Aart van der MaasPhD Researcher
Annelys de VetPhD Researcher
Arne HermanPhD Researcher
Bart CaronPhD Researcher
Giuliana CiancioPhD Researcher
Hanka OttePostdoc Researcher
Katinka de JongeVisual Artist
Kato EveraertPhD Researcher
Lara Garcia DiazPhD Researcher
Louis VolontPhD Researcher
Maria Francesca De TullioPostdoc Researcher
Marlies De MunckProfessor
Robin VanbesienPhD Researcher
Rodrigo MonteiroPhD Researcher
Sara VanheePhD Researcher
Thijs LijsterPostdoc Researcher
Vivi TouloumidiPhD Researcher
Walter van AndelPostdoc Researcher
Aart van der Maas
Aart van der Maas is a PhD researcher at the University of Antwerp for the Department of Sociology and ARIA (the Antwerp Research Institute for the Arts). His research focuses on the relationship between culture commons and community cultural centers (in Dutch: wijkcultuurhuizen) in Utrecht. Van der Maas studied musicology at the University of Amsterdam. He currently works at HU University of Applied Sciences Utrecht as education manager for the master in Community Development and as a researcher/coordinator for the focus group on the social impact of art and culture within the Research group Participation and Urban Development. During the course of his career, Aart worked as a musician, composer, director, teacher and chairman for various social, cultural and educational organisations.
Further information about Aart can be found here:
Annelys de Vet
ANNELYS DEVET (1974, NL) is a Belgium-based designer, researcher and educator. Her work explores the role of design in relation to the public and political discourse. She headed the MA in Design ‘Think tank for Visual strategies’ at the Sandberg Instituut in Amsterdam till 2019 and initiated the new temporary MA course ‘Disarming Design’ committed to design practices in situations of oppression acting on the overlap of design, crafts, politics, pedagogy, community and poetry. Devet is a PhD candidate at ARIA, a practice-led doctoral study at Sint Lucas School of Arts and University Antwerp. In 2012 she co-founded the thought provoking design platform ‘Disarming Design from Palestine’ generating useful products from Palestine that spread alternative narratives about life under occupation. She has initiated the publishing initiative Subjective Editions that map countries from inside out, from a human perspective; including Subjective Atlas of Colombia (2015), Subjective Atlas of Brussels (2018), Subjective Atlas of Pakistan (2018) and Subjective atlas of Luxembourg (2019). Her last publication is ‘Design Dedication, adaptive mentalities in design education’ (Valiz, 2020).
Arne Herman (1991) is a PhD researcher in the field of music aesthetics at the University of Antwerp. His research pivots around questions of sustainability in the field of symphony orchestras. The influence of the musical canon on aesthetic development, social patterns and organisational structures of symphony orchestras, will be the main focus for cases studies in Amsterdam, Berlin, London and Antwerp. Arne Herman holds a master’s degree in Musicology and a bachelor’s degree in Philosophy from the KU Leuven and a master’s degree in Clarinet from the LUCA School of Arts. As a freelance dramaturg, Arne Herman was engaged in various projects for Flanders Opera House, La Monnaie and Flanders Festival. In 2014, his master’s thesis on German romantic music aesthetics was awarded the René Lenaerts Prize by the Royal Flemish Academy of Arts and Sciences. In 2017, an extended version of this book will be published as Gesamtkunstwerk: de ontwikkeling van een idee (Gesamtkunstwerk: the development of an idea). Arne Herman is regularly invited as a guest speaker and writer at deSingel, Concertgebouw Bruges, Flemish Opera House, La Monnaie, Bozar and Davidsfonds.
Bart Caron researches the foundations, characteristics and conditions of a progressive cultural policy. The pursuit of a cultural policy – arts, heritage, social-cultural work, participation … – cuts just as much through the ideological and political fault lines as social economic policy. Although there are very different policy choices within the political spectrum (an absent or very limited versus generous support for artists and art organizations; different emphasis on art participation; a small versus important role for market forces, etc.), the difference between a conservative and progressive cultural policy is rarely or never explicitly stated.
Bart Caron was a Flemish parliament representative and chairman of the Committee for Culture, Youth, Sport and Media in the Flemish Parliament. Before that, he was head of cabinet for Culture, Youth and Sport with two ministers of the Flemish government. Previous to that, he worked as a culture officer for the City of Kortrijk, as a staff member for Culture at the Association of Flemish Cities and Municipalities and was coordinator of Bruges 2002 (European Capital of Culture). He is also a double bass player with various ensembles.
