A – C
Nika Autor’s (In Zeiten wie diesen – Newsreel 63 – The Train of Shadows) artistic work includes experimental videos and documentaries, film essays, video installations, photographs, collages and drawings. Her focus is the exploration of invisibilities and inaudibilities in relation to hidden themes of the forgotten past and a silenced present. Nika Autor works internationally and is also part of the collective Obzorniška Fronta (Newsreel Front), an informal collective of actors from film theory and art practice.
Anatoly Belov (Dead Monster Game) is a Ukrainian artist who has been working with various different forms of media, such as graphics, video, film, performance, and music, since 2004. The main motifs in his works are homosexuality, sensuality, and his everyday life in society. Additionally, he works with the myth of the goddess Kybele, who he sees as the symbolic protector of all LGBTQI people.
Post Bellum (Lipno, zrcadlo historie 20. Století) is a non-governmental nonprofit organization that documents the memories of witnesses of important historical phenomena / events of the 20th century. Its goal is to pass these stories on to the broader public. Post Bellum was founded in 2001 in the Czech Republic, and since then, it has spread its projects to many other countries.
After a career working with refugees for the United Nations and Amnesty International, Tom Bogaert (Organ/Orgel) started to work as an artist. At the age of 38, he gave up on his career in law, in order to settle down in New York as an artist. His artistic practice is geared at long-term and site-specific projects that explore and deal with the overlaps between politics, entertainment, art, and propaganda. Many of Tom Bogaert’s pieces stand out through their humour and lightness that create a certain balance to their conceptional frameworks.
Marek Borsány (Print & Glory) moves through performative and fine art, through music and puppet theatre on the one hand, but also through sculpting, drawing, and graphic design on the other. He is particularly interested in mixing classical artistic disciplines and their performative presentation in public spaces.
Nikola Brabcová and Karin Šrubařová (Garden Networks) do not only work as individual artists and educators, but are also a long-standing artistic duo. They founded Prototype, a platform for artistic, curatorial, educational, and space specific collaboration that combines activism, education, and a love for the artistic process. Their artistic practice is shaped by being interdisciplinary and exploring the possibilities of collective working processes.
S()fia Braga (Manifesting Earthly Survival) is an Italian transmedia artist. Her artistic research combines digital and post-digital practices. Her work focuses on the exploration of new technologies to develop speculative fantasies that address issues such as transhumanism, human and non-human collaboration and non-human agency. S()fia’s identity is constantly changing and goes hand in hand with the narratives she creates: in recent years she has been an artist, a transhumanist entrepreneur, an AI author, a cyberstalker, a TikToker and has mutated into a monstrous creature several times.
CRYSTN HUNT AKRON (PLASTICPHONIA) aka Christine Hinterkörner sings and composes for various different music, theatre, and dance projects, and gives workshops on singing and songwriting. Besides her own productions collaborations with national and international artists are also a big part of her artistic practice, as well as work stays and residencies.
D – F
The art created by François Davin (Es war einmal ein sehr alter Stau) is always a dialogue with the places he is invited to. He speaks with these places, with their landscapes, history, geology, flora and fauna, with their functions and potentials. Again and again, he has realized that this approach makes it possible for him to engage with the local population of the various places and to include them in the work in the form of a celebration of their territory. François Davin has realised over 200 projects on five different continents.
Gerhard Dirmoser (30 Jahre Festival der Regionen) has been active as a system analyst for about forty years. Since 1980 he has also worked on projects in the fields of art and culture, for example in the form of studies of the Ars Electronica, on performance art, and on diagram art. Since 2002 he has been collecting and researching diagrams, among others in the context of the project Die Welt der Atmosphären (2001-2006) and the exhibition art diagrams in context (2018).
DORFTV (Wir sind am Zug!) is a non-commercial community television station for Linz and Upper Austria. The broadcasts are aimed at civil society, artists and cultural creators, migrants, and refugees. The aim of DORFTV is to make the cultural and social life in all its different forms visible. Socially and medially marginalised content and communities are particularly taken into account.
Dschungel Wien (Hijab Offline) is a theatre house for children and youths whose social responsibility and mission is to be an authentic and courageous platform for the views, lived realities, and interests of children, youths, and young adults.
