「Non-governmental Matters」從歐洲和亞洲的跨學科藝術團體中尋求不同的 觀點， 探討跨國網絡對於科技藝術組織和社群的影響。研究以訪談的形式，蒐集 了來自不同國家和地區的科技藝術家、組織者和學者的觀點，尤其是電子織品、 和生物藝術社群，從而了解跨國網絡如何促進科技藝術組織之間的交流和合作， 其必要性也是被探討的重點之一。

本研究特別關注的「營」既是藝術家、科學家和黑客的教育和社交場合。它們是 未定義的、但又相對普遍的模板，供組織者組織活動以支持具有相似興趣的個體 藝術家。我們收集的訪談介紹了這些網絡，並為我們提供了利用它們的最佳實 踐，使它們在未來更容易訪問。

研究初衷是為科技藝術社群建立一獨立且複合的網絡，從而鼓勵地區的藝術家通

過他們自己的創造力和獨特的文化知識，透過與國際其他團體協作，解決相關問 16 題，為跨學科工作的藝術家團體和獨立藝術家提供學術以及商業藝術系統外的替 代支持。研究特別關注國際集體、獨立藝術團體和網絡的形成方法、歷史和財務 模型，以探索其永續性。訪問對象除了與「營」網絡有關的組織者外，還有另外 幾個替代目標，如 Re-FREAM 或是 Fablab 等使用歐盟資金或是混合資金來源的機 構，與其他自治營地或非補助和獨立活動相比，它們在這裡被用作參考組;另有 一個參照組 Senyawa 則提供了對西方與東方交流下衍生的殖民問題和文化差異。

這項研究的目的是為一命題建立初步探索架構:我們如何重塑、想像一個跨國的 且可持續的產業或是平臺，探索這些單位和個人如何在國際網絡中合作，分享他 們的技術和知識，以及在當前全球化背景下如何在不同文化之間進行溝通。此 外，這些受訪者的經驗也可以為其他組織和個人提供啟示，尤其是在科技和藝術 之間的交叉領域中，讓我們了解了不同參考組的思想和實踐的多樣性。同時，他 們有一個共同的目標，即開源可訪問性以共享知識和技能。隨著藝術界繼續推進 私有化，讓物質知識和信息無國界地自由流動，對於超越機構限制，培養批判性 和理論性實踐至關重要。

“Non-governmental Matters” seeks different perspectives from interdisci- plinary art groups in Europe and Asia to explore the impact of transnational networks on technology art organizations and communities. The research collected viewpoints from technology artists, organizers, and scholars from different countries and regions, especially in e-textiles and bio-art communi- ties, to understand how transnational networks facilitate communication and collaboration between technology art organizations and the necessity of it.

This study focuses on the “camps” that serve as educational and social gath- erings for artists, scientists, and hackers. They are undefined but relatively common templates for organizers to host events and support individual artists
with similar interests. The interviews we collected introduced these networks
and provided us with best practices for utilizing them, making them more ac- cessible in the future. 17

The aim of the research was to establish an independent and complex net- work for the technology art community, encouraging regional artists to work collectively and use their unique cultural knowledge to solve related problems and provide alternative support for interdisciplinary artist groups and inde- pendent artists outside academic and commercial art systems. The research specifically focused on the formation methods, history, and financial models of international collectives, independent art groups, and networks to explore their sustainability. Interviewees included not only organizers associated with the “Camp” network but also several alternative targets, such as institutions that use EU funding or mixed funding sources, such as Re-FREAM or Fablab. They were used as reference groups compared to other autonomous camps or non-subsidized and independent activities. Another reference group, Senyawa, provided insights into the colonial issues and cultural differences that arise from Western-Eastern exchanges.