Despite the widely held notion that processes of radicalization tend to happen in relation to others, systematic evidence on the social context in which actors meet and form ties is scarce. This is problematic, as without a more thorough understanding of the relational dimension of radicalization, any strategy to intervene may turn out less effective than perhaps hoped for. Based on our access to detailed police information on eleven Dutch Salafi-Jihadi networks (2001–2014; 273 actors), this article presents a descriptive analysis of the social context in which actors meet and form ties. In most networks, we observe pre-existing family and friendship ties, actors to frequent Salafi mosques and radicalizing settings, and committed actors engaged in functional roles. We also find indications for these elements to facilitate actors to form ties. It is important to note however that we also observe exceptions, both in terms of prevalence and impact of the relational factors we study. In the article, we describe our detailed empirical findings and reflect on the (differential) social context is which actors participating in Dutch Salafi-Jihadi networks meet and form ties.
Behaviour Change Support Systems (BCSS), already running for the 10th time at Persuasive Technology, is a workshop that builds around the concept of systems that are specifically designed to help and support behaviour change in individuals or groups. The highly multi-disciplinary nature of designing and implementing behaviour change strategies and systems for the strategies has been in the forefront of this workshop from the very beginning. The persuasive technology field is becoming a linking pin connecting natural and social sciences, requiring a holistic view on persuasive technologies, as well as multi-disciplinary approach for design, implementation, and evaluation. So far, the capacities of technologies to change behaviours and to continuously monitor the progress and effects of interventions are not being used to its full potential. The use of technologies as persuaders may shed a new light on the interaction process of persuasion, influencing attitudes and behaviours. Yet, although human- computer interaction is social in nature and people often do see computers as social actors, it is still unknown how these interactions re-shape attitude, beliefs, and emotions, or how they change behaviour, and what the drawbacks are for persuasion via technologies. Humans re-shape technology, changing their goals during usage. This means that persuasion is not a static ad hoc event but an ongoing process. Technology has the capacity to create smart (virtual) persuasive environments that provide simultaneously multimodal cues and psycho-physiological feedback for personal change by strengthening emotional, social, and physical presence. An array of persuasive applications has been developed over the past decade with an aim to induce desirable behaviour change. Persuasive applications have shown promising results in motivating and supporting people to change or adopt new behaviours and attitudes in various domains such as health and wellbeing, sustainable energy, education, and marketing. This workshop aims at connecting multidisciplinary researchers, practitioners and experts from a variety of scientific domains, such as information sciences, human-computer interaction, industrial design, psychology and medicine. This interactive workshop will act as a forum where experts from multiple disciplines can present their work, and can discuss and debate the pillars for persuasive technology.
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Purpose This study aims to enhance understanding of the collaboration between chairs of nurse councils (CNCs) and members of executive hospital boards (BM) from a relational leadership perspective. Design/methodology/approach The authors used a qualitative and interpretive methodology. The authors study the daily interactions of BM and CNCs of seven Dutch hospitals through a relational leadership lens. The authors used a combination of observations, interviews and document analysis. The author’s qualitative analysis was used to grasp the process of collaborating between BM and CNCs. Findings Knowing each other, relating with and relating to are distinct but intertwined processes that influence the collaboration between BM and CNC. The absence of conflict is also regarded as a finding in this paper. Combined together, they show the importance of a relational process perspective to understand the complexity of collaboration in hospitals. Originality/value Collaboration between professional groups in hospitals is becoming more important due to increasing interdependence. This is a consequence of the complexity in organizing qualitative care. Nevertheless, research on the process of collaborating between nurse councils (NCs) and executive hospital boards is scarce. Furthermore, the understanding of the workings of boards, in general, is limited. The relational process perspective and the combination of observations, interviewing and document analysis proved valuable in this study and is underrepresented in leadership research. This process perspective is a valuable addition to skills- and competencies-focused leadership literature.
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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
