Disclosing New Worlds: Artistic Entrepreneuring through Designed Fictions
Type
fundamental research project
Start Date
01 August 2010
End Date
31 July 2012
Status
ongoing
Keywords
practices of disclosure
innovation
entrepreneurship studies
art/design research
actor-network theory
design fiction
artistic entrepreneuring
visual ethnography
narrative analysis
creative industries
Description
The ‘creation of possible new futures' and the ‘disclosure of new worlds' are considered to be at the core of both art/design and entrepreneurship. While art/ design activities are mainly concerned with the creation of material, visual, and virtual artefacts, entrepreneurial practices deal with the social creation of organizations. In hybrid organizations such as artistic companies, art/design practices and entrepreneurial practices are highly interrelated and can no longer be studied separately. Since these ‘interrelated practices of disclosure' are in need of being empirically documented and conceptualized, the research project sets out for an interdisciplinary study between the field of art/design research and the field of entrepreneurship studies to develop a subtler understanding of how possible new futures come into being. By drawing on the actor-network theory, recent conceptual publications in both fields attempt to equalize human (social dimension) and non-human (material dimension) actants and to take the distributedness of agency along actor-networks into account. From a creative and processual view, this allows to understand the ‘interrelated practices of disclosure' as a part of an actor-networking process that assembles and reassembles artefacts and people. The interdisciplinary research project takes the actor-network theory as the conceptual starting point to empirically study and categorize the practices and to develop a common theory for this intersection between art/design research and entrepreneurship studies. Hence, the empirical research is lead by the following question: How do actor-networks bring new possible futures into being? What practices are enacted to disclose new worlds? Since the primary goal of the empirical study is theory development, a process oriented multiple-embedded-case design will be used. As the process of actor-networking can be tracked along their narrative trajectories, audio and video based ethnographic observations and interviews serve as the main methods of data collection. Data will be analyzed through a narrative analysis approach and an ethnographic film. In this connection, the study explicitly aims at combining both approaches to develop a common interdisciplinary method to improve the analysis of the social-enacted, material-related and visual-performed practices. The proposed study is the first of its kind in Switzerland and internationally to focus specifically on the creation of possible futures from an interdisciplinary perspective between art/design research and entrepreneurship studies in order to establish a common research agenda in the respective intersection.
Leader contributor(s)
Funder(s)
Topic(s)
siehe Kurzfassung
Method(s)
siehe Kurzfassung
Range
HSG Internal
Range (De)
HSG Intern
Division(s)
Eprints ID
68947

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Artistic Entrepreneurship : How critical can entrepreneurship be in the creative industries?

2012-11-22 , Marti, Laurent

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Actor-Network Theory in Design Research

2009 , Scheuermann, Arne , Mareis, Claudia , Marti, Laurent , Bertram, Polly

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Kompositionen Neuer Musik : Zur ästhetischen Ordnung urbaner Räume

2013 , Michels, Christoph , Lange, Bastian , Bürkner, Hans-Joachim , Schüßler, Elke

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(Up)Setting the rhythm of the creative city : A case study on the aesthetic (re)organization of public spaces

2011-10-08 , Michels, Christoph

With the rise of the creative economy and the growth of urban tourism cities around the world became part of a new organizational logic. In order to become attractive for the creative work force as well as for weekend tourists new galleries, museums and libraries were built in many city centers during the past decades. Furthermore, seaside promenades were opened, inner city districts were cleaned and cultural festivals of various sorts became part of many cities' yearly rhythms. With this shift towards a logic which performs a city's culture as economic resource museums, tidy walkways and beautiful piazzas are no longer seen as simply being public services for a city's inhabitants. Rather they become necessary economic investments which are expected to produce a sizeable return for the city's economy. In this regard the atmosphere of a city becomes a tangible asset that has to meet certain requirements and has to be performed according to specific rationales. In order to understand how this mode of organizing unfolds in relation to multiple other logics of urban life the paper presents a case study on a young string ensemble in Berlin. The ensemble focuses on prising open established formats of performing classic music and explores experimental formats of staging their music. One of the ensemble's predominant interests lies in how public spaces can be appropriated through their music and how they can (or cannot) intervene musically into the organization of urban life. In so called "Guerrilla concerts" they explore various public spaces in Berlin and try to reassemble them aesthetically. While in some places their performances resonate well with other rhythms of urban life, in others cases the ensemble fails in making their fantasies come true. Through an audio-visual ethnography of the group's rehearsals and performances the paper raises the question of how the production of new atmospheres becomes im/possible. The study is based on an understanding of atmosphere as performance in which human and non-human actors participate. Therefore atmospheres are addressed as aesthetic practices which assembles a wide range of objects, people, narratives and music. The process of assembling new atmospheres is then a process of carefully crafting and negotiating the relations between sets of heterogeneous actors. Conceptually, the research draws upon the vocabulary and methods of Actor-Network- Theory and its developments after (Law, Mol, Hassard, Hennion) as well as upon some ideas of Non-Representational Theorizing (Thrift, Anderson, Harrison).

