Since the first uptake of electric vehicles, policy makers are questioning how to rollout public charging infrastructure in an efficient manner, such that user convenience balances with costs of investment. In some metropolitan areas, the first phase of rollout has been passed, meaning an optimized deployment of future charging stations for electric vehicles (EVs) becomes important to improve the charging infrastructure and ensure customer satisfaction and sufficient service provision. Complex system literature shows that network vulnerability is an important metric, yet, charging infrastructure has not yet been a subject of these simulation models so far. This research, based on real-world data, provides a novel approach for improving the roll-out strategy of municipalities, by treating the charge infrastructure as a complex network of charging stations and defining vulnerability in respect to the availability of its surrounding charging stations within relevant walking distance.
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The phenomena of urbanization and climate change interact with the growing number of older people living in cities. One of the effects of climate change is an increased riverine flooding hazard, and when floods occur this has a severe impact on human lives and comes with vast economic losses. Flood resilience management procedures should be supported by a combination of complex social and environmental vulnerability assessments. Therefore, new methodologies and tools should be developed for this purpose. One way to achieve such inclusive procedures is by incorporating a social vulnerability evaluation methodology for environmental and flood resilience assessment. These are illustrated for application in the Polish city of Wrocław. Socio-environmental vulnerability mapping, based on spatial analyses using the poverty risk index, data on the ageing population, as well as the distribution of the areas vulnerable to floods, was conducted with use of a location intelligence system combining Geographic Information System (GIS) and Business Intelligence (BI) tools. The new methodology allows for the identification of areas populated by social groups that are particularly vulnerable to the negative effects of flooding. C 2018 SETAC Original Publication: Integr Environ Assess Manag 2018;14:592–597. DOI: https://doi.org/10.1002/ieam.4077
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A comprehensive vulnerability assessment is a scientific basis for the realization of the United Nations' sustainable development goals. Energy resilience plays a crucial role in mitigating social vulnerability due to disaster shocks. Often, energy infrastructure and services collapse after disasters. The recent Russia-Ukraine war has exacerbated Europe's energy crisis and social vulnerabilities, making it even more urgent to add energy resilience to vulnerability assessments. This paper takes the Netherlands as the study area for vulnerability assessment, constructs a new social vulnerability indicator (SVI) system supplemented with the energy element, and compares that with the traditional energy indicator system. The results indicate that: 1) The introduction of energy indicators fills the gap of traditional SVI assessment. 2) Energy indicators reveal regional and spatial differences in potential social vulnerability in the Netherlands. 3) Energy-inclusive SVI demonstrates that uneven urbanization exacerbates risks and inequalities for vulnerable groups, with potential impacts on social vulnerability. Sustainable urban development requires the search for a recognized and coordinated approach to managing vulnerability across regions. The complementarity of energy indicators offers opportunities to provide a more comprehensive assessment of spatial patterns of social vulnerability, identify potentially vulnerable areas, enhance urban disaster resilience, and achieve sustainable urban development.
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This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
The COVID19 pandemic highlighted the vulnerability in supply chain networks in the healthcare sector and the tremendous waste problem of disposable healthcare products, such as isolation gowns. Single-use disposable isolation gowns cause great ecological impact. Reusable gowns can potentially reduce climate impacts and improve the resilience of healthcare systems by ensuring a steady supply in times of high demand. However, scaling reusable, circular isolation gowns in healthcare organizations is not straightforward. It is impeded by economic barriers – such as servicing costs for each use – and logistic and hygiene barriers, as processes for transport, storage and safety need to be (re)designed. Healthcare professionals (e.g. purchasing managers) lack complete information about social, economic and ecological costs, the true cost of products, to make informed circular purchasing decisions. Additionally, the residual value of materials recovered from circular products is overlooked and should be factored into purchasing decisions. To facilitate the transition to circular procurement in healthcare, purchasing managers need more fine-grained, dynamic information on true costs. Our RAAK Publiek proposal (MODLI) addresses a problem that purchasing managers face – making purchasing decisions that factor in social, economic and ecological costs and future benefits from recovered materials. Building on an existing consortium that developed a reusable and recyclable isolation gown, we design and develop an open-source decision-support tool to inform circular procurement in healthcare organizations and simulate various purchasing options of non-circular and circular products, including products from circular cascades. Circular procurement is considered a key driver in the transition to a circular economy as it contributes to closing energy and material loops and minimizes negative impacts and waste throughout entire product lifecycles. MODLI aims to support circular procurement policies in healthcare organizations by providing dynamic information for circular procurement decision making.
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