Milou van Duijnhoven (Skills & Tools: A Guidebook) studied performance at the Institute of Performing Arts Masstricht and choreography at the School for New Dance Development Amsterdam. Ever since then, she has been working as a dancer, performer, choreographer, and martial artist within the contexts of her own projects and in collaboration with others. The starting point for her artistic practice is the sensuality of voice and movement.
Since 2018, Elif Duygu (familiar strangers. slam & jam in der Summerauerbahn) has been performing on both national and international Poetry Slam stages, including TEDxVienna and the Austrian Poetry Slam championships 2022 held in Dornbirn, where she won first prize in both the individual and the team competition. Elif Duygu’s often critical texts have been published in numerous literature magazines and anthologies.
Sarah Katharina Eder (HYPER TASTE) is an interdisciplinary artist. Her practice is shaped by her training in structural engineering and the interest in the relationship between bodies and spaces that goes along with it. Her works are situated between sculpture, installation, and performance and deal with social and spacial structures, as well as individual perception and the child-like impulse of play.
Edin Extrem (Opening After Party) A well-blended mix of funk, soul, and dancefloor jazz. Marlene (visitor) said, ‘When I heard the music, I couldn’t believe my ears. I had to start moving immediately. It was the most amazing evening of my life.
Uwe Felchle (familiar strangers. slam & jam in der Summerauerbahn) specialized in bass, singing, and arranging, after having received a wine gum snake as a salary for a performance when he was six years old. He was the musical director of the theatre group daskunst and composes for film and theatre.
Collective Fraustadt Freistadt (Frauentor-Besetzung und Frauengassen-Fest): Founded in 2020 with the expressed goal to put a larger public focus on women and their diverse lived realities and to strengthen networking processes among women and their initiatives.
G – H
Grandmothers Favourite – Postmodern Sudoku-Jazz by Daniel Bierdümpfl (Guitar, synth, fx, vocals) and Patrick Pillichshammer (Drums, synth, fx).
Gerald Harringer (Mind the Gap) was one of the founders of the artist cooperative Die Fabrikanten in 1990. He lives and works as a freelance author, director, media artist, and cultural manager in Katsdorf.
Hannah Heckhausen (familiar strangers. slam & jam in der Summerauerbahn) is a speech coach and theatre teacher. Her work is all about speaking as an artistic practice and empowerment.
Markus Hiesleitner (Kollektives Warten in Extremwetterlage) deals with the political, social, and economic mechanisms of contemporary society through conceptual and eco-political sculptures and installations.
Leah Hochedlinger (Mind the Gap) completed an education in music trade, and is active in the areas of photography, videography, and as an independent artist.
Sophia Hochedlinger (Mind the Gap) has been working with video and film ever since she completed her studies of time-based and interactive media at the Art University Linz, with a focus on script writing, directing, and editing.
Dagmar Höss (30*Mobile Druckwerkstatt) works as an artist, a curator, and an art educator, however it is important to note that these practices are always project specific and she likes to mix them up. Her mostly conceptual pieces range from place specific installations and photographic works, screen prints and collages, all the way to stick experiments. Among other things she is a member of the artist collective MAERZ in Linz, and the Künstler*innen-Haus in Vienna.
K – L
Zhanna Kadyrova (In Zeiten wie diesen – Russian Rocket) works in a variety of media including sculpture, photography, video and performance. Her works are often site-specific and informed by malleable or symbolic properties of urban building materials. Zhanna Kadyrova, whose works are exhibited internationally, lives and works in Kyiv, Ukraine.
Lucie Kaiserová (Zügige Visionen) has a background in graphic design for advertisement, and works as an art therapist within the context of outsider art. Her main focus is on the design of living space, and the use of interpersonal artistic and aesthetic values as unifying elements.
David Kapl (HYPER TASTE) combines spacial installation with performative approaches in his works. By encouraging the audience to interact with static structural objects, these then transform into dynamic, social webs. In his concepts, the use of pre-existing materials plays an essential role, and so the language of the material is then transported onto a level of sensation.
Asli Kışlal (familiar strangers. slam & jam in der Summerauerbahn) founded the group daskunst, is the artistic director of diverCITYLAB and has been working as an actress, a director, and a dramaturg for 30 years all over the German speaking world. The act of telling stories and bringing stories closer to audiences is something that has always been close to her heart. Through artistic political action, she attempts to test out the feasibility of a just society.
