2 5 Y E A R S W I T H S U M

Entrepreneurship, Innovation
and Initiatives

ISSUE 6, 1/2015
ISSUE 6 TVERGASTEIN 9/2015

Editorial board:
Kaja Aas Ahnfelt, Piper Donlin, Jonathan Frænkel-Eidse, Despina Gleitsmann, Kaja Elise Gresko,
Vendula Hurníková, Charlotte Lilleby Kildal and Marcela Oliveira Svoren, Sean Michael Thompson.
Design: Magnus Wittersø
Front page photo: Rikke Grytemark Brekke
Printer: Grøset Trykkeri
Circulation: 1000
Editorial review finished: 30th of June 2015
Date of publication: 15th of September 2015

ISSN number (online): ISSN 1893-5834

ISSN number (print): ISSN 1893-5605

Tvergastein has two annual issues and is distributed for free at UiO, NMBU and several other locations.
A digital version can be found at our webpage: www.tvergastein.com

We would like to extend our sincere gratitude and thanks to Rikke Grytemark Brekke & Magnus Wittersø for lending us their
photographs as well as to our sponsors: UiO Energi, Kulturstyret, Arne Næss Chair, and The Centre for Development and the
Environment (SUM).

Address: Tvergastein, co/SUM, Postboks 1116 Blindern 0317 OSLO

E-mail: tvergastein@sum.uio.no
Web: www.tvergastein.com
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Twitter: @tvergastein

Tvergastein accepts submissions in two categories: Shorter op-ed pieces (2,000 - 5,000 characters) and longer articles (10,000 -
20,000 characters), in either English or Norwegian.
 CONTENTS

·8·
Leaving the Box
—
Tvergastein Board of Editors

· 28 ·
LONG LIVE
JEANS!
—
Jonathan Frænkel-Eidse

· 12 ·
Bærekraft som
Konkurransefortrinn
—
Inger Solberg

· 34 ·
A Dizzying Spin on Green Growth
—
Ingun Grimstad Klepp and Tone Skårdal Tobiasson

· 20 · · 42 ·
Thinking beyond Samarbeid er lik bærekraft, Om
the Box entreprenørskap og sterke fellesskap
— —
Karina Standal Anniken Fjelberg

4
 CONTENTS

· 48 · · 78 ·
The Lung of Phnom Penh Music for Change
— —
Maya Laitinen Maria Daniela Ricaurte

· 54 ·
Gambiarra: Repair Culture
—
Felipe Fonseca

· 86 ·
Samfunnsansvar som driver for ny vekst
—
Øystein Hagen, Mads Bruun Høy og Jeppe Sondov

· 64 ·
Beyond the Garden Fence
—
Annelies Zwaan

· 70 ·
Living with Zero Waste · 94 ·
— KAKIWIN TUTUNAKU: Welcome to
Kaja Ahnfelt the Hill with Three Hearts
—
Itzel Anahí López Laínez

5
 CONTENTS

· 110 ·
To Think Outside the Box,
Go out of the Building
—
Torill Bye Wilhelmsen

· 100 ·

LO C AL
I N I T I AT I V E S
—
Question & Answer Feature

· 118 ·
Fremtidslandet og ideene som skaper det
—
Helga Øvsthus Tønder

· 106 ·
Regenerative Entrepreneurship :
Entrepreneurship for Our Complex World
—
Eric R. Sannerud

· 122 ·
Design as a Dialogical Process: A Social
Dialogue Tool to Perform Innovation in
a Complex Environment
—
Luciano Tardin & Marcus Vinícius Fonseca

6
 CONTENTS

· 126 · · 148 ·

SUM 25th Jubilee The Elitization of Space through

Tourism Development in Nicaragua
Master’s Students Feature —
— Anna G. Sveinsdóttir
Editorial Board

· 152 ·
· 128 · Grønne reiser og
Teaching Solutions: Innovation in Academia? klimakrisens alvor
Interview with Dan Banik —
— Torbjørn Tumyr Nilsen
Sean Michael Thompson

· 158 ·
State Entrepreneurship and
· 132 · Innovation in China
Happy Anniversary, SUM! —
— Marius Korsnes
Heidi Bade

· 164 ·
· 134 · Reflections on the Program,
Practicing, Not Just Preaching my Thesis, and your Country
— —
Ingerid Salvesen Beck Roan

· 142 · · 166 ·
Sustainable Development Reconsidered. Contributors to Issue #6
The Science, the Profit and the Class Society: —
A Case of Genetic Modification of Food Editorial Board
— —
Marija Holm Radovanovic Call for Papers
—
Thanks to the Contributors

7
 Gambiarra:
Repair Culture

FELIPE FONSECA

Maker culture, the so-called revolution bringing digital fabrication technologies to the
common citizen, has gained a lot of ground in the last few years. Maybe too much, in
fact. We can of course ignore those people who are only, as always, surfing the current
wave of hype. They seldom have any clue of the ideas they are selling themselves with
anyway. But it also feels as though everybody else is talking about maker culture.
Those words are even being uttered by people who have always been opposed to what
they should mean. Or is it me? Did I get it wrong all the way?

