Introduction

A friend of mine recently complained that ever since his 14-year-old son Jacob downloaded the new social networking app TikTok, he can’t seem to get away from it. My friend says he hasn’t seen this happen to his son before. What has actually been happening with Jacob and his relationship with the new app? Researcher Jason Davis, who has looked into TikTok in detail, describes it very well. Once Jacob started the app, he didn’t have to define his favourite topics or hobbies. The AI algorithms immediately went to work and started analysing Jacob’s behaviour and his emotions. They figured out what he liked and disliked. What he can stand to look at and what he quickly skips over. They started offering him all sorts of content and soon they knew Jacob better than Jacob knows himself. They knew with incredible precision which videos would engage James and which wouldn’t. What content would evoke a positive or negative emotion in him. And this is exactly what plays the most important role in the new type of economy we call the attention economy. Our time and our attention is of great economic value to digital platforms and their advertising partners, as is knowing our likes and activities.

We passionately debate whether machines can have emotions and if so, what they would look like. What we completely miss is that artificial intelligence algorithms are already much better at decoding and influencing human emotions than we are. Couple this with insights from the behavioural sciences, which show that up to 85% of our decisions are based on emotion, and we can see the breadth and depth of the problem we face. How we make decisions defines us as individuals, and our collective decision-making defines our society. Whether it is making a decision in a free and direct election, deciding to buy a product, deciding on a life partner, or any other of hundreds and thousands of decisions, depends on emotions. If someone, or something, is controlling or manipulating our emotions, are we still free people? Liberal democracy and the free market are essential features of our society. But what happens to them if the free decision-making that underpins them is not free? It will not be free because the emotions that are central to decision-making will be manipulated.

What can universities contribute to rebuilding society by a novel mix of arts and science?

Europe is currently going through an unprecedented crisis. In addition to the economic, demographic and migratory challenges that have traditionally been part of the reform of this large territory, the last decade has seen the addition of the climate challenge and the upheaval linked to the COVID-19 health crisis. By now, Europe has moved into what is known as the 4th industrial revolution, a new way of organising by combining a networked organisation and digital and collaborative development tools with the means of production in the real world. The European society, multicultural and cosmopolitan, is facing a new deal characterised by new technologies such as artificial intelligence and the virtualisation of sensory experiences. Major scientific advances coincide with new global issues. Faced with these doubts, society must question its traditional categories and rethink its objectives and its organisation.

Access to resources becomes a fundamental issue. The liberation and concentration of energies is an essential pillar of any strategy and any initiative. The collective, the local anchoring, becomes fundamental not only to reactivate the creative forces, but also to ensure to minimise their environmental impacts and to refocus the questioning of tomorrow’s production modes on the human, on the sustainable. Towards a more inclusive, resilient society. Towards a more shared academy. Towards a meeting where several platforms, several laboratories, in direct access, cohabit and share their information, and several ecosystems come together by mixing artistic and scientific perspectives. The great thinkers of the historical Renaissance had established this spirit of rupture, this capacity to embrace both the rigour of artistic thought and the formidable intuitions of scientific rationality. What does this imply for the future of universities? How must university evolve—or be disrupted—to have relevance in the Next Renaissance as they have done so far for cultural and scientific driven development?

Such radical intersections of artistic and scientific experiences—as at U7+ Alliance of world universities and Université Côte d’Azur—should lead the whole of society to immerse itself in a reflection on otherness, on a certain form—in the aesthetic sense—of vision of the world, so that art can, at times, revive the place it once occupied in the Camerata Fiorentina. Or as it was described in Henri de Saint-Simon’s The Artist, the Scientist, the Industrialist (1824), „It is we, artists, who will serve as your vanguard: the power of the arts is indeed the most immediate and the most rapid. We have weapons of all kinds: when we want to spread new ideas among men, we inscribe them on marble or on canvas; we popularize them by poetry and song; we employ alternately the lyre or the galoubet, the ode or the song, the history or the novel; the dramatic stage is open to us.”

Damien Ehrhardt and Hélène Fleury recall the extent to which the great figure of Alexander von Humboldt prefigured the current challenges of history. By combining science and aesthetics, by associating observation, artistic fascination and understanding of the world, Humboldt was one of the great operators of transdisciplinarity, of the connection between the fields of knowledge, learning and art, by reviving the spirit of humanism. The place of science, art and technology in our societies is fundamental, and even more so when it is aimed at education. In a digital, globalised environment, thinking about this next Renaissance also means, paradoxically, giving meaning to local energies, to the forces that combine in proximity and in education, mutual aid, and local culture.

Today’s organisational challenge to empower novel creations in a Next Renaissance is that a global university such as Université Côte d’Azur must, first of all, interact at the level of local authorities to federate the players, to develop techniques of knowledge and education in direct access, so that everyone can access the data and the tools to transform tomorrow’s society. It is to all of these challenges that we are responding. To quote Saint-Simon again, „the power of imagination is incalculable when it takes off in a direction of public good.”

