This communication aims to provide a framework on how to integrate the concept of Circular Economy (CE) when addressing real-life urban challenges such as resource scarcity, greenhouse gas emissions, pollution, waste, and high consumerism (Williams, 2019), through delivery of courses to students of various educational backgrounds. As part of the mission of Amsterdam University of Applied Sciences (AUAS) to be at the forefront of promoting sustainability through education and research, the Faculties of Technology and of Business and Economics joined forces to launch a new minor namely Circular Amsterdam: Mission Zero Waste. This minor focuses on the challenges and opportunities towards the circular transition in Amsterdam as well as in other European cities, by applying system level of thinking and real-life practical cases.CE model is a shift from the traditional linear “take, make, and dispose” way of doing business, to promoting circularity of the waste product through the 3R principles (reduce, reuse, recycle), which is nowadays extended to using 9R principles (0-Refuse, 1-Rethink, 2-Reduce, 3-Reuse, 4-Repair, 5-Refurbish, 6-Remanufacture, 7-Repurpose, 8-Recycle, and 9-Recover) (Potting et al., 2017). Transitioning to CE model needs intervention and multidisciplinary approach at different levels, hence requiring systems level of thinking. This means that technical, organizational, economic, behavioral, and regulatory aspects should be taken into account when designing business models, policies, or framework on CE. In the case of the minor, a system change including the challenges and opportunities needed in the cities, will be approached from different perspectives. In order to do this, the minor requires collaboration on a real-life problem using multiple backgrounds of students that include technical, economic, creative and social domains, as well as various stakeholders such as businesses, policy makers, and experts in circular economy.This minor will provide in-depth knowledge and skills based on its two tracks. The first track is called Circular Design & Technology. It focuses on the role of technology in CE, technological design, material use, production, use of circular resources in production, and impact analysis. The second track is called Circular Governance & Management. This track focuses on viable business case development, circular supply chain management, finance, regulations, entrepreneurship, and human capital. The focus of this communication will be the second track.Multidisciplinary teams each consisting of approximately four students will work on different projects. Examples of real-world, practical cases related to Circular Governance & Management track include: (1) development of business models addressing resource shortages and waste in the cities, (2) influencing consumer mindset when it comes to recycling and use of circular materials and products, (3) development of financially viable circular businesses, with due consideration of different instruments such as traditional bank loans, green/social bonds and loans, crowdfunding, or impact investing, and (4) tracking and reporting their sustainability performance with the voluntary use of sustainability metrics and reporting standards in order to better manage their risk and attract capital. These projects are linked to research expertises in AUAS. The course activities include (guest) lectures, workshops, co-creation sessions, excursions, presentations and peer reviews. The learning goals in the Circular Governance & Management track include being able to:1. Understand the foundations of CE and theory of change;2. Apply systems thinking to show how different interventions, such as consumer products, logistics models, business models or policy designs, can affect the transition from the existing linear to a CE model;3. Design an intervention, such as a product, logistic concept, business model, communication strategy or policy design supporting the CE, using students‘ backgrounds, ambitions and interests;4. Understand the financial and regulatory framework affecting the management and governance of (financially viable) circular businesses, including government incentives;5. Evaluate the economic, environmental and social impacts of developed intervention design on the city and its environment;6. Provide justification of students‘ design according to sustainability performance indicators;7. Collaborate with stakeholders in a multidisciplinary team; and8. Present, defend and communicate the results in English.
The Nature Spectacle: On Images, Money, and Conservation Capitalism by Jim Igoe is, as its Preface states, an ambitious book that seeks to make connections between diverse times and places. The preface also, in many ways, tells more about the background and intention of the book than its chapters do, tying together the author’s origins and motivation. Igoe recalls his childhood in St. Louis, Missouri, much of which he spent “in front of a television and at a neighborhood movie theatre” (p. XII), once watching a musical, which was “essentially an extended Chevrolet commercial set among the geysers of Yellowstone” (P. 109). It is the mix of such absurd and comical observations of commercialism merging with Nature, and much heavier criticism of the capitalist cult of economic growth, development, and also conservation that characterizes The Nature of Spectacle. Much of Igoe’s outdoor experiences were shaped by green spaces, created in St. Louis as part of commodity exhibits at the 1904 World’s Fair. The author admits to feeling both critical and nostalgic of those places that have merged (sub)urban aesthetics with that of industrially developed commercial “spaces” (p. XII) – important concepts that form a leitmotif throughout the book. https://doi.org/10.1080/03066150.2018.1488355 https://www.linkedin.com/in/helenkopnina/
MULTIFILE
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