54
The first time I read about a “maker culture”, it was a sort
of relief. I had finally found - or so I thought - a way to
explain a number of initiatives some of us in Brazil had
been involved in for some years already. Framing those
things as “making” enabled us to mix critical thinking
with DIY (as brilliantly put by Matt Ratto on “critical
making” ), proposing a sort of creative engagement
2
that escaped the dead-ends of tedious market-driven
innovation. A culture of conscious makers could recognize
and promote alternative solutions and new perspectives for
everyday problems, valuing distributed and collaborative
approaches and seeking the common good. It would help
overcome traditional institutions and their clogged circuits
of information. Local, cooperative formations would
challenge the logics of global industrial capitalism, treating
every human being - or small group, however loose it was
- as potentially creative and productive. Industrial products
that suffered of planned obsolescence would be repaired
as armies of amateurs used the internet to share digital
models of replacement parts. New kinds of meaning and
engagement would evolve, influenced by such approaches
to material and cultural expression. Possibilities emerging
from the free software and hacker movements would finally
evert the world of things.
And yet, we ended up in a world of newbie geeks
assembling prefabricated kits of 3D printers, with which
hipster designers-to-be (often the new-geeks themselves)
can melt lots of plastic - which is hardly recyclable - into
prototypes of new products, hoping to become rich and
famous. Most such prototypes will never be used for
anything at all, but their creators will nonetheless spam all
over Facebook, Twitter and Instagram trying to convince us
they are building our (better, in a way no one can specify)
future. Who knows, they may be invited to do a TED talk
or raise some bucks on Kickstarter. Or at least become
consultants for an international NGO willing to develop
“technologies for education”.
And there we go. Forget about hackers getting blisters
in their hands as they struggle to become carpenters. Those
times are gone. Sadly, the most important skill in the
maker culture these days seems to be keeping a spreadsheet
on Google drive with a business plan and a consistent
strategy for social media PR. Numbers everywhere.
In more general terms, instead of portraying an
55
acceleration towards the end of industrial age, celebrity
author-speakers are now talking about a “new industrial
revolution”3. In the same direction, the Obama
administration is reportedly planning to pour one billion
dollars4 to set up 15 “manufacturing innovation hubs”5
with the goal of sustaining industrial growth. As if the
centuries oriented by industrial paradigms didn’t bring
enough harm to the world already. Sure, one cannot deny
the improvements brought about by industry - especially in
terms of driving scientific development and its implications
in food, transportation, health and communications.
At the same time, though, we have seen some aspects
of contemporary life go in a totally wrong way. Think
for instance about waste and pollution, inequality,
disintegration of cultures and social ties, permanent global
war and many other consequences of the industrial age.
I’m not sure we should even be trying to promote a new
industrial revolution if those aspects are not carefully taken
into account. And judging by the prevailing discourse
within the current breed of maker culture, I’m not sure
they are.
When the maker culture becomes
eminently entrepreneurial, we should
wonder what mechanisms are set
in motion.
It may as well be the old capitalist drive to turn the
critique itself into the gears of its own reinvention gaining
ground. Could we ever escape that path?
It was 2002 when a group of people in Brazil first
discussed the ideas that eventually led to the creation of
MetaReciclagem.6 In the first projection of those shared
cyberpunk dreams, we would use the internet to gather
local groups to work with the discarded PCs we saw piling
up everywhere. Once repaired and put back to work using
free and open source software, those computers could then
be configured as nodes in autonomous wireless networks
that promised digital communications beyond the
constraints and market limitations of corporate internet.
Never mind the fact that at that time none of us had ever
touched a Wi-Fi card, and only a couple had any working
experience with free/open source software. We were
opening up those magical black boxes with our own hands
 GAMBIARRA: REPAIR CULTURE