This text is a joint contribution of several colleagues at the Börsenvereinsgruppe.

„A conversation presupposes that the other person might be right.“ With this statement, the philosopher Hans Georg Gadamer formulated the basis for respectful interaction. It is a basic prerequisite for a lively culture of debate and indispensable for a democratic opinion-forming process. The book industry has set itself the task of promoting this process and making younger generations aware of its importance. Recently, the discussion about the stand of a right-wing publisher at the Frankfurt Book Fair 2021 showed that a constructive exchange of opinions cannot be taken for granted and that the current climate of debate in our society is highly heated.

This debate was triggered by the call for a boycott by the black German author Jasmina Kuhnke, who stated that she did not feel safe due to previous racist threats caused by the presence of a publisher from the right-wing end of the spectrum at the Frankfurt Book Fair.

The Börsenverein Group, which consists of the Börsenverein des Deutschen Buchhandels and its subsidiaries Frankfurter Buchmesse GmbH, MVB and Mediacampus, sees as one of its core tasks to defend the freedom of the word as an elementary human right and to guarantee freedom of expression as a prerequisite for freedom of publication and literary diversity. To allow different opinions and currents as long as they remain within the bounds of the law, and to argue one’s own values, is, in the view of the Börsenverein, the right way forward in a pluralistic and democratic society.

At the same time, freedom of expression is under threat from the state in many countries. In an increasing number of countries around the world—be it Saudi Arabia, Turkey, China, Russia, Belarus, Egypt or Vietnam—people are persecuted, imprisoned or murdered simply because they criticise the actions of the government. But in Poland and Hungary, countries in the European Union, free reporting is also restricted.

Publishers and bookstores in Germany stand up for persecuted authors, publishers and booksellers worldwide. The Börsenverein sees it as its task to draw attention to the fate of persecuted cultural workers and to call on the political leaders in Berlin and Brussels to consistently stand up for freedom of expression.

Colonialism is over, but the colonial continuities are still present. Colonial reappraisal is still in its infancy and, following the Black Lives Matter movement, is increasingly calling for clarification. In the cultural landscape, there is an increasing presence of the topic, but the media and textile and clothing industry still show restraint. In the fashion and design scene, approaches with a decolonial orientation have developed in recent years that critically question the fashion and design system. A booming fashion scene in Africa and its diaspora is gaining more and more international attention, breaking stereotypes, doing away with clichés and reclaiming narratives. What is the role of African fashion and design aesthetics in decolonisation? In an increasingly fast-paced world where tradition meets modernity and innovation is unstoppable, a new interplay is beginning.

How can a European rebirth be shaped today? The active work of decolonial thinking is a first step to create a new definition and awareness to give space to sustainable and equal perspectives. One approach is deconstruction.

The values and history of design are taught through a Eurocentric canon, accepting work predominantly by European and American male designers, which forms the basis of what is considered „good“ or „bad“. This authority has the effect of undermining the work of non-Western cultures and people from the Global South so that, for example, Ghanaian textiles are classified as craft rather than design. Classifying traditional craft as something other than modern design deems the history and practice of design of many cultures inferior. We should strive to remove the conflation of craft and design in order to recognise all culturally important forms of making.

Four short films by Anne Katrine Senstad created in collaboration with Actor Bill Sage. ¹

In a critical look at the human condition in current world affairs, filmmaker Anne Katrine Senstad suggests that a healthy value system has been disenfranchised and replaced by what the French philosopher Jean Baudrillard (1929-2008) called a simulacra—a postmodern imitation of reality, consumerism, and predatory systems. Senstad with actor Bill Sage express these theories in the films which were produced remotely along with sound producer JG Thirwell, within the confines of isolation during the pandemic. Senstad and Sage sharpen our understanding of today’s crisis to embark successfully to rebuild a better world.

UTOPIE/UTOPIA (2020) theorises that tolerant co-habitation is a place of utopia, and reflects on ways of understanding community and individuality, societal and political systems, and solitude and the degree of contact necessary for individuals to exist and create at their own pace. Anne Katrine Senstad’s film explores the nuances of French philosopher Roland Barthes’ (1915-1980) term “idiorrhythmy”—a  productive form of living together in which one is autonomous yet recognises and respects the individual rhythms of others.

In Senstad’s first film in the series of four, exploring Barthes text “UTOPIE/UTOPIA” from his 1977 book How To Live Together, acclaimed actor Bill Sage, in a personal and evocative monologue performance, assumes the character of Barthes in the creative process of preparation for his University lecture series of four decades ago. Set in the context of our contemporary world that is gripped by societal and political crises amplified by the 2020 pandemic, Sage’s character explores various forms of solitude through Barthes’ contemplations on history, psychology and societal structures. Barthes’ text concludes that our “Sovereign Good” is a form of tactful cohabitation and that an inner state—the state of tolerance—is a place of utopia.