The Klangfolger cultural association has been organizing the KLANGfestival in Gallneukirchen near Linz/Upper Austria since 2008. The Klangfolger cultural association is backed by a broad-based team of experts from the fields of cultural management, music, film, theater, literature, visual arts, architecture and design.
Michael Klodner (Garden Networks) moves between audio-visual live performances and experimental film works, gardening in the forest and the development of Livinglab. He has a background in IT and coding and is the founder and curator of the digital community server and the online gallery node9.org. He writes about online activism, digital curating, and post-mediality as part of the creation of networks that are based on trust. In his most recent projects on the role of artistic research in the realm of sustainability, he deals with the mathematical aspects of media art in the context of ecosystems and nature-culture communities that go beyond human beings. The goal of Livinglab is the development of an interdisciplinary method for non-destructive life research in nature and in the wild.
Peter Kozek (An meinen Haaren möcht‘ ich sterben) deals with various different forms of visual artistic media, such as installation, performance, drawing, and video, within his dynamic room sculptures. His work is often in correlation with the space that surrounds it. Since 2021, he has been active at the Applied Performance Lab in Vienna as a senior artist.
Juliane Kreiner (VegLab) grew up in a village and loved to spend her time on her grandparents’ farm. Her job led her into the area of social work, where she worked with handicapped people, children, and asylum seekers. The later group tried to supplement their tight budgets by growing their own vegetables. This reminded Juliane how important and valuable a home is – the earth and the plants that grow and prosper there.
Stefan Kreiner (VegLab) is interested in the visible within the invisible, in the perfection on a small scale. Coming from the area of photography, space and time are omnipresent in his work. For the project VegLab he dedicates himself to the pressing issues of our time: how do we want to live? What do we want the world to look like that we leave behind for our descendants? And there they are again: space and time.
Olivia Kudlich (ZUG um ZUG, der erste Zug!) is especially interested in created temporary event spaces that let audiences forget the passing of time. The field of tension within her works reaches from architecture and graphic design all the way to theatre and event organisation. Kudlich is part of the art and cultural collective Jolly Fabrik.
LAP (Time Play) was founded in 2016 by Dafne Maes and Danaé Bosman in Antwerp and aims to share its passion for contemporary dance and education with different target groups (children, youth and families).
Martin Lasinger (Zug/Ende) moves between media art, artistic craft, and cultural work in the Mühlviertel. He is working on various different projects, some of which may never see the light of day, and asks himself how quickly things can be normalized.
Bastian Lehner (ZUG um ZUG, der erste Zug!) organises cultural events, such as performances, concerts, and film nights. His artistic practice moves between the areas of manual labour, sound and music, or rather in the analogue, the digital, and all the frequencies in between. On a thematic level, he deals with reshaping, transforming, and re-claiming given spaces. Bastian Lehner lives in and is part of the self-organised and autonomous house project Willy*Fred in Linz and is part of the art and cultural collective Jolly Fabrik.
The collective Local-Bühne Freistadt has been running the oldest, still active arthouse cinema in Upper Austria since 1984 and hosts around one hundred live events every year.
The artists Irene Lucas and Christoph Euler (Die Zukunft beginnt Heute) have been exploring potential contact zones and shared territories from the perspective of active and global learning since 2010. In their projects, they attempt to combine methods of nature and art education, or play and media education, in an experimental way.
Kateryna Lysonvenko (A reminder of being constructed) deals with the interplay of historical and artistic heritage in her artistic work in a critical manner. She puts a particular emphasis on the ideals, changes, and impact of Socialist Realism.
M – O
Maraskino (Opening After Party) is a band that loves to address and satirize entrenched gender roles and sexist structures, all while dressed in dazzling outfits, high heels, and surrounded by the scent of coconuts. Maraskino continues the artistic traditions of breaking gender and sexuality norms and establishes a new genre: Contemporary Porn Pop.
Oskar Mayböck (Skills & Tools: A Guidebook) studied philosophy and completed the master program in Sound Studies and Sonic Arts the University of the Arts Berlin. He creates soundtracks and sound conceptions for short films, performances, audio/video installations, and for theatre. Under the moniker Ånsgar, he released the album Donkey Liturgy in 2021.