Credit: JOHANNA AOIFE

56
 FELIPE FONSECA
and changing the way they worked. And it felt great. It was
a group of passionate explorers of new possibilities, however
remote those might seem. I don’t think we set up a lot of
those Utopian networks, but by decomposing the steps that
would bring us there we managed to accomplish a lot.
We were of course following the huge tidal changes
taking place by the turn of the millennium. Some of us had
been dragged into the dot-com bubble (the first one, still in
the last century) with hopes of infinite creative challenges,
only to end up finding office doors closed with locks
after stocks imploded. Others were involved with urban
demonstrations against WTO and corporate globalization.
The second edition of the World Social Forum7 in 2002
offered some of us glimpses of hope in a world otherwise
still paralyzed by 9/11. Despite the bad times, within
MetaReciclagem it felt as if faith, good intentions and hard
work would allow us to create better futures. Whatever
that meant. Our part, it seemed by then, would start by
gathering every Saturday in a warehouse in the southern
part of São Paulo to repair discarded computers.
MetaReciclagem turned from an idea into a distributed
group, and then onto a methodology that was open to be
appropriated by whoever wished to, anywhere. At some
point, a network of about half a dozen self-managed
MetaReciclagem labs in different regions of Brazil would
receive donated PCs, make them useful again in some way
and then give them away to social projects and movements.
Some of us were also invited to advise on and implement
public policies related to information technologies and
society. At some point MetaReciclagem came to be
explained in such an elastic definition as a loose network
promoting the “critical appropriation of technologies for
social change”. During that evolution, we discovered a
number of groups, people and initiatives in other parts of
the world that acknowledged the huge potential of using
discarded equipment and free/open source software to
address both the uneven distribution of and the enclosure
of knowledge into information technologies.
Our own contribution to this context was related,
we found some time later, to the way our actions were
deeply informed by Brazilian cultural practices such as
gambiarra and mutirão. Mutirão is the sort of collective
dynamics that takes place when we Brazilians need to find
solutions - say, building an extra room to accommodate
57
a newborn child - and proceed by inviting neighbors,
relatives, friends and acquaintances to help out, often with
their own hands. The result is an autonomous, iconoclast
and celebratory sociability that is abundant and productive.
Gambiarra refers to all kinds of improvised solutions to
concrete problems that appear when one doesn’t have
access to the proper tools, materials, parts or specific
knowledge to perform a given task. It is all about repairing
or re-purposing objects that seemed to be of little use but
end up acquiring new value out of tacit, applied creativity.
I sometimes call it “everyday innovation”. The Spanish
designer Victor Viña draws a parallel between gambiarra,
jugaad and bricolage.8 These are cultural practices which are
naturally tactical, deeply rooted in the essentially human
and widely available ability of understanding objects
with one’s mind and hands, and then taking action over
such objects. They see the world as abundant in potential
solutions instead of precarious or scarce in resources.
Some years into this game, I had already heard of
and even visited a number of the projects which for over
a decade had been proposing and implementing similar
ideas. In particular European hacklabs were rooted into
a social context that I could relate to. People involved
with these hacklabs stemming from an activist context -
squatters, hackers, engaged artists, even critical theorists
- talked of other possibilities for contemporary living, of
cultural diversity and common good reaching far beyond
the tired mechanisms of a market economy ruled by
big media. They promoted networked politics that were
radically inclusive. They strove to fight cognitive capitalism,
consumerism and alienation. DIY was the norm, as well
as copyleft and consensus-based decision-making. In that
context, free and open source software was not only an
efficient way to organize the production of knowledge
but also a cultural and critical take on the pervasiveness
of relationships mediated only by economic values. That
universe made a lot of sense to our projects and political
momentum in Brazil as well.
The same can’t easily be said of formations that
would emerge later on, even ones inspired by the very
same context. A symbolic example is the transformation
performed by the hackerspace movement, translating
and transporting the largely underground practices of
(basically) European hacklabs to a wider public first in
 The maker movement is a
trend in which individuals or
groups of individuals create
and market products that are
recreated and assembled using
unused, discarded or broken
electronic, plastic, silicon or
virtually any raw material
and/or product from a
computer-related device 1