He is the author of the books “Niet de kers op de taart. Waarom kunst- en cultuurbeleid geen luxe is,” and “Vanop de Frontlijn, Reflecties bij het cultuurbeleid” together with Guy Redig.
Giuliana Ciancio is a PhD researcher and cultural manager in the field of the live performing arts. Her research focuses on the relation between top-down policies and bottom-up movements in four European cities in the context of performing arts and cultural policies. Active in the cultural sector since 2000, Giuliana is also a lecturer in cultural management and co-author of awarded project proposals at national and European level. Since 2014 she is also the co-curator and project manager of “Be SpectACTive!”, an EU-funded large-scale project on active spectatorship in the performing arts sector.
Hanka Otte (1974) has a postdoc position in the project and focuses on the relationship between cultural policy and culture commons. Her main research question is what conditions are needed to let the arts play a significant civil role. One of the conclusions of her PhD thesis was that via its perception, art can be bridging provided a right balance between the autonomy of the artwork and the connection to the social context. In this project she focused on the question how this balance can be found, particularly by the stakeholders involved in participative art projects, varying from artists, activists, cultural organizations, social workers, civilians, entrepreneurs to policy officers and politicians. Could the commons provide for a social system in which the civil value of the arts could come to the fore? And how would a ‘common cultural policy’ look like? More information about her case studies Montaña Verde and Tower of Babel in Antwerp and her pilot study The Ground of Things in Mechelen can be found under research cases.
Hanka has done a PhD research on the relationship between art and social cohesion, for which she won the Boekman Dissertation Prize 2018. Before becoming a researcher, she worked as a policymaker for arts and culture for two municipalities and the province of Drenthe in the Netherlands. Besides this postdoc position at CCQO, Hanka supervises master theses at Erasmus University of Rotterdam and is connected to the research group Participation and Urban Development of HU University of applied sciences. Hanka lives in Groningen (NL) where she partakes in artistic and ecological Breeding Place De Campagne and is member of the supervisory board of youth theater Garage TDI in Assen.
Katinka de Jonge
The artistic practice of Katinka de Jonge investigates site-specificity, with the emphasis on how a model (blueprint) or design for a site or situation functions in relation to its daily life and -use. The concept of “model” can relate here to an architectural plan or organizational structure, but can also be connected to an advertisement or cultural canon. Through the use of (often absurd) logic and fiction, she explores and de-contextualizes existing situations and power relations and thus makes an attempt to find the hidden holes and frictions that the planners, developers and archivists have left open.
This results in works that are variable in form and medium, often interwoven in a dialogue with the site itself.
Katinka de Jonge, Liesje De Laet and Karina Beumer made a visual translation from their case study around C.C.Q.O.. They presented Wellness Centre Future Proof in Lodgers, M HKA. The Wellness Centre contained The Open Source (an installation accompanied by an audio guide), The Open Call (a video installation) and The Open Quest (a video). The questions floating in the Wellness Centre: What does being well mean? What is self-precarisation? Who is able to live and who is not? Can I be well when the earth is not well? How to tame the multi headed dragon in the palace of mirrors?
Kato Everaert is a PhD researcher at the University of Antwerp for the Department of Rehabilitation Science and Physiotherapy. Her research focusses on elucidation of psychological and social risk factors for low back pain in dancers. Kato received her Bachelor and Master degree as a physiotherapist at the University of Antwerp. She wrote her master thesis about injuries in young dancers and won the price of “Best Master Thesis” in the department Rehabilitation Science and Physiotherapy. Kato is since 2019 a member of HeArts (healthcare for Artists), a collaboration between the University of Antwerp and the University Hospital Antwerp. She works together with ARIA (Antwerp Research Institute for the Arts) to gain more insights of the social factors related to low back pain in dancers.
