This paper describes some explorations on the concept of disassemblability as an important circularity indicator for products because of its severe impact on reuse value. Although usefulness of the concept for determining disassembly strategies and for improving circular product design clearly shows in earlier studies, the link with Industry 4.0 (I4.0)-related process innovation is still underexposed. For further technical development of the field of remanufacturing, research is needed on tools & training for operators, diagnostics, disassembly/repair instructions and forms of operator support. This includes the use of IoT and cobots in remanufacturing lines for automatic disassembly, sorting and recognition methods; providing guidance for operators and reduction of change-over times. A prototype for a disassembly work cell for a mobile phone has been developed together with researchers and students. This includes the removal of screws by means of a cobot using both vision & the available info in the product’s Bill-Of-Materials, the removal of covers, opening of snap fits and replacement of modules. This prototyping demonstrates that it is relatively easy to automate disassembly operations for an undamaged product, that has been designed with repairability in mind and for which product data and models are available. Process innovations like robotisation influence the disassemblability in a positive way, but current indicators like a Disassembly Index (DI) can’t reflect this properly. This study therefore concludes with suggestions for an evaluation of disassemblability by looking at the interaction between product, process and resources in a coherent way.
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Over the past decade, a growing number of artists and critical practitioners have become engaged with algorithms. This artistic engagement has resulted in algorithmic theatre, bot art, and algorithmic media and performance art of various kinds that thematise the dissemination and deployment of algorithms in everyday life. Especially striking is the high volume of artistic engagements with facial recognition algorithms, trading algorithms and search engine algorithms over the past few years.The fact that these three types of algorithms have garnered more responses than other types of algorithms suggests that they form a popular subject of artistic critique. This critique addresses several significant, supra-individual anxieties of our decade: socio- political uncertainty and polarisation, the global economic crisis and cycles of recession, and the centralisation and corporatisation of access to online information. However, the constituents of these anxieties — which seem to be central to our experience of algorithmic culture — are rarely interrogated. They, therefore, merit closer attention.This book uses prominent artistic representations of facial recognition algorithms, trading algorithms, and search algorithms as the entry point into an exploration of the constituents of the anxieties braided around these algorithms. It proposes that the work of Søren Kierkegaard—one of the first theorists of anxiety—helps us to investigate and critically analyse the constituents of ‘algorithmic anxiety’.
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This article aims to gauge students’ perceptions of the Dutch Party for Animals (PvdD) in order to reflect on the political representation of nonhumans (animals). The support for political representation of nonhumans is based on the ethical underpinning of deep ecology; growing recognition of the importance of sustainability; and increased societal support for animal rights and welfare. This article reflects on these developments using Bachelor students’ assignments from a Sustainable Business course, which asked them to reflect on the underlying principles of the PvdD. Student assignments indicate that educational efforts targeted at fostering ecological citizenship have a positive effect on the recognition and acceptance of ecocentric values. https://doi.org/10.1163/15685306-00001660 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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