58
 Credit: MARCO ESTRELLA
59
 GAMBIARRA: REPAIR CULTURE
the US and later in the rest of the world. The association
of hackerspaces with what came to be known as a
“maker culture” gave me, as said above, an amazing first
impression. Indeed, while reading Cory Doctorow’s
Makers - first published in 2009 - I was pleased to recognize
9
practices, methods and aspirations that felt similar to ones
common within the MetaReciclagem network in Brazil.
I also noticed essential differences in the world portrayed
by Doctorow’s novel, such as the central role attributed to
commercial modes of operation. But I eventually dismissed
the relevance of these nuances, treating them as result of
particular cultural biases.
It seems however that the current
breed of maker culture has completely
surrendered to market forces.
I won’t even start discussing the prevalence of
proprietary operating systems inside the laptops (and
smartphones, tablets, etc.) of today’s so-called makers.
Let’s try to focus on the bigger picture. Not only did
the hackerspace movement give room to somewhat
domesticated practices of commercial entrepreneurship , 10
but their close and often submissive relationship with
models such as MIT’s Fablabs brought along a vocabulary
packed with terms stemming from the industrial age.
In 2008, Bre Pettis wrote an article for 2600 magazine
promoting hackerspaces and technologies of digital
fabrication. In this three-page long rant, Pettis mentions
“prototypes” or “prototyping” over 20 times. As already
noticed by Gabriel Menotti, the prototype is to an extent
the opposite of the Brazilian gambiarra.11 The prototype,
as an object, wouldn’t have an existence on its own – it
would only be a sort of rehearsal for “proper” products to
be mass-produced at some point in the future. In itself, a
prototype is already a piece of waste. On the other hand,
gambiarra is about finding multiple concrete solutions,
often by re-purposing two different objects to perform a
task none of them were originally built to. In the context
of a contemporary society struggling for sustainability,
meaning, creativity and value, gambiarra seems to have
more to offer than the weak existence of layers and layers of
plastic-made prototypes.
Back in the beginning of MetaReciclagem - when we
60
were still trying to find out what it was that we wanted to
accomplish in those lost, sometimes frustrating Saturdays
- someone shared a link in our e-mail discussion list. It
pointed to a project in the UK called Lowtech12. Associated
with Access Space13 a digital arts centre in Sheffield that
used exclusively discarded computers and Linux to carry
its activities, Lowtech offered valuable insights that were
definitely incorporated into our practices. It wasn’t before
half a decade later during an edition of Futuresonic
(now FutureEverything14) in Manchester that I had the
opportunity to get acquainted with James Wallbank, the
British artist who ran Access Space and created Lowtech.
We then started an open-ended conversation - that is still
taking place today - about machines, hands, skills, scents
and futures.
When I met James again a couple of years ago in
Finland for the Bricolabs programme during the Pixelache
festival15 he was promoting the Refab Space. This was
his own take on setting up a lab with digital fabrication
equipment - some of it donated from local factories that
were moving abroad. Instead of buying into the holy
grail of maker culture, James was curious about the actual
potential of using those technologies that were becoming
increasingly available. He told me the laser cutter was a
real workhorse. On the other hand, the 3D printer was - if I
remember James’ words correctly - the least useful and most
complex of this type of equipment. Nevertheless, it still had
an indirect role for Refab Space as it attracted talented people
wanting to have the chance to explore new possibilities.
But there was something else there. I wanted to ask
James what he made of the whole maker culture concept.
Unfortunately, I can’t tell what he would have replied16
as the idea of a culture of repair suddenly struck me
as too important to be overlooked and I was lost in
daydreaming. Why had the maker culture become
concerned only with industrial methods - prototyping
future mass-produced objects?
What would be the concrete outcomes
of a number of success-eager young
talents spitting out objects made out
of melted plastic, hardly - if ever -
recyclable, everywhere in the world?
 FELIPE FONSECA

Doesn’t the planet have enough useless objects made of

plastic already?
Of course, a repair culture isn’t just about repairing
things. We could try to find a better way to define a culture
of reuse, repair and re-purposing. But proposing repair -
the physical act of mending things in order to extend their
lifetime or else turning them into something else of use
- as a core value sounds good enough for a current need:
criticizing the path apparently taken by maker culture
that is addicted to novelty, becoming consequently toxic,
unsustainable, superficial and alienating.
In a sense, repairing may be rooted in tradition the
same way startup making is related to novelty. Indeed, a
number of makerspaces and fablabs sound all too anxious
to reach an abstract future, often at the cost of discarding
any sort of tradition. Repair culture, on the other hand,
is nothing new. It has evolved with human history since
thousands of years before the industrial revolution. In
fact, it was only recently that repairing objects came to
be regarded as something society as a whole and any
person individually should avoid. But if we agree with
that, something very important is being taken from us:
the exercise and accumulated knowledge of matching
everyday problems and the countless solutions available for
them. There would be hipster designers everywhere, but
the fundamental divide between makers and mere users
would linger, or even increase. In other words, a renewed
industrial sector, now distributed and even more dynamic,
is planning to take creativity away from our everyday lives.
We cannot afford to lose that.
Perhaps we could start by shifting the focus away from
“what valuable new thing can I come up with that will
make me famous/rich/sexy”. Repairing things as a cultural
trend is inextricably related to organic food, natural
birthing, cultural diversity, upcycling, sustainable mobility,
urban farming, fair trade, culture of peace and digital
commons. Repair culture, in that sense, is not a mere side
effect of the development of industrial societies. On the
contrary, it is one of the very few distributed and consistent
niches of resistance against the transformation of all human
creativity into quantifiable commodity. I reckon it’s not
hard to pick a side on this matter.

