There are three volumes in this body of work. In volume one, we lay the foundation for a general theory of organizing. We propose that organizing is a continuous process of ongoing mutual or reciprocal influence between objects (e.g., human actors) in a field, whereby a field is infinite and connects all the objects in it much like electromagnetic fields influence atomic and molecular charged objects or gravity fields influence inanimate objects with mass such as planets and stars. We use field theory to build what we now call the Network Field Model. In this model, human actors are modeled as pointlike objects in the field. Influence between and investments in these point-like human objects are explained as energy exchanges (potential and kinetic) which can be described in terms of three different types of capital: financial (assets), human capital (the individual) and social (two or more humans in a network). This model is predicated on a field theoretical understanding about the world we live in. We use historical and contemporaneous examples of human activity and describe them in terms of the model. In volume two, we demonstrate how to apply the model. In volume 3, we use experimental data to prove the reliability of the model. These three volumes will persistently challenge the reader’s understanding of time, position and what it means to be part of an infinite field. http://dx.doi.org/10.5772/intechopen.99709
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Baarts presentiebenadering is even inspirerend voor de professionele beroepspraktijk als problematisch in haar theoretische grondslagen. In deze benadering bestaat een fundamentele morele spanning tussen gebroken waardigheid als het kernprobleem van armoede en het goede leven als de overkoepelende oplossing hiervoor. In deze spanning interfereren drie verschillende culturele onderstromen: een optimistisch Griekse, een radicaal christelijke en een gematigd humanistische onderstroom. Terwijl Baart in zijn magnum opus nadrukkelijk stelt dat presentiebeoefenaars het goede oftewel het gelukkige leven centraal behoren te stellen, poneert dit artikel dat de praktijken en paradoxen van de presentiebeoefening beter kunnen worden begrepen als het herstellen van waardigheid.
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The topic of this paper is the constructivism-realism debate, construed as an example of the intrusion of philosophy into science. Against this intrusion I maintain that philosophical problems are not only different from scientific and practical ones. They are also problematic in themselves. That is why their import into our scientific and practical work only creates confusions that hinder us in our work. The aim of the paper is to show that the philosophical problems that create those confusions need a Wittgensteinian therapeutic treatment. The method of the paper consists in comparing what philosophers (or philosophising scientists) say we do with what we actually do. After giving an example of what happens when a rightly respected scientist starts philosophizing, the method is applied, first, to the relation between language and the world and, second, to the relation between theories and the world. In the first application a story about three umpires is used to distinguish language and discourse, between questions of meaning (of the words we use) and questions of truth (of the things we say). In the second application a comparison between maps and theories is used to show the difference between assessing the truth of descriptive statements and explanatory theories. The examples of the umpires and maps are introduced by Weick and in both cases I show that neither constructivist nor metaphysical realist conclusions follow.
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Digital transformation has been recognized for its potential to contribute to sustainability goals. It requires companies to develop their Data Analytic Capability (DAC), defined as their ability to collect, manage and analyze data effectively. Despite the governmental efforts to promote digitalization, there seems to be a knowledge gap on how to proceed, with 37% of Dutch SMEs reporting a lack of knowledge, and 33% reporting a lack of support in developing DAC. Participants in the interviews that we organized preparing this proposal indicated a need for guidance on how to develop DAC within their organization given their unique context (e.g. age and experience of the workforce, presence of legacy systems, high daily workload, lack of knowledge of digitalization). While a lot of attention has been given to the technological aspects of DAC, the people, process, and organizational culture aspects are as important, requiring a comprehensive approach and thus a bundling of knowledge from different expertise. Therefore, the objective of this KIEM proposal is to identify organizational enablers and inhibitors of DAC through a series of interviews and case studies, and use these to formulate a preliminary roadmap to DAC. From a structure perspective, the objective of the KIEM proposal will be to explore and solidify the partnership between Breda University of Applied Sciences (BUas), Avans University of Applied Sciences (Avans), Logistics Community Brabant (LCB), van Berkel Logistics BV, Smink Group BV, and iValueImprovement BV. This partnership will be used to develop the preliminary roadmap and pre-test it using action methodology. The action research protocol and preliminary roadmap thereby developed in this KIEM project will form the basis for a subsequent RAAK proposal.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