Pia Mayrwöger (Baugerüst) deals with the phenomena of work shaped by craft in her artistic practice. She combines art and the realm of building in order to explore the relationships between ecology, economics, and growth. For this she focusses on technical and aesthetic aspects of machines the functions of which have been displaced or turned on its head entirely. Her works centre around the impression given by the machines, and imparts them with a unique and sculptural quality that shifts between surreal poetry and ironic surprise.
Vanessa Mazanik (An meinen Haaren möcht‘ ich sterben) deals with digital and forgotten technology within her applied art and from the perspective of a graphic designer and media researcher. As a performer, she has been involved in the immersive theatre piece Wir Hunde (2016) by SIGNA that was developed in collaboration with the Wiener Festwochen and the Volkstheater Wien, among other projects.
Susanne Melem (N_ONSITE) dedicates herself and her artistic work to the interdisciplinary entanglement of text, illustration, installation, performance, rap, and non-space specific interventions in the public space. By applying critical stances she looks for ways in which to question the given narrative and in the best case collaboratively transform them.
Johann Moser’s (VegLab) art is strongly shaped by an entanglement of analogue and digital techniques, something that can be seen very clearly for instance in his most current work Grafik-Generator. His interest in the project VegLab lies in the connections between architecture, nature, fine art, and technique.
MOSKA (Opening After Party) is a multimedia artist originally from Ljubljana who lives in Vienna. Moska has been active as a DJ since 2015 and has played in various European countries with acts such as Traxman, DJ Fulltono, DJ Innes, MC Sa-Roc, MC Dynasty, FVLCRVM.
Shahrzad Nazarpour (Hijab Offline) is a performance artist, a dancer, actress, choreographer, and director. She completed the bachelor programme at the College of Performing Art Teheran and is currently studying at the Academy for Applied Art in Vienna. In her artistic practice she tries to combine her passion for feminism, inclusion, and post-humanism with her knowledge from the areas of dance, theatre, and martial arts.
n:eam (Landgänge 2023: VOR > BEI), the network for European advanced music sees itself as a platform for a description of location for contemporary music. The association for interdisciplinary support and strengthening of sound art is dedicated as a loose association with other initiatives for the presentation of new music and its representatives.
NGGB: Nils Olger, Gudrun Rath und Renée Winter make up the NGGB (Endstation), a collective with varying members encompassing journalists, artists, scientists, and educators with a focus on policies of remembrance. One of the first works by NGGB was the ghost train project Graus der Geschichte, that took place in the Prater in Vienna and was awarded the Outstanding Artist Award in 2016. In 2019, the collective conjured the ghost of the victim of a car crash in Geisterfahrer unterwegs. Eine Ausfahrt in collaboration with irreality.tv and the Brut Wien. The project Kalter Hauch that was realised within the framework of a conference at the Art University Linz and dealt with the history of the Grottenbahn in Linz during the time of National Socialism. Most recently the NGGB gifted the Museum of Military History Vienna a new aura on the occasion of an imaginary hearing in 2022 in the form of the project HTM.
P – R
Klara Paterok (Kollektives Warten in Extremwetterlage) observes and analyses urban living spaces. Her interest lies in the development and destruction of patterns and structures, the aesthetics and materiality that form the blueprint for the act of balancing contradictions such as nature and culture, organic and artificial, or functionality and randomness.
Philipp Pettauer (familiar strangers. slam & jam in der Summerauerbahn) is a musician, a member of the event collective unfollow and also performs as a DJ and live-act under the moniker Fingers Of God.
Regina Picker (Zügige Visionen) is interested in social and scientific topics, and feels particularly strongly about taboos. Her goal is to create space for what is not said and thereby create poetic and performative images. Besides her work as a developer and stage performer, she heads up the format Performance Brunch.
The artist Sara Piñeros (Festival Trailer – Höchste Eisenbahn) works within the realm of documentary film and analogue photography. Her work is focusses on processes in which memories are constructed from personal and collective archives.
Alja Piry (Zügige Visionen) works as a visual artist and artistic assistant in various interdisciplinary projects. In her photography series, visual poems, and video essays, she turns to seemingly unimportant phenomena of social, natural, and emotional life, in order to reflect on the positions, they hold within the system of values that defines our perception.
Laura Plochberger (familiar strangers. slam & jam in der Summerauerbahn) is interested in power and how it manifests itself in Austria. She investigates this on the basis of single events, for instance together with Christian religious orders or by dealing with Austrian spruce forests. She curates events, brings people together and asks herself how a good life for all can be achieved.
