehman
Former Secretary of the Navy and member of the 9/11 Commission
Thu, Apr 1, 7pm

Transient Spaces – The Tourist Syndrome


Lecture by Magdalena Taube and Krystian Woznicki

26.01.2010, 20:30 h

Where exactly is paradise? Where is home? Who are the explorers? Who gets discovered? In today’s world, there are no clear answers to these questions.

In modernity the world was defined by way of a geographical outside, paradisal lands located beyond the networks of European expansion. The outside functioned as a counterpart that gave structure to the inside and helped shape its boundaries. In the early 21st Century this classical outside is disappearing and the world, at least in its previous form, is imploding and reforming.

The journey has already begun.

Magdalena Taube (Berlin, literary scholar) and Krystian Woznicki (Berlin, cultural critic) have published the digital mini-feuilleton, berlinergazette.de, since 1999.



DICTIONARY OF WAR is a collaborative platform for creating 100 concepts on the issue of war, to be invented, arranged and presented by scientists, artists, theorists and activists at four public, two-day events in Frankfurt, Munich, Graz and Berlin. The aim is to create key concepts that either play a significant role in current discussions of war, have so far been neglected, or have yet to be created.

DICTIONARY OF WAR is about polemics in various respects: It seeks confrontation with a reality that is characterised by the concealment of power relations the more that one talks about war and peace. But it is also about finding out to what extent war may function as an “analyzer of power relations” that constitutes current changes.

Changes that have been producing ever new wordings: The new war, post-modern war, global war, immanent war – all sorts of labels that indicate that the juridical model of sovereignty would seem to have had its day: war as an armed confrontation between sovereign nation states is a thing of the past.

While this still refers to conflict between different interest groups that are defined by the degree of their intensity and extension, unlike in the past war serves to regulate rather than destroy or renew existing power relations.

War is a “constitutive form of a new order” that no longer knows an inside or outside, that not only destroys but also produces life. In this new world order there is no difference between war and non-war: war is perpetual and everywhere.

So like so many other things these days, war too seems to be subject to a de- and re-regulation process that radically challenges old certainties and replaces them with new premises that shall not be questioned. DICTIONARY OF WAR sets out to oppose war and, at the same time, calls for “desertion” from a war of words in which facts are created with such force in their communication and propaganda that they can no longer be challenged.

The aim of DICTIONARY OF WAR is to make the creation or revaluation of concepts transparent into more or less open processes in which we can and need to intervene; at the same time, the aim is to develop models that redefine the creation of concepts on the basis not of interdisciplinary but rather undisciplined, not co-operative but rather collaborative processes.

“At least, when we create concepts, we are doing something.” The idea of DICTIONARY OF WAR, then, begins by referring to the theory of creating concepts proposed by Deleuze and Guattari: Concepts must be invented, created, produced; concepts refer to problems without which they would be meaningless. It is not about definitions, anecdotes, original opinions or entertainment, but rather about developing the tools with which to attain new ideas.

The concepts are created by conceptual personae, who are not identical to the author, philosopher, artist self, but rather testify to a third person beneath or beside. According to Deleuze and Guattari, “we do not do something by saying it but produce movement by thinking it, through the intermediary of a conceptual persona”.

DICTIONARY OF WAR is not a book in the proper sense. It is not about texts, deadlines or editing but about performativity. The concepts are introduced in alphabetical order by their conceptual personae in twenty-minute presentations.

There are no restrictions with regard to format. DICTIONARY OF WAR will be composed of lectures, choreographies, films, slide shows, readings or whatever format authors, actors, organisers and conceptual personae choose to use.

Finally, DICTIONARY OF WAR may well be a kind of war machine itself: the concepts are not intended to be deployed as means of control that regulate meanings, but which rather activate developments and processes and evoke events. “To draw speech to oneself and bring something incomprehensible into the world.” (Kleist)

How German is it? Thomas Demand in Berlin

Thomas Demand in Berlin – Votragsreihe: How German is it?

A series of lectures in conjunction with Thomas Demand’s exhibition Nationalgalerie

Scholars, artists and politicians from Germany and abroad will discuss select aspects of German culture, society and history, taking a work by Thomas Demand as their point of departure. The broad spectrum of topics and variety of speakers draw the attention to select facets of our society and enable introspection or communicate a view from the outside. The interplay of different lectures generates a complex debate of the artistic oeuvre and facilitates a deliberate discussion of the issues instigated by the works. Furthermore the series encourages a kaleidoscopic reflection about Germany, in the end not limited to concerns of this specific country but also touching universal traits and topics that are relevant to our time. In this way, How German is it? aims to initiate the debate of possible mandates and forms of use of a “Nationalgalerie”, while emphasising the Nationalgalerie as setting for discourse.

An insgesamt fünfzehn Abenden von September 2009 bis Januar 2010 sprechen wöchentlich jeweils ein bis zwei Wissenschaftler, Künstler, Politiker oder Journalisten aus dem In- und Ausland über Aspekte der deutschen Kultur, Gesellschaft und Geschichte. Ausgangspunkt für jeden dieser Abende ist jeweils eines der Werke der Ausstellung Thomas Demand. Nationalgalerie.


about memory, art, public space

The context-giving programme for the interventions in Vogelsang will start january 20th / 07.00 pm / in the aula or room2 of KHM: “Konversion(en)/Conversion(s)” a panel with Astrid Wege (European Kunsthalle Cologne) and Barbara Hess.

A lecture by Celeste Olalquiaga on ruins and melancholia will take place january 27th / 07.00 pm / in the aula or room2 of KHM: „Modernity in Ruins” – About the fall of modernity’s utopian dream and the fate of its ruins by Celeste Olalquiaga.
Celeste Olalquiaga is a cultural historian interested in the contradictions of modernity and the residual aspects of modern culture. She has proposed kitsch as the decayed cristallization of an imaginary experience. Currently at work on a re-examination of the myth of Medusa, she is also studying the evolving boundaries between nature and technology. An independent scholar, Celeste publishes, lectures and does artistic collaborations worldwide.
Her books include Megalopolis:Contemporary Cultural Sensibilities . (1992) and The Artificial Kingdom:.A Treasury of the Kitsch Sensibility.(1998).

background reference http://de.wikipedia.org/wiki/Ordensburg_Vogelsang

contact reference http://www.euregionale2008.eu

visiting program http://www.vogelsang-ip.de