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.
MULTIFILE
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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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.
DOCUMENT
The project is a field study for several diverse hotel chains, including individual properties operated under the Marriott brand, Postillion Hotels. Each brand has unique values, missions, and visions. Therefore, this integration will lead to the development of company-specific sustainability strategies and processes. The study will use the model of levers of control to provide such tailor-made solutions and determine if a generic approach can be developed to match a corporate sustainability strategy with a corporate strategy and develop a supporting management control system for operationalizing the sustainability strategy. Research question: How can a hotel brand formulate and implement a sustainability strategy with a supporting management control system that not only complies with the new CSRD (Corporate Sustainability Reporting Directive) legislation but also emphasizes the creation of substantial value in financial and ESG (Environmental, Social, and Governance) aspects, based on double materiality, in line with the organization's corporate values and beliefs? Objective The aim is to develop a validated method, including tools, that hotels can use to create a sustainability strategy in line with the CSRD guidelines. This strategy should create value for the organization, the environment, and society, while aligning with the hotel's values and beliefs. Merely being compliant with the CSRD is not enough for hotels. Instead, they should view the implementation of the CSRD as an opportunity to stand out in terms of sustainability. By creating value in areas such as environment, safety, and governance, or through the six capitals (financial, manufactured, intellectual, human, social and relationship, and natural) that align with the UN-SDGs, and explicitly taking both an inside-out and an outside in perspective (double materiality), hotels can significantly enhance their sustainability reputation.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