Lara Garcia Diaz
Lara García Díaz is a cultural activist and researcher at the Antwerp Arts Research Institute (University of Antwerp) and the Culture Commons Quest Office (CCQO). She is one of the founders of the cultural feminist collective Larre, based in Barcelona. Since 2016, and thanks to the prestigious Odysseus Grant for research from the Flemish Scientific Fund (FWO), she investigates politics of precarity and commons-based cultural practices through feminist theories. Lara frequently participates in academic conferences such as ‘Living Research: the Urgency of the Arts’ (London, 2019), ‘Integrated: Radical Imagination’ (Antwerp, 2019) or ‘Life on Mars?’ (Milan, 2019) and often collaborates in international symposium such as ‘On Cohabitation’ (Venice Biennial, 2018), ‘Prologue Symposium’ (Oslo Biennial, 2019) or ‘Ghostwriting Files’ (Nieuweinstituut Rotterdam, 2019). In addition, she has contributed to a variety of books such as What’s the Use (Valiz, 2016), Commonism. A new Aesthetic of the Real (Valiz, 2018) or Prekariart (University of Bilbao, 2019), as well as in academic and cultural journals such as Frame: Journal of Literary Studies (Utrecht University, 2017), Art and Identity Policies (University de Murcia, 2018) or PUBJournal (Sandberg University, 2019) or Terremoto (México, 2020).
Louis Volont is a sociologist based at the University of Antwerp. The central axis running through Louis’ research consists of ‘the three C’s’: Culture, Commons, Cities.
From early 2013 until 2016, Louis has been a research fellow at the Société Mutuelle des Artistes (Mutual Society of Artists): SMart. SMart is a Brussels-based cooperative that supports artists and cultural workers through the exchange of knowledge and social support. Funded by The Dutch Research Council (NWO), Louis performed at SMart’s research bureau a 2-year enquiry into the theme of sustainable creativity. Main question: what does it take for artists to build a sustainable career in a post-Fordist cultural environment? The project encompassed a Europe-wide survey with more than 7.000 responses, in-depth interviews and focus groups with cultural workers. Findings can be traced in Starting a Creative Career (2013, Lannoo), Third Spaces, Shared Artist Ateliers and Coworking in Belgium (2014, SMart) and Creativity under Pressure (2018, in Art & Identity Politics, with P. Gielen and W. Van Andel).
As from 2016, Louis became a PhD research fellow at the Culture Commons Quest Office. In this environment, the concept of ‘commoning’ would now be assessed as a possible antidote to the marketization of art and culture. Mobilizing Lefebvre’s theoretical lens of ‘the-city-as-oeuvre’, three cases of commoning have been investigated: Pension Almonde (Rotterdam), a housing estate turned into a locus for artistic experimentation; Montaña Verde (Antwerp), a public art intervention on the initiative of the Middelheim Museum; and The Public Land Grab (London), a design-based exploration of community activism. Entry points can be found in his PhD dissertation Shapeshifting: The Production of Common Space (to be published late 2020) and DIY Urbanism & the Lens of the Commons (City & Community, 2019).
Louis is a regular speaker at research symposia, both inside and outside the academy, on the themes of cultural commoning and artistic production. He has also co-organized various scientific symposia, such as Artistic Constitutions of the Common City (Antwerp, 2017); How to Make Creativity Sustainable? (Berlin, 2018); and City Aesthetics & Citizenship (Antwerp, 2018).
Mid-2021, Louis is set to depart to MIT’s School of Architecture & Planning (Program in Art, Culture & Technology) on a Fulbright Scholarship.
Currently, Louis develops theoretically the concept of Cultural Commoning. He collaborates with the Flemish organization Kunstenpunt in order to develop the research trajectory ‘Space for the Arts’. Urban space is crucial for the arts. Cultural workers require spaces for rehearsal, to build their oeuvre and make their work properly public. The ‘Space for the Arts’ project investigates why urban spaces for artistic production are under pressure in Flemish cities, and what can be done. In so doing, Louis pursues a cultural sociological practice that is both intellectually challenging and socially engaged.
Maria Francesca De Tullio
Maria Francesca De Tullio is PhD candidate in “Human Rights. Theory, History and Practice”, at the University of Naples Federico II, with a research stay at the Université Paris 2 Panthéon Assas, CERSA, funded by the Erasmus+ Program of the European Union. Her thesis is in Constitutional Law, concerning Substantial Equality and New Dimensions of Political Participation.She works in the Commons Culture Quest Office of the University of Antwerp within the projectCultural and Creative Spaces and Cities, funded by the Creative Europe Program of the European Union. Maria Francesca is practicing lawyer, as well as former intern at the Bank of Italy and at the Court of Naples – Division for copyright and patents law, corporation law and public contracts law. She is a member of the “Constitutions in the Age of the Internet” research group of the International Association of Constitutional Law (I.A.C.L.). Her main research areas are: political representation and participatory democracy, counter-terrorism and legal states of emergency, communication surveillance, competition law on the Internet, the collective dimension of privacy in the era of big data. Moreover, she is acquiring specific competences by acting as juridical expert in the dialogue on commons between grassroots movements and administration in different cities of Italy.
