Drawing from a study of everyday home practices from a material objects' perspective, this paper examines the potential that a thing ethnography holds for both design and anthropology. In doing so, the paper challenges anthropocentric assumptions about the world, and opens up ways of understanding relationships among people, objects and use practices that would be difficult to elicit through traditional observations and interviews alone.
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This overview can be regarded as an atlas or travel guide with which the reader can follow a route along the various professorships. Chapter 2 centres on the professorships that are active in the field of Service Economy. Chapter 3 is dedicated to the professorships that are focussed on the field of Vital Region. Chapter 4 describes the professorships operating in the field of Smart Sustainable Industries. Chapter 5 deals with the professorships that are active in the field of the institution-wide themes of Design Based Education and Design Based Research. Lastly, in Chapter 6 we make an attempt to discover one or more connecting themes or procedures in the approach of the various professorships. This publication is not intended to give a definitive answer to the question as to what exactly NHL Stenden means by the concept of Design Based Research. The aim of this publication is to get an idea of everything that is happening in the NHL Stenden professorships and to pique one’s curiosity to find out more.
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The textile industry is responsible for over 8% of global greenhouse gas emissions and 20% of the world’s wastewater, surpassing the emissions from international flights and shipping combined. In the European Union, textile purchases in 2020 led to around 270 kg of CO₂ emissions per person, yet only 1% of used clothing is recycled into new garments. The municipality of Groningen manages an estimated 950 kilotons of textile waste but is only able to collect, sort, and recycle 250 kilotons. To address these challenges, Textile Hub Groningen (THG) seeks to support small and medium-sized enterprises (SMEs) and stakeholders in creating circular textile value chains. However, designing circular value chains presents challenges, including conflicting interests, knowledge gaps on circular design principles, and inadequate tools for collaborative business model development. Potential stakeholders often find current tools too abstract and not conducive to collaboration, learning, or experimentation. As a result, circular value chains remain difficult to achieve from the perspective of individual stakeholders. Serious games have been employed to simulate and experiment with complex adaptive systems , . Research shows that well-designed playful learning enhances both learning and motivation, particularly when social elements are integrated . This project aims to answer the following research question: How can serious games be leveraged to design circular textile value chains in the region? The expected outcomes are: 1. Serious Game: Design, test, and deliver a serious game to facilitate the joint design of circular textile value chains. 2. Publications: Extract insights from the game’s design and evaluation, contributing to both academic and practical discussions. 3. Consortium for Follow-up: Mobilize partners and secure funding for future projects in related fields. Through game-based collaborative circular value chain and business model design experiences, this project overcomes barriers in designing viable circular value chains in the textile industry
With the help of sensors that made data collection and processing possible, many products around us have become “smarter”. The situation that our car, refrigerator, or umbrella communicating with us and each other is no longer a future scenario; it is increasingly a shared reality. There are good examples of such connectedness such as lifestyle monitoring of elderly persons or waste management in a smart city. Yet, many other smart products are designed just for the sake of embedding a chip in something without thinking through what kind of value they add everyday life. In other words, the design of these systems have mainly been driven by technology until now and little studies have been carried out on how the design of such systems helps citizens to improve or maintain the quality of their individual and collective lives. The CREATE-IT research center creates new solutions and methodologies in “digital design” that contribute to the quality of life of citizens. Correspondingly, this proposal focuses on one type of digital design—smart products—and investigate the concept of empowerment in relation to the design of smart products. In particular, the proposal aims to develop a model with its supplementary tools and methods for designing such products better. By following a research-through-design methodology, the proposal intends to offer a critical understanding on designing smart products. Along with its theoretical contribution, the proposal will also aid the students of ICT and design, and professionals such as designers and engineers to create smart products that will empower people and the industry to develop products grounded in a clear user experience and business model.
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
