Analysis of Open Collaboration between Experience Design and Poietic Practice

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* 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

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