Marlies De Munck
Marlies De Munck (°1979) studied at the Institute of Philosophy in Leuven and was visiting scholar at Columbia University in New York. In 2012 she obtained a PhD in the philosophy of music with a dissertation on the concept of musical meaning. She currently teaches at the University of Antwerp and at the Royal Conservatory of Ghent, and is supervisor of artistic research at the Royal Conservatory of Antwerp. She regularly gives lectures on themes in the philosophy of music and publishes articles on various topics in aesthetics. She is co-editor of the essay-collection Muziek ervaren (Damon 2014) and author of Waarom Chopin de regen niet wilde horen (Letterwerk 2017) and De vlucht van de nachtegaal: Een filosofisch pleidooi voor de muzikant (Letterwerk 2019). She regularly writes columns as an opinionator for the Belgian newspaper De Standaard.
Pascal Gielen is full professor of sociology of art and politics at the Antwerp Research Institute for the Arts (Antwerp University – Belgium) where he leads the Culture Commons Quest Office (CCQO). Gielen is editor in-chief of the international book series Arts in Society. In 2016 he became laureate of the Odysseus grant for excellent international scientific research of the Fund for Scientific Research Flanders in Belgium. His research focuses on creative labour, the institutional context of the arts and on cultural politics. Gielen has published many books which are translated in English, Korean, Polish, Portuguese, Russian, Spanish and Turkish.
Robin Vanbesien is an artist, filmmaker, researcher and educator. In his work, he explores the intricate reciprocities between artistic poetics and social practices. His recent projects, ‘the wasp and the weather’ (2018-2020) and ‘Solidarity Poiesis’ (2016-2018) – including film, installation, performance, study circle, workshop, writing – commit to the study of the poetics and imaginaries of various self-organized and emancipatory social practices. Vanbesien is a Ph.D. candidate at ARIA, a practice-led doctoral study at University Antwerp and Sint Lucas School of Arts. At the latter, he is also the coordinator of the MA in a Socio-Political Context. Vanbesien’s work has been presented widely internationally: Centre Pompidou (Paris), Haus der Kulturen der Welt (Berlin), Contour Biennale (Mechelen), Athens Biennale, Sculpture International Rotterdam, WIELS (Brussels), Lumiar Cité (Lisbon), Netwerk (Aalst), Mu.ZEE (Ostend), Beursschouwburg (Brussels), Extra City Kunsthal (Antwerp), Vooruit (Ghent). His last publication is ‘Solidarity Poiesis: I Will Come and Steal You’ (b_books: Berlin, 2017).
Bachelor in Communication of the Arts of the Body (2010), with habilitation in dance and theater; Master (2013) and Ph.D. candidate in Communication and Semiotics at PUC-SP (Pontifical Catholic University of São Paulo). Licensed in Visual Arts by Centro Universitário Claretiano. Postgraduate of the specialization course in Management and Cultural Policies by the University of Girona / Itaú Cultural. He has experience in cultural production and mediation, having worked in institutions such as Itaú Cultural, Arteducação Produções / Museu da Cidade de São Paulo and Centro Cultural São Paulo. He was professor of CLAC – Free Center of Scenic Arts; a guest professor at the Senac University Center and the Anhembi Morumbi University. The emphasis of his research is on new knowledge explored by curators of artistic and cultural processes.
Sarah Vanhee (°1980, Oostende, BE) is an artist, performer and writer. Her interdisciplinary work travels in between civil space and institutional art field and operates cross-sectoral. Vanhee’s work is best known for its radical gestures and its engagement with non-dominant voices and narratives. Since 2007 she has created several site-specific works, onstage per-formances, (semi)public interventions, a film and publications. Her practice resists to be categorized under one discipline or media and it continuously transgresses the boarders of the art world. Recent works include amongst others: undercurrents (intervention), collected screams (lecture-performance), Unforetold (stage performance), The Making of Justice (film), Oblivion (stage performance), Untitled (meetings in private houses), Lecture For Every One (series of intrusions). While strongly embedded locally, Vanhee’s work has been presented widely internationally in diverse contexts such as Museo Reina Sofia (Madrid), Centre Pompidou (Metz), Van Abbe Museum (Eindhoven), Kunstenfestivaldesarts (Brussels), FTA (Montreal), Festival Actoral (Marseille), Printemps de Septembre (Toulouse), Wiener Festwochen, Jihlava IDFF, BAK (Utrecht), ARGOS (Brussels), CONTOUR (Mechelen) etc. She published a book on Lecture For Every One (APE), co-published Untranslatables (Onomatopee) and wrote The Miraculous Life of Claire C (Onomatopee) and TT, as well as other texts. Vanhee is an often-invited public speaker, panelist, tutor and mentor.