Anyone looking at Europe today sees a continent struggling for its future. We have no doubt that the EU is no longer a stable house: Nationalist and populist movements are undermining Europe’s democracy, civil liberties and the rule of law are in danger, and many citizens‘ fears of decline and worries about the future are real. Instead of 28 states, there are now only 27 united under the umbrella of the European Union. And hanging over everything is the sword of Damocles of the climate crisis with its existential threat to future generations and to our fellow creatures. These and many other concerns are not easy to address and are even more difficult to solve.

But if you look at Europe today, you see not only shadows but also a lot of light. We see developments that give us courage and optimism. Civil society is resisting cuts to the rule of law, tens of thousands of young people are taking to the streets in support of better climate policy, and a new generation of politicians is taking up positions in parliaments and city councils with pro-European ideas and concrete commitment. At the same time, European entrepreneurs and cultural workers are developing solutions and offers that combine economy and socio-ecological responsibility, culture and politics. And all of this is increasingly happening across borders. Something is moving in Europe, a new spirit is blowing and the beginnings of a political, cultural and economic awakening can be seen—driven by the ideas and longing for the future of the young generation.

The EU embodies the courage to give new ideas a space and a chance, even and especially when the deceptive promise of settling down and staying put is at its greatest. This special spirit that can blow when we dare to do something new is described by Gerhard Brunn when the new Commission President Jacques Delors took office in 1985: „From the very first moment, he instilled new self-confidence into the demoralised, disoriented Commission and, with a handful of brilliant staff and a fireworks display of ideas, got it moving in such a way that some people lost their hearing and sight.“ Even if all these ideas (from Delors and many others) were not always implemented immediately, they often came to fruition via detours, and sometimes years later. Whether in the case of the common currency, the dismantling of border controls or a common security policy, a moment has always been found to take a further step toward integration.

In this way, revolutionary things were created through a gradual but constant evolution of political ideas. We call this modus operandi of the European Union and its predecessor organisations the European revolution of small steps. We think it is time to recall this revolutionary spirit, to revive it and to activate it, specifically for the future. While grand and long-term visions and castles of thought are important and can be beacons for the future, the immediate future of Europe is in the hands of those who understand and walk the fine line between too little and too much.

The EU thrives on constant development and movement forward. So pausing is not an option. At the same time, the history of European unification teaches us that taking too big a leap or doing too much in one fell swoop can be equally damaging and counterproductive. The United States of Europe, the European Federation or the European Republic may be inspiring goals, but the way to get there is through concrete, bold and feasible steps that directly and positively improve life in the EU.

Those who want to prepare the ground for a new European Renaissance do not always have to start at the top and with the big questions. We are convinced that change and progress always begin on a small scale. This makes the more than 450 million citizens important players. They help decide the direction in which Europe is heading. But far too often, obstacles are placed in the way of their ideas and their drive, or they are unable to realise their potential for financial reasons. If you want to think about the future, you have to be able to afford it. We have a proposal to change that and give more people the opportunity to drive social, cultural and economic innovation.

The start-up credit would pay particular attention to an aspect that is often neglected in the discussion about start-ups and innovations: the connection between a successful start-up and the socio-economic background of the founders.

Unfortunately, it is still disproportionately men who found companies. Around 93 percent of tech funding goes to all-male teams.¹ So it’s not so much the individual’s dedication, sincerity or courage that determines entrepreneurial success in the early hours, but their financial and social background and gender.²

Those with a safety net can take greater risks. Those who are hyper-masculine take success home with them. The EU must counter this Anglo-Saxon and male-dominated logic and culture with something of its own and respond with an egalitarian, decentralised and diversity-oriented instrument. A European innovation starter credit will change hundreds of thousands of lives and make ideas fly in Europe.

A podcast on the Nyakasikana Project in Zimbabwe

Vera Chisvo created a short podcast with the Tamba Africa Social Circus (TASC) on their NYAKASIKANA project, which is about using art to change the narratives of persons with disabilities in Zimbabwe.

»The Tamba Africa Social Circus (TASC) is a creative advocacy and inclusive arts initiative using intangible cultural heritage to address social issues affecting young people from marginalised communities. Their program NYAKASIKANA is a creative and inclusive culture action project for Gender Equality and the Empowerment of Women and Girls through women-centered leadership development. It seeks to equip girls and young women from marginalised communities (especially those with disabilities) with leadership, autonomy and other critical life and social skills through culture, inclusive arts and social circus tools. Social circus provides spaces for girls to freely explore their women-centered power, express themselves, build personal, functional and knowledge-based skills, and engage in gender artivism campaigns on issues that are important and real to them. NYAKASIKANA’s mission is ›Leadership for sustainable change and creation of creative spaces where gender justice goals can be realized‹.« (Quote by Tamba Africa Social Circus, Info Brochure)