Contact & About


email: felix @ openflows . com
Twitter: @stalfel
Signal: number on request (Twitter DMs are open)


The aim of this blog is fairly pedestrian. To provide access to the things I write and to the projects I work on. Besides that, it's also an open notebook for things I find interesting in my research of the intersections of culture, technology and politics. (Though these entries are not on the front page, so use the search function, if you care.)

In particular, fields I'm interested in include: Free and Open Source Software, Free Culture, emancipatory cultural practices, theories of networks and the network society, digital culture, the transformation of space and its practices, and theories of subjectivity. In short, society, technology, and the space of the possible.

About Me

My name is Felix Stalder and I'm currently dividing my time between working as a professor of digital culture and network theories at the Zurich University of the Arts and as an independent researcher/organizer with groups such as the Institute for New Cultural Technologies (t0) and the technopolitics group in Vienna.

I've been working in this area since the mid-1990s. At the end of the 90s, I was pursuing a Ph.D. at the University of Toronto (completed in 2001), then as a post-doc with the Surveillance Project, a transdisciplinary research initiative based in the Department of Sociology, Queen's University in Kingston, ON, Canada (completed in 2002). Since 2003, I'm a (part-time) faculty member in Zurich.

On the Differences between Open Source and Open Culture (book chapter)

How would culture be created if artists were not locked into romantic notions of individual authorship and the associated drive to control the results of their labour was not enforced through ever expanding copyrights? What if cultural production was organized via principles of free access, collaborative creation and open adaptability of works? As such, the practices of a collective and transformative culture are not entirely new. They were characteristic for (oral) folk cultures prior to their transformation into mass culture by the respective industries during the twentieth century, and as counter-currents – the numerous avant-garde movements (dada, situationism, mail art, neoism, plagiarism, plunderphonics, etc.) which re-invented, radicalized and technologically up-graded various aspects of those. Yet, over the last decade, these issues – of open and collaborative practices – have taken on an entirely new sense of urgency. Generally, the ease with which digital information can be globally distributed and manipulated by a very large number of people makes free distribution and free adaptation technically possible and a matter of everyday practice. Everyone with a computer already uses, in one way or the other, the copy & paste function built into all editors. This is what computers are about: copying, manipulating and storing information. With access to the internet, people are able to sample a wide range of sources and make their own works available to potentially large audiences.

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