Despite the widely held notion that processes of radicalization tend to happen in relation to others, systematic evidence on the social context in which actors meet and form ties is scarce. This is problematic, as without a more thorough understanding of the relational dimension of radicalization, any strategy to intervene may turn out less effective than perhaps hoped for. Based on our access to detailed police information on eleven Dutch Salafi-Jihadi networks (2001–2014; 273 actors), this article presents a descriptive analysis of the social context in which actors meet and form ties. In most networks, we observe pre-existing family and friendship ties, actors to frequent Salafi mosques and radicalizing settings, and committed actors engaged in functional roles. We also find indications for these elements to facilitate actors to form ties. It is important to note however that we also observe exceptions, both in terms of prevalence and impact of the relational factors we study. In the article, we describe our detailed empirical findings and reflect on the (differential) social context is which actors participating in Dutch Salafi-Jihadi networks meet and form ties.
Our study elucidates relational value creation and appropriation in collaborative networks for sustainability (CNfS), which focus on grand societal challenges and include a multiplicity and diversity of actors. Using a relational view lens, we conducted a longitudinal, multiple case, field study of collaborative networks for sustainability in the circular textile and fashion industry, unpacking the interplay between value creation from relational interdependence, relational-specific assets and material output and the multilevel appropriation of that value. Our findings show that value appropriation is contingent on the perception of use value and cascades through individual, organizational and network levels. The ability of actors to capture cascading value on different levels has a direct influence on sustaining the continuity of value creation and to achieving the shared societal goals of CNfS. We developed a model of value appropriation in CNfS to illustrate the cascading flow of value at micro (individual), meso (organizational) and macro (network) levels. Our study makes novel contributions to the literatures on strategic alliances, cross-sector partnerships, and open innovation networks.
Our study elucidates relational value creation and appropriation in collaborative networks for sustainability (CNfS), which focus on grand societal challenges and include a multiplicity and diversity of actors. Using a relational view lens, we conducted a longitudinal, multiple case, field study of collaborative networks for sustainability in the circular textile and fashion industry, unpacking the interplay between value creation from relational interdependence, relational-specific assets and material output and the multilevel appropriation of that value. Our findings show that value appropriation is contingent on the perception of use value and cascades through individual, organizational and network levels. The ability of actors to capture cascading value on different levels has a direct influence on sustaining the continuity of value creation and to achieving the shared societal goals of CNfS. We developed a model of value appropriation in CNfS to illustrate the cascading flow of value at micro (individual), meso (organizational) and macro (network) levels. Our study makes novel contributions to the literatures on strategic alliances, cross-sector partnerships, and open innovation networks.
Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
Higher education offers great flexibility as students are largely free to decide where, when, and how to study. Being successful in such an environment requires well-developed self-regulated learning skills. However, every teacher in higher education knows that students experience ample difficulty to self-regulate their learning. They struggle to set and plan learning goals, and to gain sufficient depth in learning when preparing for exams. These struggles can negatively impact their learning, well-being, academic achievement, and professional life. On top of the existing flexibility in higher education, a need for more flexibility in what students learn is becoming evident. That is, students have room for flexible learningapproaches (i.e., deciding what learning goals or materials to study and how) and/or flexible learning trajectories (i.e.,choosing what combination of courses to take). This places an additional burden on students’ self-regulated learning skills. We posit that for students to thrive in flexible higher education, practice-oriented research on supporting students’self-regulated learning skills is required. Our collaborative consortium will i) unravel how students can be optimally scaffolded within flexible learning approaches and flexible learning trajectories, ii) examine how to optimize teacher and technological support, and iii) study how student autonomy and motivation can be guarded. We will set up a practice-oriented research program with both qualitative and quantitative methods, including design-based research, action research, pre-post comparative intervention studies, and large-scale correlational research. The findings will impact higher education through (technological) design guidelines and intervention programs for educational professionals, andsupport-modules for students.