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Sounding out the creative city : De/Composing Experiences in Urban Space

2013-07-02 , Michels, Christoph

With the growing importance of the cultural economy in many Western cities the experience of public space has become a focal point in the organization and planning of urban life. While this aesthetic reengineering of urban life clearly follows the paradigm of the entrepreneurial city, it raises the question if and how other modes and moods of ordering urban public space can participate in its shaping and thus keep urban public spaces alive as places of lived democracy. Against this thematic backdrop the paper addresses the question if and how urban public space can resist the aesthetical streamlining of the entrepreneurial city and stay alive as a place of multiple modes and moods of existence. Empirically the paper presents the analysis of an audio-visual ethnography of guerrilla concert in the city of Berlin. The concert was planned and played by a young Berlin chamber orchestra which has set itself the task to prise open the traditional concert settings and to experiment with new forms of experiencing classical music. The study explores how this performance relates to multiple other logics of organizing Berlin's public spaces. Conceptually the study presents music making as a set of socio-material practices which aesthetically organize a wide range of people, technologies and places. Drawing on the literature of Actor-Network Theory (and its developments after) as well as on conceptual advances made in human geography under the label of "More-than-representational theorizing", the paper aims at analyzing the complex politics of organizing the aesthetic experience of public space. I will argue that such a politics cannot simply be framed as a struggle for or against specific aesthetic modes but instead relies on the unfolding of affective dynamics which allow to accommodate multiple and contradictory ways of participating in urban life.

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Parkour erleben : Wie Atmosphären inszeniert werden

2011 , Michels, Christoph

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Networkings, practices, and materiality. Entrepreneurial processes in the creative industries

2012-07-13 , Marti, Laurent

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Researching Atmospheres in Urban Space

2012-10-22 , Michels, Christoph

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Performative Kultur als Designkultur : Performativität durch Partizipation. Zur alltäglichen Designpolitik städtischer Räume

2013 , Michels, Christoph , Milev, Yana

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Music making as urban guerrilla : Challenging the aesthetico-political orderings of Berlin's public spaces

2012-10-17 , Michels, Christoph

Analyzing a guerilla concert of a young string ensemble from Berlin the paper presents music making as a set of socio material practices which aesthetically organize a wide range of people, technologies and places. The composition of the concert is presented as an enactment of various kinds of socio-material relations, which rely on their mechanical, symbolical and aesthetical performativity. As the concert takes place outside the concert hall, the ensemble encounters various challenges and resistances with respect to the participation of various human and non-human actors. Different modes of organizing music, the city’s public spaces, the audience and the young musicians become visible as they interfere with the ordering logic of the ensemble. By means of an audio-visual ethnography the study explores how multiple logics of organizing music performances in Berlin overlap, produce tensions and enact multiple versions of “good” music. Drawing on the literature of Actor-Network Theory (and its developments after) as well as on conceptual advances made in human geography under the label of “Morethan- representational theorizing” (such as a the coupling of the relational materialism with the concept of affect), the paper aims at analyzing the complex politics of making “good” music. I will argue that such a politics cannot be framed as a simple struggle for or against specific modes of aesthetically enacting music but largely relies on the unfolding of affective dynamics which allow to accommodate multiple and contradictory modes of participating in the music event. For a preview of some of the material see: http://vimeo.com/26186028

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