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Public expo of some of the Cradle developments, like the Dancer Awakens, DIVE, 360 photos to a Portuguese Rural region, which attracted more than 400 participants 22/11/2017-22-03-2018
Our ageing population is the result of two demographic trends: decreasing fertility levels and higher life expectancy. As a corollary to these demographic trends, the working population is ageing and shrinking at the same time. This development will affect the performance of organizations in the next decades. As today‟s economy and the performance of organizations is mainly based on knowledge, the ageing workforce will mainly affect the organizations ability to be knowledge productive. As current knowledge management (KM) and intellectual capital (IC) literature hardly addresses the issue of ageing, the aim of this paper is to explore this topic in order to formulate an agenda for further KM/IC research. Combining the temporary consequences of ageing (brain drain and talent gap) and the false assumptions about the capabilities of older workers (older workers contribute negatively to a firm‟s performance), the current ageing of the working population reveals two main risks for organizations and management: underutilization of older employees, and loss of knowledge. Based on the exploration of these two risks in this paper, several issues are proposed for further research. These issues focus on the specific competences of the older knowledge worker, the implications for talent development programs, the benefits of inter-generational learning, and effectiveness of knowledge retention strategies. Today, the main fear is that large scale retirement will lead to a shortage of skills, talents, knowledge. Although acknowlegding the risks and threats of this brain drain, the current temporary ageing of our workforce might also contribute to a structural better valuation of the potential of the older knowledge worker and its specific contribution to the process of knowledge creation. In an ageing knowledge economy, increased understanding about the abilities and distinct qualities of older workers will provide opportunities for organizations to enhance knowledge productivity and thus gain competitiveness.
Thinking about care in the organization of an ecology is central to the interdisciplinary research group Care Ecologies; found during a lockdown in the spring of 2021 and hosted by ARIAS Platform for Research Through the Arts and Sciences in Amsterdam. In Towards Becoming an Ecology of Care group members Valentina Curandi, Inte Gloerich, Ania Molenda, Maaike Muntinga, Natalia Sanchez Querubin, Nienke Scholts and Marloeke van der Vlugt, offer an initial articulation on their approaches and principles – performative practices, reflection, speculations - of what an ecology of care could be. While each bringing in different understandings of care, staying with those differences shaped the ways in which the agenda of the research group has been (un)settled. To exchange knowledge and experiences, the group uses various on- and off-line frameworks, like presentations and practice sessions. Exploring how activities that sustain a research group – coordinating, meeting, writing and documenting – may be done with care, this paper attempts to present a speculative proposition for functioning as a research ecology on and around care. Bringing into focus what care can do, while being attentive to what is neglected. This is not only done in writing but also becomes visible in the accompanying images compiled of material and immaterial memories. It is an ongoing process, for which the writing of this paper became a catalyst for reflection. While not aiming for clear answers the authors invite themselves and others to become more aware, devising and testing work strategies for care-based practices.
This chapter investigates the deeply mediatized experience of place and space within the lived practice of events by studying two annual Dutch cultural events as cases: Oerol Festival (2017) and 3FM Serious Request (2017). Drawing on substantial datasets containing online and offline participant observations, both short in situ interviews and longer in-depth interviews with a total of 248 interviewees and large datasets from Twitter and Instagram, this chapter demonstrates that media concurrently de-spatialize, in the sense that they diminish spatial borders and overcome distance, and affirm embodied experiences of being-in-place. I argue that it is liveness - the potential connection, through media, to events that matter to us as they unfold - that creates the closeness between the near and the far elements within the “eventsphere” and binds it all together into one event-space.
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In the troubled times in which we currently live, the tourism industry has called into question a need for more responsible social practices and more mindful utilisation of natural environments. The Japanese practice of shinrin-yoku, or forest bathing, has not only become a new wellness trend, but also a great potential for deeply immersive tourist experiences. While there is a wealth of studies examining the positive effects of forest bathing focussing principally on its medical benefits, this qualitative study extends these debates through documenting lived experiences of forest bathers. In so doing forest bathing suggests its latent potential to offer a profoundly mindful experience, and aims to situate this practice more prominently within the tourism discourse.
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Created for the 2019 Prague Quadrennial’s 36Q°, Blue Hour VR was a site-responsive mixed reality performative installation that placed the spectator, as experiencer, within a hybrid landscape of real- time three-dimensional computer graphics and 360-degree video. This article describes the design process, staging and experience of Blue Hour VR from the vantage point of its creators. Using a phenomenological perspective, the article discusses how Blue Hour VR staged presence and embodiment within an intermedial haptic experience. Blue Hour VR demonstrates how virtual reality technology can be harnessed by a mixed reality performance design, which includes both the material and virtual environment, creating a complex stratigraphy of intermedial textures and visual dramaturgies that co-exist inside, outside and in between perceptual realities. In doing so, the article aims to contribute to the limited body of work on mixed and virtual reality in the context of theatre and performance design.