Gerald Priewasser-Höller (30 Jahre Festival der Regionen) studied at the Art University in Linz and at the Zurich University of the Arts. He has worked for the Ars Electronica GmbH Linz and as a board member for the Festival of the Regions, where he is currently active in an advisory position. He is self-employed, designs spaces according to their contents, and approaches his productions between art, architecture, and design equally in a philosophically analytical and an experimental manner.
Ursula Maria Probst (Die Zukunft beginnt Heute) is active in a variety of fields and works, among other things, as artistic director of the Fluc art projects, freelance curator (projects for, among others for KÖR, Public Art Niederösterreich, fluca Austrian Cultural Pavilion, Vienna Artweek, Galerie Krinzinger, K/haus, curator of the Austrian contributions to the Havana Biennale 2015) artist, lecturer at the University of Art and Design Linz, teacher at the Academy of Fine Arts Vienna, Visiting professor at the University of Applied Arts Vienna, art and film critic, author of catalogue texts for artists, co-initiator of the collective Female Obsession and art historian (collaboration with Louise Bourgeois in New York).
Alejandro Quiñones Roa (Festival Trailer – Höchste Eisenbahn) is a Sound artist based in Vienna. Through his artistic practice he explores sound as a political phenomenon and as a bodily experience. He is interested in improvisation with various digital media, as much as in sound design for film and video.
Florian Ronc (An meinen Haaren möcht‘ ich sterben) deals intensely with sediments and forms of the 19th century in his works in theatre and performative art. His pieces and collages deal with inner life and emotional terror, yearning and entanglement. His research into and with text constantly moves through areas at the margins, and imagines Kleist in connection to porn, or Stifter and the climate catastrophe.
Jaroslav Rudiš (Eine Bahnreise durch die Filmgeschichte) lives in Lomnice nad Popelkou and Berlin, where he works as a writer, screen writer, dramatist, and musician. His grandfather was a pointsman, his uncle a dispatcher, and his cousin a conductor. For his book Gebrauchsanweisungen für Zugreisen – Ode an die Schönheit des langsamen Reisens (2021) he crossed the entire continent via railway.
S – V
Mika Satomi (Indigo Hyphae) works in the field of E-textiles and physical computing. She explores how we relate to technology in our day-to-day lives, and how we take them for granted – and additionally what we might actually want from it. Together with Hannah Perner-Wilson, she founded the art collective KOBAKANT in 2006. Mika Satomi is the co-author of the e-textile online database How To Get What You Want and currently lives in Berlin.
Isa Schieche (Skills & Tools: A Guidebook) lives and works as a visual artist in Raab and Vienna. She creates participatory objects and installations that can be activated within performances. Her wooden objects focus on customs and craft, play and dance, intimacy and queerness.
Wolfgang Schmutz (Geschichte im Gespräch) has worked at memorial sites such as Mauthausen, Hartheim, Flossenbürg, and Dachau, and currently works for the USHMM and the Claims Conference, as well as as a lecturer for the University of Redlands. From 2020 to 2022 he was co-leading the EU-funded project MemAct.
Anna Schober (familiar strangers. slam & jam in der Summerauerbahn) is a freelance dramaturg and head of production. She puts a particular focus on the political and emancipatory power of art, though humour can never miss out. Together with Asli Kışlal, she founded diverCITYLAB, for which she acts as a dramaturg for its productions.
anGie seah (we will live forever) works with a variety of artistic media, including drawing, installation, performance, sound and video. The blending of life and art characterises her practice and helps her to understand social contexts and engage with the everyday conditions of human life. For more than ten years, anGie seah has been realising participatory projects. She experiments primarily with language, voice, sound and gestures.
Sladovna Písek (Water Research & Water Bar) was founded with the aim of utilising the reconstructed building of the Písek malt house for cultural life in Písek. The first two permanent exhibitions were opened in 2009. Sladovna Písek aims to connect tradition with the present, art with everyday life and the town of Písek with the world through stories, images and games. Interaction and play are the most important tools for teaching, learning, connecting, inspiring and sharing the joy of life.
Severin Standhartinger (N_ONSITE) tries, loses, smears, plays, takes photographs, illuminates, speaks, writes poetry, seeks, curses, tries to imagine how birds feel, fails, and starts from the top.