61
 GAMBIARRA: REPAIR CULTURE

REFERENCES
Doctorow, Cory (2009). Makers. New York: Tom Doherty
Associates, LLC.
Fonseca, Felipe Schmidt (2014). Redelabs:
Laboratórios Experimentais em Rede. Master thesis.
Unicamp, Labjor.
Maxigas (2012). Hacklabs and Hackerspaces: tracing
two genealogies, in Journal of Peer Production [online] Vol.
2: Bio/Hardware Hacking. URL: http://peerproduction.
net/issues/issue­2/peer­reviewed­papers/hacklabs­and-
hackerspaces/.
Menichinelli, Massimo (2013). “Policies for Digital
Fabrication”. [online]. URL: http://www.openp2pdesign.
org/2013/fabbing/policies­for­digital­fabrication/.
Menotti, Gabriel Gonring (2010). “Gambiarra: the
prototyping perspective”. [online]. URL: http://medialab­
prado.es/article/gambiarra.
Pettis, Bre (2008). Hacker Perspective: Bre Pettis, in
2600 [online], vol. 25, N 4. ISSN 0749­3851.
Ratto, Matt (2011). Critical Making, in Open Design
Now. Amsterdam: BIS Publishers.
Viña, Victor (2012). “DIY in Context: From
Bricolage to Jugaad”. [online]. URL: https://pt.scribd.com/
doc/98988556/DIY­in­Context­From­Bricolage­to­Jugaad

62
 FELIPE FONSECA
1 Techopedia (2015). “Maker Movement”. (online). - URL:
http://www.techopedia.com/definition/28408/maker-
movement (Retrieved 23 June 2015).
2 http://criticalmaking.com/
3 https://en.wikipedia.org/wiki/Makers%3A_The_New_
Industrial_Revolution
4 http://wohlersassociates.com/blog/2012/03/national-
network-for-manufacturing-innovation/
5 http://www.fastcodesign.com/1671864/obama-name-
checks-3-d-printing-calls-for-15-innovation-hubs
6 http://rede.metareciclagem.org
7 [Procurar no domínio en.wikipedia.org] en.wikipedia.
org/wiki/World_Social_Forum
8 https://pt.scribd.com/doc/98988556/DIY-in-Context-
From-Bricolage-to-Jugaad
63
9 http://craphound.com/category/makers/
10 http://peerproduction.net/issues/issue-2/peer-reviewed-
papers/hacklabs-and-hackerspaces/
11 http://medialab-prado.es/article/gambiarra
12 http://lowtech.org/
13 http://access-space.org/
14 http://futureeverything.org/
15 http://www.pixelache.ac/festival-2013/bricolabs-
programme/
16 After reading a draft of this text, Wallbank told me he
resigned from Access Space and opened a shop in Sheffield
dedicated to maker culture. He is excited with the way
youngsters are curious with “remaking, reuse, crafting and
making” these days.
64
Contributors to Issue #6

