Introduction: People on the autism spectrum often struggle to transition smoothly between occupations in daily life. Objective: This qualitative inquiry aimed to understand the human and non-human factors that influence occupational transitions from the perspectives of adults on the autism spectrum. Method: Using a constructivist grounded theory design, this study purposively gathered data from eight adults on the autism spectrum who shared their viewpoints via semi-structured interviews and self-produced written texts. Framed by the Cultural Historical Activity Theory, an iterative process of constant comparative analysis was employed, yielding six categories that constituted the assembly of a working theory on occupational transitions among adults on the autism spectrum. Results: Drawn from eight participants, the six categories were: 1) getting ready, 2) the attributes of the occupation, 3) the others, 4) strategies of the moment, 5) cumulative stress, and 6) possible ends of the process. Conclusion: Our findings revealed a nuanced understanding on occupational transitions for adults with autism. First, materiality (non-human entities) serves various purposes in occupational transitions, implying that in some cases, intangible materials (tacit knowledge) would be enough to initiate, aid, or terminate occupational transitions. Second, doing transitions together through the optimization of social support and resources can make occupational transitions more meaningful for adults in the autism spectrum. It is our ambition that these propositions be tested and emphasized in occupational therapy, healthcare, and social care practices.
This article argues for an updated theoretical framework in fashion studies. It proposes that perspectives emphasizing the social role and the technological nature of dress should be considered complementary, and that their joint application can contribute to new understandings of fashion history. Employing ethnographic methods, this stance is explored through a comparative analysis of the sartorial practices of two groups of women living or working in Amsterdam during the 1950s and the 2010s. A theoretical framework integrating theories of identity (mainly based on the writings of Georg Simmel and Gabriel Tarde) and the philosophy of technology (in this case the device paradigm of Albert Borgmann) allows us to uncover a paradoxical history of fashion in which clothing shifts roles, transforming from “things of imitation” into “devices of differentiation.”
This study will examine how branded games in the LEGO Ninjago franchise communicate the brand narrative through their mechanical, semiotic and referential design. Digital games as communicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketing communication plans. The LEGO brand creates highly successful games that communicate the brand effectively. To explore the possibilities and counteract the simplistic use of branded games, this study introduces an innovative framework to formally analyze branded games and their communication of a brand narrative through mechanical, semiotic and referential layers. This framework introduces formal game design to advertising studies, while dragging game studies into branded ecosystems. Using the framework, we analyze LEGO Ninjago the Movie – The Videogame, to identify how this paid digital game expands the Ninjago universe and fulfills specific marketing purposes oriented to LEGO toy sets. Our analysis shows that on a mechanical and semiotic layer, the game presents a standalone experience catering to the universe of the Ninjago movie and the values of the Ninjago brand narrative. However, by framing the whole game as LEGO – in its materiality and interactable objects – the LEGO brand narrative of creative construction informs the act of play. The referential design in these games makes use of playful disruption of rules to instill additive comprehension in the player related to purchasable sets and content.
The project is a field study for several diverse hotel chains, including individual properties operated under the Marriott brand, Postillion Hotels. Each brand has unique values, missions, and visions. Therefore, this integration will lead to the development of company-specific sustainability strategies and processes. The study will use the model of levers of control to provide such tailor-made solutions and determine if a generic approach can be developed to match a corporate sustainability strategy with a corporate strategy and develop a supporting management control system for operationalizing the sustainability strategy. Research question: How can a hotel brand formulate and implement a sustainability strategy with a supporting management control system that not only complies with the new CSRD (Corporate Sustainability Reporting Directive) legislation but also emphasizes the creation of substantial value in financial and ESG (Environmental, Social, and Governance) aspects, based on double materiality, in line with the organization's corporate values and beliefs? Objective The aim is to develop a validated method, including tools, that hotels can use to create a sustainability strategy in line with the CSRD guidelines. This strategy should create value for the organization, the environment, and society, while aligning with the hotel's values and beliefs. Merely being compliant with the CSRD is not enough for hotels. Instead, they should view the implementation of the CSRD as an opportunity to stand out in terms of sustainability. By creating value in areas such as environment, safety, and governance, or through the six capitals (financial, manufactured, intellectual, human, social and relationship, and natural) that align with the UN-SDGs, and explicitly taking both an inside-out and an outside in perspective (double materiality), hotels can significantly enhance their sustainability reputation.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
