View source for Analysis of Open Collaboration between Experience Design and Poietic Practice


'''* PhD Thesis: CREATIVITY UNBOUND. An Analysis of Open Collaboration between Experience Design and Poietic Practice. By Maria Elisabeth Jansen (Ele Jansen). M.A. Leipzig University, 2015'''

URL = http://www.elejansen.com/

A thesis in fulfillment of the requirements for
the degree of Doctor of Philosophy Social
Sciences (Media/Design Anthropology)
University of New South Wales 2015


=Abstract=

"This thesis concerns social engagement at the intersection of open design
and media technology. The study reflects on the practice of a group of
creative entrepreneurs, who seek new methods and contexts for
collaboration both online and offline. My case is an international collective
called Reboot. They co-produce games, narratives, and workshops that aim
at engaging others to become activists for social innovation through
experiential learning and applied creativity. I investigate what drives them,
what they desire, how they learn, and how they co-create. The core problem
is: how does a focus on innovating process shape the way individuals
approach work and life? Ethnography forms the central research method. It
tracks the exchange and performance values expressed by members of the
Reboot collective. I use an experimental enactive research design, which
enriches current academic practices in media and design ethnography.

As a theoretical framework, I draw on cultural topology. More
specifically, I focus on three characteristics of topology – contiguity,
continuity, and poiesis. Headed by these three pillars, my chapters include
theories on performativity, affect, and free labour. My data substantiates the
workings of these three topological characteristics individually and across
chapters. Firstly, in terms of contiguity, I investigate performativity as a
theoretical possibility within a topological framework. Reboot offers physical
spaces for collaborators to connect. Here, I argue, the group facilitates
productive contiguity. I scrutinise their experience of interaction enabled by
design in order to make an assessment about performative agency.

Secondly, with respect to continuity, I examine affect as a driver of
relationships and activity. Reboot facilitates remote collaboration through
digital online technology. I show that affective interaction helps to reestablish
connection and build relationships to foster further engagement,
and that these practices corroborate continuity. Lastly, regarding poiesis, I
discuss the notion of free labour against the backdrop of commons-based
peer production. I show that collaborators frame their free labour in an
emancipatory fashion that reflects high hopes for virtuous behaviour among
collaborators and ignores worries of exploitation. I identify this practice as
poiesis.

This matters because these collaborative producers are found to act
upon their hopes that they can co-create long term systemic change in
society; they experiment with new tools to do so; and they spread their
techniques by engaging others. This thesis thus locates itself amongst – and
adds insights to – current debates on human passion that drives sociotechnical
innovation."



=Contents=

==1. INTRODUCTION==

* 1.1. A QUESTION OF DEVIANCE AND PASSION?
* 1.2. CASE OVERVIEW
* 1.3. APPROACH
* 1.4. CHAPTER OUTLINES


==2. METHODOLOGY: EMERGENT ENACTIVE RESEARCH==

* 2.1. INTRODUCTION
* 2.1.1. GAINING ACCESS
* 2.1.2. FROM STUDYING PRACTICE TO STUDYING DESIGN PRACTICE
* 2.2. ENACTIVE MULTI-SITED RESEARCH
* 2.2.1. MEETING THE TEAM ONLINE AND IN PERSON – WHAT CHANGED
* 2.2.2. IN(TER)VENTION AS DATA: LEARN DO SHARE BOOKSPRINTS
* 2.2.3. DESIGN AS DATA: WISH FOR THE FUTURE OPEN DESIGN GAME
* 2.2.4. USAGE OF DIGITAL PLATFORMS
* 2.3. EMERGENT RESEARCH FROM FIELD TO THESIS
* 2.4. TOPOLOGY: CONNECTING DATA, RESEARCH, AND OUTCOME


==3. CONTIGUITY: PERFORMATIVITY IN NARRATIVE CO-DESIGN==

* 3.1. INTRODUCTION
* 3.2. THEORETICAL FRAMEWORK
* 3.2.1. PERFORMANCE AND PERFORMATIVITY
* 3.2.2. NARRATIVE DESIGN AS PERFORMATIVE AGENT
* 3.3. EMPIRICAL INVESTIGATION
* 3.3.1. IMPERFECTION: INCOMPLETE BY DESIGN
* 3.3.2. INTERVENTION: HACKING AS METHOD
* 3.3.3. APPROPRIATION: CONTIGUITY AS CATALYST
* 3.4. DISPERSED PERFORMATIVITY: WHAT DRIVES TOPOLOGICAL CULTURE?
* 3.5. CONCLUSION


==4. CONTINUITY: AFFECTIVE ENGAGEMENT==

* 4.1. INTRODUCTION
* 4.2. METHOD: AUTO-ETHNOGRAPHIC ENACTIVE RESEARCH
* 4.3. THEORETICAL PLACEMENT
* 4.3.1. AFFECT AND EMOTIONS
* 4.3.2. REASONED AND EMOTIONAL VALUES
* 4.4. EMPIRICAL INVESTIGATION
* 4.4.1. PRINCIPLE 1 – HOW AFFECT ENGAGES: APPRECIATION
* 4.4.2. PRINCIPLE 2 – HOW AFFECT ENGAGES: PASSION
* 4.4.3. PRINCIPLE 3 – HOW AFFECT ENGAGES: PROMISE
* 4.5. DEEP, FLEETING, AND ALLURING AFFECT
* 4.6. CONCLUSION


==5. POIESIS: FREE LABOUR AS EMANCIPATORY ACTUALISATION==

* 5.1. INTRODUCTION
* 5.2. THEORETICAL FRAMEWORK
* 5.2.1. CAPITALISM CRITIQUE
* 5.2.2. COMMONS-BASED PEER PRODUCTION
* 5.2.3. CONSIDERING POIESIS
* 5.3. EMPIRICAL INVESTIGATION
* 5.3.1. FREE LABOUR AS ENTREPRENEURIAL AGENCY
* 5.3.2. FREE LABOUR AS ALTRUISM
* 5.3.3. FREE LABOUR TO BUILD SOMETHING BIGGER
* 5.3.4. FREE LABOUR AS ENTREPRENEURIAL TRAINING
* 5.4. A POIETIC NON-LABOUR SYSTEM?
* 5.4.1. BELONGING TO SOMETHING LARGER THAN YOURSELF – REVOLUTION
* 5.4.2. KINDNESS AND ALTRUISM – SELF-EXPLOITATION
* 5.4.3. GIVING LEARNING EXPERIENCES – VIRTUE
* 5.4.4. EMANCIPATORY AGENCY – ENTREPRENEURSHIP
* 5.5. THE DO GOODERS
* 5.5.1. GAINS
* 5.5.2. LOSSES
* 5.5.3. TOPOLOGICAL ACTIVATION
* 5.6. CONCLUSION


==6. CONCLUSION==


==7. BIBLIOGRAPHY==


=More Information=

*  contact is elejansen@gmail.com and   https://www.facebook.com/elejansen

[[Category:Design]]

[[Category:Media]]

[[Category:Research]]