Entrepreneurship, Innovation
and Initiatives
166
Annelies Zwaan is the Project Coordinator of Agropolis
Urban Farm in Christchurch, New Zealand. She is a
creative that trained as a designer, but has since focused
mostly on the humbler side of life. She splits her time
between running her business creating bespoke furniture
from reclaimed timber and coordinating community
projects to help renew Christchurch whilst trying to find
the line between caring about the world and living in it.
Anniken Fjelberg holds a degree in civil marketing from
NMH/BI, and was one of the founders of 657 Oslo
in 2012, a coworking space that offers a place to work
for freelancers, entrepreneurs and cultural and creative
companies. Anniken is a communicator, like most of the
others at 657 Oslo, and has a background from design,
marketing, strategy, communication and creative processes.
In 2013 she was one of the starters of Superblaise, a
communications agency stationed in the 657 house. At
home she lives with her life companion and business
partner, Joachim Levin, and their 4 children.
Eric R. Sannerud is a farmer, thinker, and Regenerative
Entrepreneur in Minnesota, USA. Eric holds an
interdisciplinary bachelor’s degree from the University
of Minnesota. He is available for speaking and writing
and specializes in the overlap of food systems and
entrepreneurship. He tweets from @EricSannerud. In
his free time, Eric loves food. Contact him at www.
EricRSannerud.com
Erwin Hasselbrinck is a master’s student at the Centre
for Environment and Development. He holds a Bachelor
of Science in International Business from the Universidad
del Norte, and is a graduate of artistic photography
from the School of Fine Arts in Barranquilla, Colombia.
He is passionate about experimenting with light and
photography techniques, for an incredible view of nature’s
magnificence. Blog: pensamientofluvial.tumblr.com
Felipe Fonseca is a Brazilian researcher currently working
on open and collaborative science (Ciência Aberta
Ubatuba / IBICT) and experimental labs (Rede//Labs
/ Brazilian Ministry of Culture). He develops projects
articulating science, culture and society with critical
167
appropriation of IT, experimental labs and the commons
since the early 2000s. He is a founder of networks such as
MetaReciclagem and Bricolabs. Felipe lives in Ubatuba,
where he coordinates the experimental lab and co-working
space Ubalab, as well as the local node of Tropixel events,
the cultural community radio Gaivota FM and a number
of other projects. felipefonseca@gmail.com http://efeefe.
no-ip.org @efeefe
Helga Øvsthus Tønder has a background in rhetoric
and communication. Her interest in social justice and
entrepreneurship has taken her from Norway to Uganda
to the US, working in startups, non-profits and social
enterprises. Helga has among other things worked with
a micro finance initiative with the Norwegian NGO
Strømme foundation as well as in Los Angeles with an
organization attached to a social enterprise helping people
back to work. She now works at Ashoka, an organization
supporting groundbreaking entrepreneurs that create
solutions in the health, education, environment and
economy sectors. Their job is to facilitate so that the
entrepreneurs with the system changing ideas break
through and accomplish large ripple effects, and that even
more with them will have the courage to create tomorrow´s
solutions.
Inger Solberg is the director of the sustainability division
at Innovation Norway. Solberg has for several years been
head of the department for agriculture and seafood at
Innovation Norway, but also has wide experience from the
private sector. She has been the administrative director at
the egg producer Norgården AS as well as the Meat and
Poultry Association. Solberg also worked at Innovation
Norway´s predecessor SND. Innovation Norway´s
sustainability division will assist the Norwegian business
sector in the transition from an oil-based economy to an
economy based on sustainable competitive advantages.
Ingun Grimstad Klepp is a research professor who wrote
her MA and PhD on leisure time and outdoor life at the
University of Oslo. She works at SIFO with sustainable
textile, clothing, laundry and leisure consumption. She
has written numerous articles and books of these themes.
Klepp has worked as a researcher for many years and
 CONTRIBUTORS TO ISSUE #6 LEAVING THE BOX
has led a number of research projects on apparel and the
environment. She considers dissemination as an important
and integral part of research and contributes actively in
the media and through extensive lecturing. She currently
works with wool, both with consumption and questions
regarding the value chain. The relationship between textiles,
social and physical characteristics and how these are woven
together is at the core of her interest. Klepp and Tobiasson
are currently collaborating in the research project KRUS,
which aims to look at how local apparel and slow fashion
can spearhead a sustainable development.
Itzel Anahí López Laínez is a master’s student at the
Centre for Environment and Development studying:
Indigenous knowledge for education towards sustainability
in Puebla, Mexico. Itzel holds a Bachelor of Environmental
Engineering from the Benémerita Universidad Autónoma
de Puebla, with job experience in rural development and
environmental impact. Being an enthusiast of travels,
reading history novels, and gardening; always proud of her
Mexican cultural heritage, she looks to keep on learning
from it.
Jeppe Sondov is product- and concept manager at SiO
Mat og Drikke. Formerly Product Development Manager
at Deli de Luca – NorgesGruppen. Work experience from
F&B industry within everything from fine dining to artisan
baking. Food writer at Snø & Ski – Skiforeningen.
Kaja Aas Ahnfelt holds a bachelor in Social Anthropology
and is a master student at the Center for Environment
and Development at the University of Oslo. She currently
writes her master on civil, policy and industry discourses
concerning electronic waste and repairing in the UK.
She is an avid traveller, and a curious learner about any
movement related to green transitions.
Karina Standal is a doctoral fellow at the Centre for
Development and the Environment at the University of
Oslo. Standal’s disciplinary background and academic
interest is with the political, feminist and development
geography. Her research is broadly focused on women’s
everyday life, gender relations and energy technologies in
the rural South.
168
Luciano Tardin is a Doctoral candidate in Production
Engineering at COPPE/UFRJ, M.Sc. in Art History at
EBA/UFRJ (1999). Graduated in Design at PUC/RJ
(1991). Coordinator of the Post-Graduate and Graduate
Design Area at ESPM -RJ. Has taught since 1995. Active
in the design market for over 20 years. Today is a founding
partner of Ideia Café Design e Comunicação Ltda. - a
Design company.
Mads Bruun Høy is Strategic Advisor Brand Innovation
at Scandinavian Design Group. Mads has more than
10 years of experience as an innovation advisor. He has
a background in research and process management at
the Norwegian University of Science and Technology,
studying and practising creativity and innovation within
multidiciplinary teams.
Marcus Vinícius Fonseca is a Professor at UFRJ, in the
PEP/ COPPE (Innovation area) as researcher, supervisor
and responsible for teaching the disciplines: Innovation in
organizations (since 2000) and Innovation and its Maps
(since 2014). - A Chemical Engineer graduate in 1978
at EQ/UFRJ, M. Sc. at COPPE/UFRJ in 1983 (PEQ);
Doctor in Engineering at Escola Politécnica da USP
(EPUSP ) in 1990. - Author of more than 110 trabalhos
published in Brazil e abroad; received the Vöst-Alpine da
ABM Prize for work in the industrial waste reuse area;
Member of a start-up team installed in the Coppe/UFRJ
incubator since 2014 using nanotechnological approaches
to prototyping of a new light ceramic material.
Maria Daniela Ricaurte is a graduate from the Centre
for Development and the Environment with a background
in Environmental Communication. Daniela studied the
role of music festivals in communicating environmental
awareness in Norway. She is passionate about music as well
as trying to inspire her son to become close to nature.
Maya Laitinen is a creative thinker from Lillomarka in
Oslo. She has a background in Theatre, Geography and
Architecture from the Norwegian University of Science and
Technology as well as the Architectural Association School
of Architecture in London (AA). The project “The Lung
of Phnom Penh” won Technical Studies High Pass with
 CONTRIBUTORS TO ISSUE #6 LEAVING THE BOX