2018 -2022 she’s a PHD researcher at the Antwerp School of Arts, in collaboration with the Antwerp Research Institute for the Arts, for her project on alternative pedagogies bodies of knowledge (BOK).
In this research she inquires how (semi) public space can be activated through artistic intervention, fostering the exchange of non-dominant (forms of) knowledge.
Thijs Lijster (1981) studied philosophy at the University of Groningen and the New School for Social Research in New York. In 2012 he received his PhD in philosophy (cum laude) at the University of Groningen, for a dissertation on Walter Benjamin’s and Theodor W. Adorno’s concepts of art criticism. He lectured on philosophy of art and culture at the Faculties of Philosophy and Arts of the University of Groningen, and the Faculty of Humanities of the University of Amsterdam. Currently he is researcher at the Culture Commons Quest Office of the University of Antwerp and assistant professor of philosophy of art and culture at the department of Arts, Culture and Media studies of the University of Groningen. Lijster won several awards: in 2009 he received the ABG/VN Essay prize, in 2010 the Dutch/Flemish Prize for Young Art Criticism, and in 2015 the NWO/Boekman dissertation award. He contributed to books such as Conceptions of Critique in Modern and Contemporary Philosophy (eds. De Boer and Sonderegger), Institutional Attitudes and No Culture, No Europe (ed. Gielen) and was coeditor of De Nieuwe Duitse Filosofie (The New German Philosophy, 2013), De Kunst van Kritiek (The Art of Critique, 2015), and Spaces for Criticism. Shifts in Contemporary Art Discourses (2015). He is also a regular contributor to magazines such as De Groene Amsterdammer and Metropolis M. He recently published the book De grote vlucht inwaarts. Essays over cultuur in een onoverzichtelijke wereld (The greap leap inward. Essays on culture in a complex world). In 2017 his book Walter Benjamin and Theodor W. Adorno on Art and Art Criticism: Critique of Art will be published by Amsterdam University Press.
Vivi is an artist in contemporary craft and jewellery and since 2018 a lecturer at the Royal Academy of Fine Arts Antwerp. Her PhD in the Arts investigates body adornments at times of social conflict, both historically and in contemporary times, and aims at examining the influences on their symbolic and physical agenda. The focus is to explore the materialisation of social friction on the wearable mediums and their operation in the public realm. On this knowledge, Vivi Touloumidi enquires the social significance and performativity of the wearable craft object in engaging with current events today. The project draws on a mixed method approach which includes archival research, artistic writing, interrelated theory and practice based research. Aspects of suppression as well as resistance are diagnosed through the lenses of wearable objects and their effect on social identity. Geographically, the main focus is within western Europe and culture.
Vivi Touloumidi was born and studied in Athens (GR), before continuing her education on jewelry in Germany and Canada. She holds an MFA from Konstfack University in Stockholm. Vivi has been exhibiting internationally in several curated gallery and museum shows, such as the Pinakothek der Moderne (DE), ITAMI Museum (JP), Hellenic Museum (AUS), COLLECT (UK), KunstRAI (NL) and GRASSIMESSE (DE). Her work is part of the public collections of the Schmuckmuseum Pforzheim (DE), Cominelli Foundation (IT) and the Marzee Collection (NL), among others. She is also contributing author of Art Jewellery Forum and co-organizer of the seminar “METHOD/ART” of ARIA.
events / announcements:
Walter van Andel is a researcher on entrepreneurship and creativity at the University of Antwerp, Belgium, and the Erasmus University Rotterdam, the Netherlands. His research focuses on the role of business models in harnessing organizational tensions at creative companies. In 2012 he authored the book “Creative Jumpers” in which business models for fast-growing companies in creative industries are examined. Walter received a bachelor and master degree in economics from Erasmus University Rotterdam, and a MBA from Western Illinois University. Before joining the Culture Commons Quest Office of the University of Antwerp, Walter worked as a program manager for international educational programs in the United States and Mexico, was a marketing research analyst at the academic competence center Institute Intelligence of Western Illinois University and worked as a researcher and instructor at Antwerp Management School. In 2020, Walter obtained his PhD with his dissertation titled: “Balancing the creative business model”.