Wolfgang Steininger (Eine Bahnreise durch die Filmgeschichte) co-founded the Local-Bühne Freistadt, as well as helped initiate both the film festival Neue Heimatfilm and Crossing Europe. As the driving force behind the Moviemento and the City Kino in Linz, he has significantly contributed to the development of the arthouse film scene in Linz.
The performances and interventions of Clemens Stöttinger (Free Stock Sport) always centre around seemingly banal and everyday situations, traditions, misunderstandings, and human shortcomings. Irony is an important stylistic element, however the art is not cynical, but rather encourages people to wiggle on through.
Based on personal experience and research, the Lebanese-American artist Rayyane Tabet (Steel Rings) explores how individual narratives allow for an alternative understanding of important socio-political events. Informed by his education in architecture and sculpture, he investigates paradoxes of our built environments and their history. He creates artistic installations to re-create the perception of physical and temporal distance.
The Tangible Music Lab is an artistic-scientific research group of the Kunstuniversität Linz at the Tabakfabrik location. Here, teachers and students research the artistic and musical aspects of human-machine interaction. In the master’s programme Postdigital Lutherie offered jointly with the Anton Bruckner University, post-digital instrument making is also taught at this interface between music and technology, where traditional cultural techniques meet novel digital design possibilities.
Antoine Turillon (GIVEAWAYS/HIDEAWAYS) is an artist whose works are mostly developed in public spaces, often through collaborative and site-specific approaches.Questioning traditional forms of representation, his works allow for new forms of social processes to enable new forms of perception and understanding of situational challenges of our time.
turn | table | tennis: Fabian Holzinger, Angelika Daphne Katzinger, Memet Acuma and Felix f!ino Vierlinger are united by their passion for DJ’ing. Together, they have been creating a genre balancing act between funk, soul, ambient, club and dance music with the turn | table | tennis event format since 2013.
W – Z
Gotthard Wagner (Opening – Opening Ride – Festival Zone): sunnseitn has been a project of the cultural movement since its foundation in 1991. From meaningful border crossings to expeditions into the unknown. From multi-day walks along temporarily established cultural axes to annual collective dance and deceleration festivals, from violin walks through landscapes to performance trains through states.
Helen Weber (Skills & Tools: A Guidebook) studied fine art in Stuttgart and Istanbul and deals with the concepts of nature and wildlife in a multimedial manner. She is part of various collectives and performs among others with the Planet Dance Ensemble in the public space, somewhere between mimicry and disturbance.
Seth Weiner (GIVEAWAYS/HIDEAWAYS) employs a variety of different forms of media in order to get to the bottom of the cracks between architectural fiction and social convention, and to create both real and imaginary surroundings. As the artistic head of the non-profit Palais des Beaux Arts in Vienna that acts as a mobile place of remembrance and projection of what was lost during the time of National Socialism, Seth Weiner’s work functions as a continuous act of reclamation and as a possibility to explore what his Jewish heritage means in today’s Austria.
Aliaksandra Yakubouskaya´s (Garden Networks) explorations of different forms of matter and of the process of mattering manifest in time-based, audio-visual, and performative practices. Her installation performances and shaped spaces are situations that make an intimate relationship between participants possible. She composes immaterial substances and materials such as collective dreams and memories, or breath and voice, in order to explore immaterial collective bodies, and the interconnectivity between spaces.
Aloïs Yang (Garden Networks) is a conceptional media artist, performer, and experimental musician, who explores the relationships and interactions between humans, sound, and surroundings. His work is influenced by scientific references and human incompleteness in their understanding of nature. His works look into the perception of time and space, using sound as the primary material. Through sensors and real-time calculations he places the focus in his works on the human participation and creates unique content. Aloïs Yang deals with various different topics, such as brain functioning, micro and macro realities, ecological circulatory systems, the element of water, the apocalypse, and the birth of the universe.
The Zeugfärberei Gutau (Indigo Hyphae) is an experimental textile workshop focussed on colouring and printing. Historical techniques and DIY approaches are combined in order to help revitalise the technique of Blaudruck that was practised in Gutau in a traditional manner until the mid-20th century. However, the Zeugfärberei does not put its main emphasis on the production of goods, but rather on the collective practice itself and the transfer of knowledge.