distinction and was nominated by AA for the prestigious offer. Wilhelmsen has a masters degree in International
RIBA President Bronze Medals 2014. The project takes Economy and Development, and has been awarded prizes
a critical standpoint towards current building practices for innovation in Norway and Scotland.
in Asia, as they often neglect local values connected to
culture, history, nature and the environment. Where shall Øystein Hagen is head of Innovation at Scandinavian
the poor of the future live if all the land is sold to richmaya Design Group. Øystein has built a career around leading
investors? “If you have nothing left but air, maybe you can hands-on innovation and growth processes for all variety of
use it to build with?” clients, with a unique insight into what it takes to succeed
in innovation. He is acknowledged as an authority in his
Sean Michael Thompson is a master’s student at the field, with the 2011 Norwegian Management Consulting
Centre for Environment and Development and studies award and as Norway’s keynote speaker of the year 2012.
how urban green spaces affect citizens’ perceptions of their
surroundings. He is originally from San Diego, California
and holds a Bachelor of Science in Anthropology from
the University of California, Riverside. Sean is recently
returned from Buenos Aires, where his research involved
spending sunny days in parks while drinking mate and
pestering Porteños for maps.

Tone Skårdal Tobiasson is a seasoned journalist who

graduated with a BA in media and sociology in 1980
from Stanford University. She was editor-in-chief for
Norway’s leading fashion magazine for a number of
years, has written several books and was also the main
driving force behind the establishment of the NICE
(Nordic Initiative Clean & Ethical) Fashion project and
nicefashion.org. She has written for fashion magazines
and media in general, locally and international, on the
theme of sustainability, now mainly for EcoTextile News.
She was instrumental in reestablishing the Textile Panel
in Norway, and has facilitated cooperation in the Nordic
region with international organizations and initiatives. She
travels extensively for lecturing at trade fairs, education
institutions and conferences, combining humor with
the basic serious message that change has to occur. She
is involved in several research and development projects
in cooperation with SIFO and other institutions, and
generally leads the dissemination work.