- Van Andel, W. (2020). Balancing the creative business model. International Journal of Entrepreneurship and Small Business, 40(2), 230–246.
Van Andel, W. (2019). Tactical Shapeshifting in Business Modeling. Journal of Business Models, 7(4), 53–58.
- Gielen, P., Volont, L., & Van Andel, W. (2018). Creativity under pressure. The effects of de-institutionalization and marketization on creative labour. Art and Identity Politics, 19, 15–34.
- Van Andel, W., & Vandenbempt, K. (2012). Creative jumpers: Businessmodellen in creatieve industrieën. Leuven: Acco. (in Dutch)
Van Andel, W. (2019). Een cultureel businessmodel in balans. In A. Schramme & B. Delft (Eds.), Businessmodellen in de culturele sector. Hype, noodzaak of schrikbeeld? (pp. 15–26). Leuven, Belgium: Lannoo Campus.
- Van Andel, W., & Volont, L. (2018). Blockchain: Tragedy in Cyberspace? How the Commoner Could Benefit from the Free-Rider. In N. Dockx & P. Gielen, Exploring Commonism – A New Aesthetics Of The Real. Amsterdam: Valiz.
- Schramme, A., & Van Andel, W. (2018). Businessmodellen in de modesector. Theorie en praktijk. In R. Houben, G. Straetmans, E. Van Zimmeren, & Vanhees (Eds.), Mode & Recht (pp. 15–31). Antwerp, Belgium: Intersentia.
- Van Andel, W., & Schramme, A. (2015). Exploring entrepreneurial actions of creative entrepreneurs and its consequences for entrepreneurship education. In O. Kuhlke, A. Schramme, & R. Kooyman (Eds.), Creating cultural capital. (pp. 56-68). Delft, the Netherlands, Eburon Academic Publishers.
- Van Andel, W., Demol, M., & Schramme, A. (2014). Internationalization strategies of the fashion industry. In A. Schramme, F. Rinaldi, & K. Nobbs (Eds.), Fashion Management (pp. 101–122). Tielt, Belgium: Lannoo Publishers.
- Van Andel, W., Jacobs, S., & Schramme, A. (2014). Contribution of the creative industries to innovation. In A. Schramme, R. Kooyman, & G. Hagoort (Eds.), Beyond Frames: Dynamics between the creative industries, knowledge institutions and the urban context (pp. 20–28). Delft, the Netherlands: Eburon Publishers.
- Van Andel, W. (2013). De noodzaak van groei. In A. Schramme (Ed.), Geld & Cultuur. Cultureel ondernemerschap in financieel moeilijke tijden. Leuven: Lannoo Campus. (in Dutch)
- Van Andel, W., & Schramme, A. (2015). Creatieve Industrieën In Vlaanderen: Mapping En Bedrijfseconomische Analyse. Leuven: Flanders DC – Antwerp Management School kenniscentrum.
- Barth, B., Van Andel, W., Schramme, A., & Roelofs, B. (2015). Inventarisatie en studie mediasector Vlaanderen. Analyse en clusterstrategie. Antwerpen/Nijmegen: Antwerp Management School / Buck Consultants.
- Marichal, K., & Van Andel, W. (2013). Ontwikkeling van beginnend ondernemerschap. Antwerpen: Antwerp Management School.
- Kenis, P., Michielsens, P., & Van Andel, W. (2013). Kom op tegen Planlast! Antwerp: Antwerp Management School.
- Jacobs, S., Demol, M., Van Andel, W., & Schramme, A. (2013). Bijdrage van de creatieve industrieën tot een innovatief Vlaanderen. Leuven: Flanders DC – Antwerp Management School kenniscentrum.
- Jacobs, S., Van Andel, W., Huysentruyt, M., & Schramme, A. (2012). Dominante denkkaders in de creatieve industrieën in Vlaanderen. Leuven: Flanders DC – Antwerp Management School kenniscentrum.