「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與合作，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與社交場合。它們是不定義但相對普遍的模板，供組織者策劃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，並提供了利用它們的最佳實踐，使其在未來更容易被訪問。
研究初衷是為科技藝術社群建立一個獨立且複合的網絡，鼓勵地區藝術家透過自身的創造力和獨特的文化知識，與國際團體協作，共同解決相關議題，並為跨學科的藝術家群體與獨立創作者提供學術與商業體系外的替代支持。研究特別關注國際集體、獨立藝術團體和網絡的形成方式、歷史與財務模式，以探索其永續性。
訪談對象除了「營」網絡的組織者，還包括其他參考對象，如利用歐盟資金或混合資金來源的 Re-FREAM 與 Fablab，作為自治營地或非補助獨立活動的對照組；另有 Senyawa 作為另一個參照，提供了關於西方與東方交流下衍生的殖民問題與文化差異的觀察。
這項研究的目的在於為一命題建立初步探索架構：我們如何重塑、想像一個跨國且可持續的產業或平臺，探索單位與個人如何在國際網絡中合作、分享技術與知識，以及在全球化背景下如何於不同文化間展開溝通。此外，這些受訪者的經驗也能為其他組織與個人提供啟發，尤其是在科技與藝術交叉的領域中，讓我們看到不同參照組的思想與實踐多樣性。共同的目標是建立一個以開源可訪問性為核心的共享知識與技能體系。在藝術界持續私有化的當下，讓物質知識與資訊跨越邊界自由流動，對於超越機構限制、培養批判性與理論性的實踐顯得尤為重要。
“Non-governmental Matters” seeks different perspectives from interdisciplinary 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 communities, to understand how transnational networks facilitate communication and collaboration between technology art organizations and why they are necessary.
This study focuses on the “camps” that serve as educational and social gatherings 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 introduced these networks and provided best practices for utilizing them, making them more accessible in the future.
The aim of the research was to establish an independent and complex network for the technology art community, encouraging regional artists to work collectively and use their unique cultural knowledge to solve related problems, and to provide alternative support for interdisciplinary artist groups and independent creators 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 reference groups, such as Re-FREAM or Fablab, which use EU or mixed funding sources, in comparison to autonomous camps or independent, non-subsidized activities. Another reference group, Senyawa, provided insights into colonial issues and cultural differences that arise from Western–Eastern exchanges.
This study aims to build a preliminary framework for a key proposition: How can we reshape and imagine a transnational and sustainable industry or platform? It explores how organizations and individuals collaborate in international networks, share their technologies and knowledge, and communicate across cultures under globalization. The interviewees’ experiences also offer guidance for other organizations and individuals, particularly in the intersections of art and technology, illustrating the diversity of ideas and practices among reference groups. At the same time, they share a common goal: to establish open access for knowledge and skills. As the art world continues toward privatization, enabling the free cross-border flow of material knowledge and information is crucial for overcoming institutional limits and cultivating critical and theoretical practices.