Undercurrents is a series of live-streams from cameras attached to machinery in the workshops of the area surrounding the DDP. These live-streams provide a live ‘mapping’ of the labor conducted by the small businesses and workshops originating in Korea’s modernization period that formed Seoul’s main manufacturing hub. This situation is rapidly changing as the specialized work of the area is taken over by large warehouses that operate digitally from remote places. The Cheonggyecheon area is special because of the way materials and labor processes are visibly interconnected, often right on the street. The move to remote sites dematerializes this. Undercurrents aims to make this new remote materiality visible in order to critically reengage with the way we live and work under digital infrastructures.
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In On the Mode of Existence of Technical Objects (1958), French philosopher Gilbert Simondon noticed that humans were losing their reciprocal connection with technology. We push buttons without understanding what’s happening ‘inside’ the machine – whether it’s a light switch or a smartphone. ‘For Simondon, restoring this mutual relationship would be a means for developing a technological culture’, says computer scientist and philosopher Yuk Hui. Revealing the different structures of a technology, which are ‘inside’ the machine, can reduce technical alienation. ‘An individual technical object can’t exist without a wider associated milieu’, states Hui. Thus, we need to look at its mechanisms, infrastructures and physical manifestations.
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This text has become a performance of (affirmative) entrepreneurship. This is done by a set of writing (and methodological) techniques: autoethnography, the triptych of mimesis, poiesis, kinesis and a life journey that forms the base of the chapter. As such, this text challenges some well-known shortcomings of entrepreneurship research such as being enacted by a distant observer/writer, decontextualized accounts of entrepreneurship and disregard of creativity and playfulness. The main contribution of the chapter is methodological, in its broadest sense (Steyaert, 2011): I propose autoethnography as “more than method” for engaging with processes of (affirmative) Entrepreneuring that speak to the increased attention for narrativity and playfulness in entrepreneurship (see for example Hjorth, 2017: Hjorth and Steyaert, 2004: Gartner, 2007; Johannisson, 2011). The autoethnographic story offers an engaging and relevant account of the practice of entrepreneurship and provides rich emic insight into the socio-materiality of lived experience. It also highlights the temporality of entrepreneurship – both in terms of chronos (continuous flow of time) and Kairos (taking advantage of the “right moment”) (Johannisson, 2011). And as I continue performing affirmations, I am curious how you are Entrepreneuring your life – tell me. This is a draft chapter/article. The final version is available in Research Handbook on Entrepreneurial Behavior, Practice and Process edited by William B. Gartner and Bruce T. Teague, published in 2020, Edward Elgar Publishing Ltd https://doi.org/10.4337/9781788114523
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We propose aesthetic engagement as a valuable construct for organisation studies to advance its contribution to organising for sustainability. Aesthetic engagement is defined as a set of material practices that re-engage humans and systems to trigger and accelerate transitions towards regenerative futures. We adopt an aesthetic, practice-based approach to study the emerging field of circular fashion, zooming in on six research projects evolving around bio-based textile design. Our results show that matter needs to matter more in sustainable organising in three key material practices: (1) re-presenting alternative systems, (2) re-imagining affective materialities and (3) re-claiming embodied ethical agency. Matter that reflects new ‘imagined’ realities - whether in artefacts, bodies or socio-material spaces - could greatly support stakeholder engagement and collective identity-building towards transitioning to regenerative futures.
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Schön describes the way a designer engages with their materials as a “conversation”. In clothing design this typically involves tangible and situated actions such as draping, ripping, and cutting—actions that evoke responses from the fabric at hand. Dynamic fabrics—surface- changing fabrics that combine digital and physical states— are still novel fashion-design materials. When working with the digital, intangible qualities of these fabrics, how does a dialogue unfold for designers accustomed to working physically with fabrics? In this paper we examine the design process of Phem, a collection of garments that use dynamic fabrics that function similarly to augmented reality. We reflect upon the improvisations required to satisfy a productive dialogue with the digital forms of these materials. We conclude with a discussion that proposes revisiting Schön’s notion of a conversation in the context of digital forms, and use Ingold’s perspectives on making to inform this inquiry.
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This special issue of Somatechnics: Journal of Bodies – Technologies – Power is an invitation to critically interrogate how our everyday technological, social, and embodied experience of organisation as a traveling concept (Bal 2002) and socio-material (Orlikowski 2007) production of reality, can generate new modes of organising and being and nonbeing organised. The articles in this special issue span across the humanities, social sciences, performing arts, and critical management studies, to trouble the concept of organisation by de-organising it and the manner in which it has traditionally been instrumentalised and put to use in modern-day organisational theory and practice. Somatechnics presents a thoroughly multi-disciplinary scholarship on the body, providing a space for research that critically engages with the ethico-political implications of a wide range of practices and techniques. The term ‘somatechnics’ indicates an approach to corporeality which considers it as always already bound up with a variety of technologies, techniques and technics, thus enabling an examination of the lived experiences engendered within a given context, and the effects that technologies, technés and techniques have on embodiment, subjectivity and sociality.
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This study evaluates the effectiveness of the European Union's Corporate Sustainability Reporting Directive (CSRD) in quantitatively measuring the transition of companies to a circular economy. First, using the most recent literature review on circularity metrics, a complete overview of the currently available circularity metrics is developed. Subsequently, it is determined which circularity metrics can be generated with the available quantitative datapoints of CSRD. The metrics that can be generated were analyzed on their ability to cover all circular strategies, to represent different Product-as-a-Service systems and to acknowledge the key role of Critical Raw Materials in a circular economy. The study finds that, with data disclosed under CSRD, metrics can be generated to cover all circular strategies. However, gaps remain in representing pay-per-use and pay-perperformance systems and the use of Critical Raw Materials. Recommendations are to include ‘Product utilization’ and ‘Mass of Critical Raw Materials used’ in the data disclosed under CSRD and to have an independent institution report data to enable benchmarking of performances. Finally, this study concludes with an overview of the metrics which enable to measure circular transitions using data disclosed by CSRD
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This article argues for an updated theoretical framework in fashion studies. It proposes that perspectives emphasizing the social role and the technological nature of dress should be considered complementary, and that their joint application can contribute to new understandings of fashion history. Employing ethnographic methods, this stance is explored through a comparative analysis of the sartorial practices of two groups of women living or working in Amsterdam during the 1950s and the 2010s. A theoretical framework integrating theories of identity (mainly based on the writings of Georg Simmel and Gabriel Tarde) and the philosophy of technology (in this case the device paradigm of Albert Borgmann) allows us to uncover a paradoxical history of fashion in which clothing shifts roles, transforming from “things of imitation” into “devices of differentiation.”
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The authors compared three methods of reading and learning by using paper, as well as a variety of interactive study forms. Thier work is part of the large Amsterdam E-Boekenstad (E-Book city) research project (www.e-boekenstad.nl and http://e-boekenstad.wikispaces.com/). They investigate to what extent the materiality of a book determines the usability of the book form. Their tests were conducted in 2010 and 2011. They compared; 1.learning from paper, a laptop and an e-ink e-reader 2.paper with reading from web pages 3.paper and material presented into a digital mind map. As it turns out, in a study situation, electronic reading can only beat reading from paper when it offers real added value. For example, by providing a better overview and shorter comprehensive texts, like they did in their second study. The most important conclusion from all tests is that a simple translation from paper format to electronic format is not enough. Publishers should take advantage of the possibilities new techniques offer, and perhaps discard ‘traditional thinking’ in terms of linear essay-type books and paragraphs.
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