This conceptual article argues for a broader view of the role of events in social systems. When analyzed as social phenomena, events can be seen as social actors that have the potential to both sustain and transform social systems. The maintenance of social systems is often reliant on iterative events, regularly occurring celebrations that tend to confirm social structures. In contrast, pulsar events have the potential to transform social structures. In this sense events can be seen as actors that have important influences on social systems, particularly in linking localized small world networks with the global space of flows. These ideas are explored through the case of Barcelona, which illustrates the interplay between these different types of events in their total portfolio, and how the extension of ritual in the sense of Collins can also contribute to the generation of new relationships and practices in the contemporary network society. Barcelona is examined as an eventful city in which the alternation of continuity through iterative events and change through pulsar events contributes to increasing the network effects of events.
CLEMENS APPRICH, DAPHNE DRAGONA, GEERT LOVINK, AND FLORIANWÜST - CONVERSATION MODERATED BY KRISTOFFER GANSINGOn August 6, 2019, the curatorial advisors of the transmediale 2020 exhibition, ‘The Eternal Network’, gathered at the festival’s offices in Berlin for a conversation on the status of network culture and theory today. Starting from the question ‘What was the network?’, the conversation explored the multiple trajectories of networks within cybernetics, art and philosophy, also taking the limits of networks into account. This included a reconsideration of the role of alternative and critical networks in today’s widespread digitalization, with its data-centric platform economy and the techno-cultural changes wrought by artificial intelligence.
This paper analyzes connectivity and efficiency of a SME network across two industries. These characteristics are likely to be different for networks of various industries. The concept of 'small worlds' is used to judge overall network efficiency. The actual network can be classified as one in which a small world is present. Visualization of the results shows a single core group in the network. It was found that non-profit as well as science actors were overrepresented in the core of the field.
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