Torill Bye Wilhelmsen helps entrepreneurs start sustainable

and profitable lifestyle businesses and build their life’s
works. As a founder of Fjellflyt AS, she is on a mission to
help entrepreneurs and employees get the real business
and health benefits that the Walking Movement has to

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 Editorial Board
Charlotte Lilleby Kildal from Asker, Norway is a recent
graduate of SUM’s masters programme in Culture,
Environment and Sustainability where she researched
the Norwegian Army’s attempt to introduce Meat-Free
Mondays in the military canteen. Charlotte holds a
bachelor’s degree in Development Studies from the
University of Bergen and the University of Ghana and has
studied French in Normandy. She is a contributor to the
UiO blog “Matlære” and has a strong passion for food,
cooking and coffee.
Despina Gleitsmann from Stuttgart, Germany, is a
recent graduate of SUM’s masters programme in Culture,
Environment and Sustainability where she researched the
impact of large hydropower projects on conflict in Karen
State in Myanmar. She has a bachelor’s degree in Peace
Studies from Lancaster University and previous master’s
degree in Politics and Government of the European Union
from the London School of Economics, with two years
of work-experience in Brussels. She is passionate about
travelling and experiencing new cultures.
170
Kaja Aas Ahnfelt is from Oslo, Norway. She holds a
bachelor in Social Anthropology and is a master student at
the Center for Development and the Environment at the
University of Oslo. She currently writes her master on the
civil, policy and industry discourse on electronic waste and
reparation of electronics in the UK. She is an avid traveller,
and a curious explorer of any movement related to green
community transitions.
Kaja Elise Gresko from Drammen, Norway studies
Culture, Environment and Sustainability at the Center for
Development and the Environment (UiO) and holds a
bachelor’s degree in Political Science from the University
of Oslo and the University of Zagreb. She has also studied
Corporate Social Responsibility management and Spanish
at the University of Buenos Aires.
Jonathan Frænkel-Eidse from Kelowna, Canada, is a
recent graduate of SUM’s masters program in Culture,
Environment and Sustainability, where he researched the
social implications of climate change adaptation in Arctic
Norway. He also holds a bachelor’s degree in Sociology
from Athabasca University, and when not studying has
worked primarily as a mountain guide in several countries.
For now he has settled down on Nesodden, Norway, where
he enjoys adventures with his partner and 3-year old son on
land and at sea.

Marcela Oliveira Svoren from Cabo Frio, Brazil is a

recent graduate of SUM’s masters programme in Culture,
Environment and Sustainability and has a bachelor’s degree
in Social Communications from the Escola Superior
de Propaganda e Marketing, Rio de Janeiro, a post-
graduation degree in Environmental Management from the
Universidade Federal do Rio de Janeiro and five years’ work
experience within CSR. As an authentic Brazilian, Marcela
loves rhythms, food and warm sunny days by the sea.

Piper Donlin from Minneapolis, Minnesota is a recent

graduate of SUM’s masters programme in Culture,
Environment and Sustainability. She has a bachelor’s degree
from the University of Minnesota in Environmental Policy,
Sustainability Studies and Art. Piper is a contributor to
the UiO-blog “Matlære”. She is also an avid lover of food
and cooking and spends a great deal of time in the kitchen
experimenting to the delight (and dismay) of her partner,
Carl Fredrik.

Sean Michael Thompson is a master’s student at the

Centre for Environment and Development and studies
how urban green spaces affect citizens’ perceptions of their
surroundings. He is originally from San Diego, California
and holds a Bachelor of Science in Anthropology from
the University of California, Riverside. Sean is recently
returned from Buenos Aires, where his research involved
spending sunny days in parks while drinking mate and
pestering Porteños for maps.

Vendula Hurníková from Ostrava, the Czech Republic,

studies Culture, Environment and Sustainability at SUM.
She has a bachelor’s degree in Sociology from the Masaryk
University, Brno, the Czech Republic. Currently, Vendula
is excited about urban environment which she has chosen
to be her research area for the upcoming months.

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 Do you want to
contribute to
Tvergastein?

We accept contributions in Norwegian and English in two categories:

Op-ed style (2,000-5,000 characters)
Academic style (10,000-20,000 characters)

If you have a finished text, an old exam paper that can be edited, or simply
a good idea for an article, send us an e-mail. We promise you fair feedback
and help in the editing process before publication.

We are also looking for illustrations, drawings, photos, for our texts.
Please contact us if you have a finished work, a sketch or an idea.

tvergastein@sum.uio.no

172
Tvergastein is grateful for all
the help and support of:

173
 Tvergastein bears the name of Arne Næss’ cabin retreat in the mountains
of Hallingskarvet. It was there that Næss, an activist and one of the most
wide ranging philosophers of the last century, wrote the majority of his work.
These writings, his unique ecophilosophy, and his life of activism continue to
inspire environmentalists and scholars in Norway and abroad. In making this
journal its namesake, we aim to similarly join academia with advocacy for the
environment. We aspire to the ”enormous open views at Tvergastein” and the
perspective Næss found there.

© 2015 Tvergastein

www.tvergastein.com

ISSN 1893-5605

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